Learn to Paint Ocean, Waves & Beaches using Gouache for 7 days

1. Welcome to the Class!: Around water gives our brains and our census or restaurant overstimulation. Do not quiet, but the sound of water is far more simple than the Sound of Music. Voices are cities. As humans, we are naturally drawn to aquatic cues and often associate this color with qualities like calm, depths, openness and visit him. And I guess that is why we're all able to spend Rs by a water body because it gives us a sense of peace like no other. Hello everyone. My name is bio, I'm an artist and the Skillshare top teacher based in battery. I often go by the name thesimplyaesthetic. On all social media platforms. You can find me on Instagram under the same handle where I'm constantly sharing my artwork, my inspirations, and a little bit about the upcoming workshops and classes. My artworks are heavily inspired by nature and my goal is to instill the same passion and others where they can learn, get inspired. I'm painting things that they see around them. For this class, I would like to invite you all to join me on a really FUN seven day painting challenge where we're exploring the wonderful subject of ocean waves, beaches together. Painting this subject using Gouache may seem intimidating because there's so many details to work with. But let me tell you that with the right type of understanding of composition, Painting principles and Colours, you will find that it's actually so easy and fan to Paint will Start this class by exploring the right type of Art materials you need to pick when you're painting with gouache and then dive into the color palette of this class. I'll discuss all the colors and details. Next, we'll explore some gouache techniques that we will use in this class. And using these gouache techniques will practice four exercise lessons before diving into the main class projects. These exercise lessons will give you a basic idea of what to expect and how to achieve a particular painting and using all the knowledge that we've gathered up to now, we will approach those seven gorgeous paintings together. So if this topic P2 interests and join me in the class because I'm really excited to see everything that you can create using the scores. See in the next lesson 2. Class Overview: Thank you so much for joining me in this class. I'm really excited to take you on this painting journey. Before we begin, let me give you a quick overview of what you can expect from this class. Here is seven Class Projects that we will be painting over the course of 14 days. Every alternate day, I'll upload the class project. This way you have ample time to finish one before the next one goes live. Each class project is unique in terms of colour Palette composition, and even some techniques. But don't be intimidated by this because I am going to walk you through each and every step carefully. And we're going to do this together. We'll start off by talking about the right type of odd supplies you need to pick when you're painting with gouache. And then discuss the color palette for this class. Along with the sheets that I'll be using, I'll show you some unique mixes that I make when I'm painting what escapes will also discuss the tonal value, which you will help you understand how to create lighter colors in Gouache. Will also talk about the basic gouache techniques such as consistency, blending and layering, and then apply these techniques to Paint for exercise lessons. Now, each lesson is unique in the way that we'll talk about different compositions for the Waves and the beaches that we're targeting. We've got Sky Clouds, beaches, a review of the beach, and also a Crashing Waves that will practice before we try it out in our class project. This way you have an idea of what to expect. And then using this knowledge, we will paint seven gorgeous seascapes together. By the end of this class, you're going to have the seven paintings with you that you're going to be so proud of and won't stop boasting. So I will see you in the next lesson where we're discussing the materials 3. Materials Used: Alright, so let us talk about all the supplies that you need to have. Before starting with this class. I'm going to talk about the paper first. I am going to be using this Bockingford paper. I'm trying it for the first time. It's the traditional watercolor paper at acid free, 300 GSM and cold pressed, right? So this is an A4 size paper. I will be making it half and using an A5 size of paper. But I really like this paper for its texture. I like having a bit of texture on my paintings and I don't like it to be playing. That's just a personal preference, but you can use hot press paper if that's what you like. Gouache is very versatile that way so you can absolutely use it on any paper. It doesn't have to be even 300 GSM or 100% cotton or whatever. It works well on all peoples, but it's again, a preference that you have that what people works for you. Alright, so that's it about the paper. I'm not going to dive deep into it. Next, we're going to talk about the colors are the paints. I will be using my favorite brand of gouache paints. This is the Winsor and Newton gouache paints. If you've been following my Gouache classes, you know how much I love the creamy consistency and the color payoff of this pinned. You can use any Gouache that you have with you. It doesn't have to be Windsor and Newton. You just need a bunch of colors that we will talk about in the next lesson. I will be using this titanium white color from Bruce, true? Now, I always run out of white very quickly. So that's why I have a bigger, larger tube of white paint from another brand. Again, the brand does not matter. You can use the Gouache paints that you have. Next, talking about the brushes. I will try to use very minimal brushes here. I have to flood brushes that I'll be using. It's a size 18 and size stent. Now the A11 is really good for flat washes and covering a larger area and a smaller one is obviously good for background washes for smaller areas. So I just prefer having two different sizes. Next, round brushes, I have size 04 and again, each one of them is important in their own way. The larger one for larger areas, the smaller one for finer details. You will be actually, you see me using a combination of these brushes in my class project. This is it about the brushes. Now coming onto the next thing, we have discussed, paper paints and brushes. Now all the other little things that you need to have, you need to have two jars of water. This is important because the first jar acts as your main well in which you're cleansing and cleaning your brush. And the second one is like a fresh supply of water. So like a double rains or whenever you want to use a clean water to make a new mix, it works out really well. So I will suggest always keeping two jars of water with you or two containers of water with you when you're painting with gouache. Alright, Onto the next thing, keeping in line with the theme that we have, that is the beach and the Waves and ocean theme. I'm using my shell shaped palette. You can use any palette. I'm using a ceramic one I liked the way the color mixes on that personal preference. Again, you can use anything don't be bound to a ceramic Mixing palette next to have a spray bottle. Now, I will show you how you can use this in the practice lessons. But try and have like a spray bottle with you. It makes the process a lot easier. We're able to spread water evenly, spread water on a larger surface without having to use a brush for it. So this one works really well. Try to keep one if you have one. Next, we're going to talk about the other things. I have, Masking tape, very important. It helps you tape down your paper on all four sides. I love having those nice clean edges. And I'll be taping this on a clipboard that I have. So you can flip flip or tape down your paper on anything, any surface that you can move around. Because that makes the painting process easier and not bound to the table. So that's why I like keeping it on a clipboard. Next are the supplies that you need to have is just scaled pencil eraser, just your normal stationery items will help you create your basic sketch. Lastly, before I forget, the last item that you need on the list is a toothbrush. I know that sounds funny. But notice is not a Used to brush. This is the new one that I'm using specifically for the Painting purposes. But it was really when you want to create splatters of the salt. So whenever you want to show that the wave is Crashing and they're these little water splatters everywhere. I really like using the toothbrush. And this is pretty much it. These are all the supplies that you need. Gather them and I'll see you in the next lesson. 4. Colour Palette: Okay, So before we dive into the practice lessons of the techniques, I want to take a moment to discuss all the colors that we will be using for the class. We'll be discussing. Appreciate that I will use, starting off with the different shades of blue are the tubes of blue that I have. Here. I have Prussian blue color, Turquoise blue color and cobalt turquoise light. So these three tubes of paint, I'll be using a different tonal values of it, of course, but these three sheets are the ones that I'll be using. Different shades of blue. So depending on the dark to light, wherever I need Turquoise or the cobalt turquoise color, I'll be using these triplets makes to have the different shades of brown. I haven't diarchy Brown. I have burnt sienna and I have yellow ocher. If you don't have one die keep brownie can use septicemia or even burnt sienna with black. Next coming on to the other sheets that I will need that is going to help us achieve, let's say Turquoise color if you don't have Turquoise color. So I have primary red. I'll be using this for, I think one Class Project next to have lemon yellow and black color. Lemon yellow and Prussian blue sort of gives you a Turquoise color. I will talk more about it later. And lastly, for the most important color in your palette, it has to be white paint. I told you I run out of white very fast. It's because that's how you're making lighter shades when you're painting with Gouache. Unlike watercolors, you're not adding water. You're adding white to lighten the vibrancy are the tonal value of the color. So we're going to be using these. I think there were nine or ten, about ten shades. I'll be using them for the class projects and practice lessons. But let this swatch everything out and see what they look like so you can get similar shades. Yearn to have all the colors on my palette. I've got nine different shades plus white. So N Colours. We're going to start off by swatching the blue shade first. Now, don't worry about the consistency and how you're consistency or your the thickness of the famed is supposed to be like right now. I will be talking more about it in the next lesson. Right now we're just going to focus more on what the color looks like. Just dipped my brush in a bit of water, just added on the Paint, the dot of paint that I have. And this is your darkest tonal value of Prussian blue. I haven't added any white. I haven't added a lot of water, so you can see how it's a very deep color. Now there are various sheets that you can create, but just Prussian blue, by adding different amounts of white to it. We will talk more about it in the end when I'm showing you a swatch of all the colors. Next color on my list is the Turquoise blue. Now for the Ocean paintings that were going to do today, I feel like the Turquoise blue color is such a beautiful shade that captures like the lighter parts of your Ocean and even the cobalt, turquoise, it really captures that sort of yellow greenish color of your water. This is the Turquoise, blue. They can see it's a lot more blue, right? Rather than being something on the yellow spectrum or has a bit of green, has a lot of blue. And this is where I use it. You can see that I've used it and blue paintings and even like the darker at Veritas little bit of greenery, I'll consistency or like the color. That's what I've used it as well. And there'll be using the Turquoise color in a lot of different places in the class project. It's almost like a very important sheet for you to have, will talk about how you can make something similar later. Next color that I have is called cobalt turquoise light. So this is a very, very vibrant color. And even though it is on the same spectrum, it is Turquoise color. It is a lot more vibrant rather than being done, you can clearly see how these two shades a completely different from one another. And the cobalt turquoise color is such a beautiful shade like I mentioned earlier. To capture the lighter parts of your portion said works out really well when you want to capture those sort of Colours in the water. These three shades, particularly from Winsor and Newton. What I'm going to be using, obviously changing a lot of tonal values, making it darker or lighter depending on what I'm trying to achieve. You can make Colours very similar to this, using the colors that you've probably already have in your set. So we have to talk about that. We have to serve achieve Colours similar if you don't have these particular shapes with you, I will tell you how you can achieve those I also want to show you like a bunch of different blues that I will mix in use. And the blue that I really like for my paintings whenever I want to capture like a deeper shade, which is not a shade that's closer to, I would say indigo. But it still a very, very deep Prussian blue color. I really imbedded describing what I'm trying to save. But this color is actually a mix of Prussian blue and my Van **** brown or like sepia. You can take this color. I'll show you when I swatch it, you can really see the difference that I'm trying to, I've talked about. This one has that earthy brown undertone to it because it has brown color. And we will be using this particular shade in one of our class projects. So you can see how it turns into, I would say it's like a thin yellow green or yellow blue color. If I were to put them in one of those shades, I would say it's closer to that. I really like this color a lot. You can mix it on your own by just mixing Turquoise, blue, and your brown color. That is a Van **** brown color. Next I have a mix of Prussian blue and black. Immediately you see how the shade is very different from the previous one. This one falls mood under the indigo color. I would say it's, it's like a very, very deep Prussian blue color which has black in it. And it's like the deep end negotiate. So that's how you can make this dark blue color. It is a mix of your Prussian blue and black colors. You can see how these two shades at different, right? I'll see an example where I've used this indigo color for all these darker parts. I've used the indigo shade and you can see how it captures that extreme depth in the ocean. Nonetheless, talk about, hi, you can make these two shades of colors very close enough, similar to those. Obviously having the colors in your palette already. Now to make Turquoise color, one way you can achieve it is by Mixing your blue and green shade or your blue and yellow sheets. So we know that blue and yellow when mixed together, will give you a green light. So painting we're trying to achieve all of this will be basic concept that we know. Okay? I'm just simply Mixing my Prussian blue with a bit of yellow. So be very careful on the yellow because you can easily turn it into a very, very bright green color, which we don't need, need the color to be more on the blue side. So I've mixed my Prussian blue bit of yellow and white. Obviously this can be lighter, but I swatch it, it appears to be really dark, but it can be made lighter with a bit of white. When you add an ID, it gets lighter. You can obviously adjust the tonal value. We're not gonna get the exact color. Color match from the tube, but we can achieve shades similar to it right? Now. You can see how when I added more white into my paint, it has immediately gotten lighter. Again, if I were to add a bit more blue, I feel like we could achieve that almost very similar to the Turquoise from the tube. It's just missing a bit more of the blue. But you can see how it gets into that same range. So when you want to add those light the colors, you can do it using the shape. Next, I'm mixing yellow and my blue. Again. This time I've added a bit more yellow color. Now, obviously the cobalt turquoise colorism, a lot more Towards the bluer side. And this one has turned out to be a lot Towards the greener side. It's not blue enough, it's a bit green. This is because the yellow, the amount of yellow that was in my palette was more. Again, you can adjust it by adding a bit more blue in it and a bit more white and then to light and end it all depends. I felt like the perfect ratio for you to get a cobalt turquoise color is to mix Turquoise blue with yellow and white. I can immediately see how this color is very close to the cobalt turquoise color. If you have Turquoise blue with you by any chance, please do use it for achieving this cobalt, turquoise, blue shade. It's really nice, it matches really well. And you can just immediately create the shade by just mixing some color. So these are the different shades of blue that I will be using. Now, like I mentioned earlier, the values will change when I'm making the painting. It'll be lighter or darker depending on how it is. Next, let us what all the other browns and all the other shades. So here I haven't **** brown, like I mentioned earlier, it's a very many beautiful shade of brown that I really like. It's pretty nice and deep And if you don't have this color, you can use sepia or burnt sienna mixed with black so you get a color which is similar to that. Next I have burnt sienna color. You can see how it's a gorgeous, earthy color. I love how warm it is. And a mix of these two shades. That is when **** brown and burnt sienna is like such a beautiful blend for your sand. I mean, that's what I think personal preference again, it all also depends on the reference image itself. Next, I have yellow ocher. Now, all of these different shades of brown that I have of using a mix of them and trying to create the shade for the sun, make it lighter or darker depending on what the reference images and what the vibe of the picture is and what we're trying to capture. But these three shades of brown are the ones that I will be using in my painting. Now, coming on, the next shades that I have, I have to use lemon yellow. So I did tell you, right, you have to have lemon yellow on your palette. If you're going to be creating your Turquoise blue or your cobalt turquoise shade. It's a beautiful yellow color which is so vibrant and immediate leg I feel like the name just goes with the color when you look at it, you think of a lemon. At least that's how I pictured it. I look at this color and I immediately know it's lemon yellow. And it also reminds me of lemon. This is one shade that I'll keep with me, but me to swatching colors or even working with different shades, different primary colors. To be very specific, makes sure that you are cleaning your brush completely and double rinsing them so that you don't end up making a secondary color on a muddy mix. Next color on my palette that I have is primary red. Now, I will be using this color only Particularly in one Class Project for having a very purple color. And that's the only, I'm using this red color. So if you don't want to use it in any of your paintings, you can totally skip it. I'm just giving you that choice. Next sheet that I have on my list is black. Obviously, it is useful whenever you want to get darker shade. I wouldn't say always, but for certain colors like Janet create indigo shade or just a little bit of a darker color, you can use a bit of black. These are going to be all the colors that I have. Lastly, I don't think it makes any sense, but I'm still swatching a white paint. Just just one Part of me was like, I'm not going to leave that space. Mtm is going to swatch it with white. So that's what I've done up swash too wide. But these are going to be the Colours exactly from the tube and some mixes that I will be using for my class projects. So bunch of combination of different shades will come into the play and don't really worry about it because I will be showing you all the colors, how I make it, and also what the swatch of the color is while I'm trying to go ahead and add that to my paintings. So you'd go through that entire process while painting. But these are going to be the colors that I'll have. Ten Colours, about ten colors. Keep them with you when you start painting. Now one thing that I'm going to do is write down the names for it so that you don't forget, right? But before I do that, let me swatch and show you what I meant about the tonal value of the color. So here I have Turquoise blue as it. So that's the color. Next one I'm doing is adding a tiny amount of white into it. You can clearly see the color has gotten lighter. Now, I'm going to add in some more white into it. Immediately, the color has gotten lighter. Now over here, I'm not playing with the consistency. The consistency remains the same. But when I want to create a lighter color, I will add white into it. And if you feel like you're consistency is becoming thicker, then you add a bit of water to make it workable. But the basic idea is that the more white you add into a painting, the lighter, sorry, knocked Painting. The word white you add into your mix. The lighter, your color is going to appear. So you can see how I bought this beautiful turquoise shade into this very light color, light blue shade. So that's how you play with the tonal value of the color when you're working with Gouache, obviously you can make it darker by adding black. Over here. I've named everything. You can see all the colors and the mixes that I've made, and also the tonal value. So you can pause here, just noted down if you'd like. I've got all the different shades that I spoke about, all the mixes that I've made, and also the tonal value of the color. So you can just take a moment to pause, noted down, create your own Palette and have that with you study, you find it easier when you start painting. I hope you found this color palette lesson helpful and it helped you give you a clearer idea of what to expect in the next lessons and in your class and in the paintings. And using this little bit of information, let's dive into the basic gouache techniques that you need to know before diving into the painting process 5. Basic Gouache Techniques: Alright, let me give you a quick Gouache Overview before we discuss the different gouache techniques in detail. As we know, gouache is an opaque medium with leading capabilities of acrylics, and it can be easily reactivated using water, just like watercolors. So it is a medium in-between acrylics and watercolors. Gouache has a beautiful matte finish once it's dry. And due to this property that it has, it can be easily digitized. And that is why it's so popular amongst illustrators and artists heard Laughter, digitize their work. To get Gouache, one thing that you have to keep in mind is that data Colours, my dry lighter and lighter colors might dry darker. So this is something that it takes time getting used to. But once you figured it out, it's not something that really changes the concept of painting. Gouache is a very versatile medium and you can easily fix your mistakes by just re-wetting the paint and starting over so you have no room for ruining your paintings. In Gouache, we add white to tone down the vibrancy of the color and water for a thinner consistency. We will talk more about this later in the video. Lastly, whenever you're painting with Gouache, keep in mind that you want to use freshly squeezed pain because gouache is opaque when it's fresh from the tube. And if you reactivate the paint once it's completely dry, there are chances that it might not give you that level of obesity. Alright, now that we have the quick overview, let's talk about the different cost techniques. Here, I want to talk about the three different techniques that will help you understand the medium that we'll talk about, consistency, blending and layering, first being consistency. Now what is consistency? Consistency is the ratio that you have between your paint and water. So when you're painting with gouache, if you add more water, you get a thinner consistency. And if you add less water, you get a thicker consistency. You would have taken four shades. I've got white, Turquoise, blue, Prussian blue, and brown. And I have a dry brush. When I apply this dry brush on this blob of paint that I have that is the Turquoise blue. You can see how it has that creamy consistency. And I've added nor water my brush, it's completely dry. When I load up the paint directly and apply it on the paper, it creates this X should effect. Now the texture that you can see is not only coming from the consistency of the pain, but also the paper has a bit of importance to play here. I'm using cold press paper and that's why it has a bit more texture, right? But again, even if you use it on a hot press paper, will still be able to have that kind of texture. Next, I'm adding a bit of water into my mix. Now we know painting with Gouache, this consistency almost feels like it has like a, it's like all consistency that's between milk consistency and like a cream or a gel kind of consistency, the soft gel. This kind of consistency is lot more useful when you're painting in your final layers. And you want your paint to be extremely opaque and have no color from the background. So you tend to use the consistency. You can see how it's a lot more workable than the previous swatch that we did. It's nice and opaque, but you're able to work with it and create a nice opaque layer without having a lot of texture. You can use this consistency and even like the first one in your first, the final layers that you have. Next type of consistency that I'm showing you is a lot more, I would say like a milk kind of consistency. So it has a little bit of obesity, but it is a lot more workable and a lot panel than the previous one. So this kind of consistency works really well for your background layer. So let's say you want a background wash for your Sky, for whatever, whatever you're painting in landscapes, this is a very good consistency to have and will be working a lot with this type of consistency. The next one that I'm going to do is a consistency that has a bit more water in it. So it's not completely like a watery consistency, but it is still a lot thinner and lighter so you can see how it's very light. I am not I wouldn't say it's completely opaque because I can still see a little bit of the paper through this layer. But at the same time, it is quite translucent. That's put it that way. Then you can use this consistency when you want to create light background washes. And especially when you're working in a lot of layers that comes in handy when you want to just give it that hint of color and then build it on later. I think it works really well for that, so it will be using the third and fourth consistency a lot. The last final consistency is lot more watery consistency. You can see how it's very light. It almost feels like you're painting with watercolors. You can see the paper through it. It's not very opaque. This one works a lot more for glazing, or you want to just add a hint of color over the previous layer that you have. So it's not like you can not use this. But again, there are different places in which we tend to use all these different consistency. Now, the next thing that we are going to talk about, its blending, linear painting with gouache. Blending has both the benefits, like I mentioned, it is similar to acrylics and watercolors. So we're going to use that together to do two different types of blending. First one is going to be a gradient wash, which you can use differently. This is just to give you a basic idea of how you can blend colors to have their gradient where you go from dark to light and just get them to look seamless. And the second one is really cool technique that I discovered in the past few months and have been loving when it comes to painting water and Ocean. So what I've done here is taped down my paper on all four sides using my normal tape. The first type of blending that I'm going to show you is the gradient wash. Now if you've been following my classes, I've taken the past few classes. You are familiar with this type of blending because it's a very common type of blend that I teach most of the times because it's useful for your skies. It can be useful for being take water. It can be useful in lot of places where you just want to blend from dark to light. Now, this is a single color blend. You can do this with two colors, three colors, how much ever colors you want to put. But the idea remains the same. What I'm doing here is I've added darker blue. And each time on each little section that I have, like a 1 cm section that I take, especially in this surface area that I have, I am adding more white into it. Now the idea when you're blending, are trying to create a blend that seamless with different shades of blue. As you come down, you're getting it to be lighter is to make sure that you are starting immediately from the point where you left off. So I've added more white into my mix and I'm starting exactly at the point where the darker blue, as you can see, especially when you're working with brushing load kind of stain your paper. And it can be a bit difficult to get that harsh line to blend in. And whenever you are facing something like that, my basic idea would be to add a bit more white and going to go over that section a couple more times to add a layer over it so that that harsh line is not that visible. And then obviously you will have to clean your brush and just go top to bottom or bottom to top just to make sure that you have a seamless blend. So I really liked the way the blend looks right now. I'm not going to overbook this section. I like how there's a beautiful gradient is not so overworked. And obviously you can do this with as many shades of blue that you'd like. So this is your first BIPOC blend. Now, the next type of blended forgot to focus on is the pool technique that I was talking about in this field. Going to apply the law of a wet on wet into Gouache, because gouache is very similar to watercolors. Now, obviously, unlike watercolors, will have to really build on the vibrancy of the pain that we have a couple more times than what you could do watercolors and probably a single layer or maybe into. But the idea remains the same. So first we wet the surface, then you can see when I add my faint obviously the paint also has to be slightly towards the thinner side. I wouldn't say very thin. But the second and third consistency, if you add that in and because the surface is wet, you can see how the paint moves. Again. The paint does not move. Very similar to watercolors. It does not just go with the floor, but it still does kind of blend into one another where you don't get these harsh lines, right. But you're still able to blend them to merge into one another. We will be using this blending technique in two of our class projects as far as I remember clearly, but I might have just use this in another place, in another project as well. But to definitely we are going to be using this. And you can see how it creates that illusion of depth, light and let's say a different shade of blue. And it can dissolve, merges into one another. Again, when this dries, it might dry a little bit lighter. Once it's like water has fully evaporated from my paper, it might dry lighter, but you can build this on and two layers are three layers to get that beautiful blend, especially when you're looking at an aerial view of the ocean. This is a very good technique that you can use. I was still happy when I found this out and I was like, I need to teach this and I need to do this for myself because it's so good at, it works exactly like watercolors. Obviously it has a different, a different feel to it. But you can create beautiful paintings without having to physically do a lot of blending So these are the two blend that will be using a lot in our class projects. And I hope you learned something from this. Next thing that we're going to talk about is layering. Now, leering, very common as the name suggests. It's the idea of adding one layer over the other. If you watched my previous classes, you know how it goes? Video painting with gouache. And it's going to be the same thing. The basic idea is you want to have a thinner consistency at the base. And as you build on your layers, you want to add slightly thicker, slightly thicker layer over it. And by thick, I don't mean like extremely thick, but the consistency needs to build on it. Now why I'm saying that is because if you have a thick consistency at the base itself and you try to add a layer which is baby, let's say at the same consistency level or slightly thinner, it will reactivate the paint and you will end up with a muddy mix or it'll be, you'll end up reactivating and picking on the previous color in the layer that you want over it. And to avoid that, my, my basic rule would be to light just build on the consistency. Start off with a thinner layer and then you build on the layers. So over you and I have my Prussian blue color and I am going to apply a nice thicker consistency, let's say the second consistency all over one section and just kinda evenly spread it. You can see how thick and nice it is right? Now if I was to add something on it, I'm pretty sure it would reactivate the paint. So I'm just going to apply this in one section. The second section, I'm going to put up some more paint because I just ended up using all the Prussian blue that I took out for one section. So I'm just going to add a bit more water into this. Basic idea is that this layer does not need to be that thick, so it will fall under the third, the fourth consistency that I switched out earlier. You can clearly see the difference in the color because this one appears to be a lot more lighter, right? Clearly you can see the difference in the two blocks. So now I'm gonna do is just evenly spread it and let these two sections completely dry. And then we'll add layer over it and see how the magic happens. Alright, so both my blocks are dried, obviously the second one, right? Dark, so it cannot clearly see the difference. But if you will see this in-person, he could tell the first one is a lot more thicker. Now I'm going for a consistency which is like the second or the third one for my white paint. And immediately when I brush it over across the Paint or across the previous layer, it picks on the layer. You can see how it's reactivating it. Now, it's not like it's not workable. You can work with the consistency. But when you're working with, let's say white, white is the color that will, even if you're working on the second block, also, it might still pick on the color and it will still show the previous layer. So you might have to walk in like two or three layers with the white to kind of get it to look the opaque, bright white that it is. But in the first one you can see, just picks on the color. You can see how the white has turned into like this light blue shade. And it's very common for it to happen if your previous layer is thick. Now I'm just going to clean my brush, make sure I have no blue on my brush. First. I'm going to load up some more white. And again, working in the same consistency like with, like somewhere between the second or the third consistency. I am going to apply it on the second block. Now, again, over here, another thing that really matters is the amount of pressure that you apply on your brush. If you apply a lot of pressure on your brush, it is going to reactivate the paint at the bottom. The basic, because you can reactivate Gouache with water, right? Even if it's paint, wet paint, it will reactivate a little bit. The idea would be to add a little less pressure on your brush. If you do that, you will not reactivated. But again, that is all. There is a difference in the way the white looks in this section, I would say as compared to the first block. And it will also dry lighter. Remember this lighter colored, which is white, once it's completely dry, it will dry to be lighter than it looks right now. There is still a difference in the white. This one's a lot more opaque. That's a lot more white. And it's not a reactivating the color as much as the previous one. It does look like it is in this section. But trust me, in real time when I see with my own eyes, it's not as much like I said with white, it will dry to show the previous layers, you'll have to work in two layers or let's years, I would say is the minimum that you'd have to do with white. Most of the times are we will have to go for a slightly thicker layer. And obviously with this blue, it ends up reactivating the paint. But once it's dry, you will really be able to see the difference that I was talking about. It because the paint is still wet. It kinda looks very similar. But once it completely dries, the second block is going to be so much more lighter than the first one. So I'm just going to create some more little shapes just to kinda fill up my section and leave it to dry completely. And then let's see what the paint looks like. Alright, so here we have that, like I mentioned, the second one has dried a lot lighter than the first block. Here you have the layering. This is how it works. This is just to give you a basic idea and we'll also talk about how you can apply these basic techniques and in your class projects and to create different things. Let's have a closer look. We spoke about consistency, blending and layering. Just three main important techniques that you need to know when you're working with Gouache. I hope you found this helpful. In the next lesson, we'll do some practice exercises and apply these techniques and them 6. Exercise 1 : Sky & Clouds: Alright, so now we're going to practice some applications of the techniques that we learned in the previous lesson. Before we dive into the class project, I'm going to show you how you can apply the different gouache techniques to use them in our paintings. So we have consistency, blending and layering, and we'll be using different combinations of peace in our class projects quickly. Just going to show you what are class projects look like. So these other seven paintings that we are going to Paint together in this challenge, each painting is, I would say, very similar in terms of the pain, but they are very unique from one another in terms of the colors are in terms of the techniques. But again, it is a combination of the techniques we're going to use and learn and create how to paint different water bodies. Let's say Waves. Let's say Sky. Sky is not a water body but Waves. You've got Clouds, you've got these different see form the structure, the splatters, all of that. So I want to give you a quick overview of that. Let's practice that a little bit so that when we dive into the painting, It's not that new to us. I have divided my A4 paper into four parts and each part will be painting each element. So the first one that we're going to do is your Sky. So here I have my size 18 flat brush because it covers a larger surface area easily. We're going to use the first blending technique that I showed you in which you are creating a gradient. So that's the blending technique that we're going to focus on. Basic idea. We start off with a darker color at the top and you slowly move down to the lighter one. So here I'm just vetting my brush very lightly and I'm going to take my Prussian blue color. Now. Do this Prussian blue color. I am going to add a bit of white. So I don't want that exact deep Prussian blue color that as is as the shade of it. I want to lighten it up a little bit. I'm adding a bit of white into it. Now what I'm going to do is add just the consistency basically off the paint to get into the total food consistency that we talked about. Once you get into that consistency, I'm going to apply it at the top part of my paper, of my section. And then slowly move left and right and a little bit down. They can see I've covered, let's say an inch, an inch like 1.5 cm or so. Now I'm going to light the color even more. So I'm adding a bit more white and again, adjusting the consistency. The consistency is even throughout. And then I'm going to apply that right where I left off. So I'm going to cover that area first. And then once you go over it a couple of times, that sharp, harsh line that you see, it goes away and then you can slowly move downwards. Now we're gonna do that again. So we are going to gradually decrease the vibrancy of the paint and get it to tone down, get it to get lighter. Use the third shade that I get. Again are just the consistency so that it matches and start right where you left off, so that you are getting rid of that line and that kind of blends in with this new color. And then you can move downwards. So each time you do that, you are going to follow these steps. Make sure you are just the consistency. Get a lighter color. Start right by your left off. Clean your brush, add more white, and then start again. So there will be a little bit of constant cleaning of the brush. That is something I feel people take time to get used to when you're painting with gouache is a lot of cleaning of the brush that you have to do. And if you don't, then you end up loading the darker color in the lighter areas which you don't want, especially for the blends in the sky. So keep that in mind. Kino brush and dry off the extra water. Now you can see how I've got this gradient and this guy, right? I've got darker colors at the top. And it's slowly transitions to a lighter which is at the bottom. Once you've laid out all your colors, one thing that really helps us, you clean your brush and don't dry off the brush completely. Have a bit of water in it. And using the water, you just keep going left and right, and you move upwards or downwards. So this way you ensure that you get the entire blend to look nice and seamless. And there's no harsh lines in between and things like that. I really liked the blend that has happened here, so let it dry. Once it completely dries off, you are going to start painting the Clouds. Now, remember how I told you that the consistency has to be thinner because you have to layer with a thicker layer on top. So we are going to use that same concept here. The background layer that I have is thinner so that I can add a thicker consistency of clouds on top The class that we're going to paint in this class, I'm keeping it very simple. I'm not going to over-complicate it because this class focuses more on the water bodies than it does on Clouds. So the Clouds are going to be simple. If you've taken my previous classes, I'm pretty sure you're familiar with these types of clouds that I make. And I like to call them like my horizontal Clouds, in which we're trying to capture Clouds that are added distance. So you're not seeing that fluffiness of it. You are seeing some sort of fluffiness, but it's not very fluffy. I'm going to start off with, let's say an inch above the blender I have. And then we'll slowly transition slightly upwards. We're not going to add a lot of Clouds. Now the technique here to achieve these type of horizontal Clouds, like I said, is to hold your brush almost like 45 degrees to the paper or even 30 if you want really fine lines and then move horizontally, right? You can see how I'm not moving my brush in like up and down motion. I'm moving them left to right, like horizontally, right. Then obviously you can adjust the shape of it depending on the way you like your Clouds to look. There is no particular order that you have to follow. And by order, I mean the shape. You can keep the, the base Flat and just have these little curves on the top. So it's not very, I would say complicated to do. You're going to achieve these nice horizontal Clouds. So I'm gonna show you two right now. So this is where you're just adding a bit of Clouds at a distance. Like have an essence that yes, we have these clouds in the background. The other one is to have Clouds that are still a little bit more clues in that when we're making those clouds. Again, the same concept, that is your horizontal Clouds. But this time at the top, I want to move in this slide circular motion. I get that kind of fluffy effect in my Clouds. You can see how the base is quite flat. And then on top you've got a little bit of those curved flux coming in. Now, if you notice very carefully, the white is going to, it looks a little bit dull right now, right? It's not very vibrant, is not very opaque. It is to showing a bit of blue. And that's the thing with white. When you're working with white, either you'll have to use a very, very thick consistency of paint, which I feel is not very workable when you're trying to Paint with Gouache, unless your electron to add some details and you can use that thick consistency of paint otherwise, for Clouds and stuff, it's not very workable because you have to create, you have to constantly move your brushes and create different shapes. So for that, two layers works best. Now coming back to the shape of my Clouds, once I'm done with the overall structure of the clouds, I like to add some clouds like tiny ones just floating around it so you can see me add these little horizontal shapes kind of connecting with the Clouds. And I feel like with Clouds. This is something that really comes from within. When you do a lot of paintings, when you practice it a lot and do it a lot of times it's just kind of like gets engraved in your head and you don't really think so much. You look at the picture, the reference image that you have and just kind of understand the way in which the Clouds are flowing and then you end up creating something on your own. So it's completely okay to create something on your own as well. As long as you're capturing the essence of the painting, we're not going for hyper realism, so it does not really make a difference based on the way in which you want your clouds to look, to go ahead and enjoyed to practice this once, just so that you are brushing over. If you've done this in the past, you just get a practice once again. And if we're trying it for the first time, then you'll get, get familiarized with the technique and the way in which I process the Sky and Clouds. This is what the Sky and Clouds will look once it completely dry. Now it might be dry very quickly. Gouache dries very fast. You don't really have to wait a lot. Once it dries, you're going to add, I'm just adding some, an extra layer over on the top bar just to show that let's say the light source on the Clouds is coming from the top and that's where the top part of the fluffy part of the Clouds. It's going to be a little bit more vibrant. But otherwise, this is how you paint your Clouds and the Sky and do practice this. And then we'll move onto the next bit. In the next lesson, we'll be exploring the concept of beaches and I can create those different layers. So see you there. 7. Exercise 2 : Beach Waves: Alright, so the next practice section that we're going to do is going to be for the Waves Crashing at the beach. You've got the depths of the wave. You've got the sea foam around it. The first one I showed you over here also, we've got a similar concept. We're seeing the sun through the water and also like a wave is like Crashing about the Crashing just like in the air that the concept that we're going for. So we'll take a section of a dried, a small part of this painting that we have here to understand the concept with which we work and just practice this once before we dive into the main painting. Alright, so the first thing that we do whenever you're painting a section like this one, even when you're painting the actual artwork is to create your base sketch to understand the structure of it. The first thing I'm sketching out is the wave that's Crashing at the beach. They've got that see for me Part of it and that water that touches the beach. Next thing that I'm going to sketch out is the wave. That's like curving towards going to crash on the beat. So that's what I'm sketching. The third line that I've drawn, like second from the bottom is the part where the water and sand kind of need. So you can see how data is a very evident transition in that, right? That it appears a lot more vibrant. And the one before or above that it's like a lot more blue or Turquoise. We have to have like four or five sections where the topmost is the wave, the line under it as like your shadow part that's being caused because of the weeks. And then the third one is the partition. In the fourth one is the water obviously Crashing on the beach. You've got few lines to understand the basic concept. It's not like you can only apply this and that particular painting. You can also use that concept of used very similar concepts that obviously a lot more closer version of it. But the same type of concept is being applied. You obviously use the same type of steps. Just the composition will change even here. We've got similar concept. The only thing that's changing is the composition of the painting. Maybe the colors might slightly differ. But overall, the process in which you make the painting remains the same. The consistency that we're going to work with is going to be the third and fourth one. Initially the fourth one I would say because we're going to start layering and be working in a bunch of different layers. And it works very well like that because you're able to build on without reactivating the base. I'm just going to get the painting that we're taking reference from on top so that you can really see what I'm going with. First, I'm starting off with a blend of Prussian blue and a bit of white, very, very light amount of white. I'm going to hold my brush perpendicular to the paper using the thinner part of my flat brush to create Stokes strokes that looks like this, like the ones that I'm applying. So they appear to be thinner strokes and shorter strokes. Next, I'm adding a bit of white into my paid to lighten the color. And then again, using the same method, I'm adding these strokes. Now. Why am I adding these strokes? These drugs are a lot more helpful when you want to create that illusion of depth and the lighter parts in the water at a distance where we don't have to work a lot on the details. But using this method you can easily add in those sorts of effects. Now I'm adding an even lighter color of blue, which is about it more white into the same mix. Again, using the same brushstrokes, short strokes, short horizontal strokes. You can see how illusion of the lighter part of the ocean is coming in, right? If you ever feel like, Oh, I feel like about it too much light, I'm not seeing the depth enough. Then you can go back and just add a bit more of the dark color. I'm adding a bit of dark because I felt like it just to light right now. I'm adding an in-between those lighter strokes so that I'm still not covering all the lighter strokes. I really liked the way this looks. Once it dries, we focus on the next part, especially for this little painting. We don't see a lot of the ocean at the back. The main focuses like the Crashing Waves and the way that's already on the beach. So we don't really have to work a lot on the details, but just capture a slight essence of it. Next, I'm going to mix my cobalt turquoise light color with a bit of white or light in it slightly. You can make your own cobalt mix. I've taught that in the color palette lessons. If you've skipped that, please do watch it. And I'm going to be in that fourth and fifth consistency now because we are going to go ahead and just add a background layer to the painting. So the basic idea is you go with a thin consistency first to understand the placement of the color. And then later on you add on it and then build on it and other details on. So first of all, the cobalt Colour, a cobalt turquoise color, and then I've added Prussian blue below it. Why I've done that is because I want to show that illusion that because the wave is up in the air that's receiving light and it appears to be a lot lighter. And because of that, there is a shadow that's being cast on the water that's still rising upward, curving up. And because of that there is a bit of the blue colored in. Then again, using my cobalt color, cobalt turquoise color. I am adding the Waves way at the bottom till that second line that I drew. Now what I'm going to do is let this be right there and focus on the cell. So we're going to bring the blue down and then move to stand up and then blend everything in-between. The sun, I'm mixing my Van **** brown, yellow ocher and a bit of white. So this is the color that I get and I'm going to apply it very lightly. You can see how the consistency of my paint is a very thin, very, very thin, but it's still a lot lighter. This is not the consistency that you generally work with for your final painting, but it works really well when you're building on it. Next, I'm using a lot of white into my sad mix. And I'm kind of blending that in that little strip that I had empty. And then you're slowly going to blend it with the blue. Once you have done that, I'm switching to a round brush. Then using my round brushes in size four round brush, I am making these strokes and bringing it down slowly going to just go ahead and kind of slightly make these horizontal strokes and horizontal curves and bring it down so that even the sand, which is kind of merging into the water has that effect that yes, there is a bit of water mixing elements, not just sand color. I hope you're understanding what I'm trying to say here. To capture that essence, that there's a little bit of the blue color in the sand as well. So overall, I really liked the way this looks. So we're going to let this completely dry and then move on to the next steps. Alright, so now that this section has dried up, it's time for us to layer over this again. This time when you're working with the Leo, the consistency is not too thin. You're going with that third consistency. So again, we will repeat, almost repeat the same process that you did earlier. This time. You just kinda carefully making sure that you are covering all the spaces. You're covering all the crevices that you've missed or would like to add a different color too. So just kinda building on, I'm going with my cobalt turquoise for us and you can see how just with my flat brush, I've left a little space for the blue because I wanted to add that after I clean my brush and with an own brush, I'm just carefully adding the blue color as well. You can see how the space is am utilizing the space and then just using a clean brush with just a bit of water. I'm blending it in with the previous color so that it's not, it doesn't have those harsh lines. Then again, switching to my round brush, I am creating these little squiggly lines now, there is no better way to describe it. And this will just making a bunch of horizontal. They like very curved while just all over the place really just trying to capture the different shades of blue and my water on the Waves. And then kind of get it to merge with D or C form parts. This is almost like creating a base on which the sea foam will address later on so that it doesn't look just bland and just wipe. It should have a bit of color in it. After you're done with the blue, I'm also going ahead with that light sand color that I mixed, which is when Tikki brown, yellow ocher and a lot of white. And then again, using that same method, you can see how I am adding these horizontal, uneven lines and squiggles in, adding different layers of the color. This is how you build on yard Waves. You have to do it in two or three layers that you get that kind of effect in your water. You just have to very carefully watch what I'm doing here because I feel like that makes a lot of difference than explaining. Also, over here, I am moving this color in to the blue as well as you can carefully see how I am moving it upwards, not all the way till that Crashing Waves, but yeah, Very much further in as well. Next, I'm going with a mix of my Turquoise blue or the cobalt turquoise blue and a little bit of Prussian blue. And then this time using this color, I'm adding some depth in the waves. So again we are, we added the lighter cobalt color, right? And now we're adding a little darker colors compared to what we did earlier to create that kind of waves, created that kind of tap the essence of depth. And again, it doesn't have to be perfect the first time you lay it. Right now, I feel like the blue just came out to be two into the lightest space that I had I'm just gonna go ahead and cover that up with D, lighter sand color that I mixed. This is how you go back and forth. And the basic idea is to have the illusion of light and depth in your painting to have that kind of effect. That because water is not still right, it has a lot of movements. You're just kind of capturing that movement with these strokes. You're trying to get all of those Movement in place where one part is up, uploads it to receiving that light and also a shadow that it's costings it just kinda going back and forth with it. And it's not perfect. So it doesn't have to look exactly like the reference image or anything of that sort. Once I'm done with the water, I have just gone ahead and added another layer for the sand, just that I have it in place. Then I'm going to go ahead and just add in some more those uneven shapes. But I wouldn't necessarily even at the top if I feel like I could bring in some Waves downward, basically just adding a bunch of layers and lines and squiggles around to play with the depth. I really liked the way this looks. So I'm just gonna leave it right here once I'm done adding a few more and let it dry, and then we'll work on the CFO. Alright, so now that this section is dry, it's time for us to work on the lightest layer, which is your white paint. So now we're going to start off with the sea foam at the beach straightaway using our small round brush, I'm using my slides forearm brush. You can use a size zero brush here as well. I'm mixing a nice creamy consistency of my wife pain because I want it to be nice and opaque. I'm going to start off with the wave first. First thing we're going to do is outline the basic structure. That sharp evident partition that you had your kind of covering that with your white paint. Like I mentioned earlier, with white, it might dry down to not be as bright and opaque. So you'll have to walk into layers. Right here. I'm working with those horizontal strokes that I mentioned earlier. Now, what do we mean by these horizontal strokes? I don't mean exactly horizontal lines, but the process in which you move, right, I'm not make, you can see how I'm not making the waves to go try it like in at an angular anything. It is all consisting of that same kind of flow with the wave, right? The way in which it moves at my waves are also like a sea foam is also moving along the same lines. And even though it is entering the blue are part of the water, I'm still moving it in that kind of like like I would say like a smaller angle manner. I'm not making it too dramatic where it goes away from the viewpoint that you have. You shouldn't look awkward. It should look in line with the, the viewpoint that you have. So shouldn't be like your Mixing the waves go vertically in, that would look off. So that is why we have to work in that manner. So you can see how I am leaving this white color over the darker layers that I had taken. See how there's a bit of blue below the white. And you have to like, I know it's not something that happens. You have to very much think about it. It's something that makes more sense when you do it. So when you add white over the blue that you have, you can see how it shows, okay, this is the shadow of the C form that you are seeing. And when we just did, did all that in the previous step for the white came into play. It looked a little bit awkward, like what is the point? Why are we doing this? And this is the point. When you add the darker layers, when you add white over it, it makes a lot more sense. You can see how the waves are moving in that light and shadow mano where the sea foam is casting a bit of shadow on the water and we're trying to play it in that manner. Right now. I started off with bigger strokes. Now at the top there are short strokes. Focusing on that. Again, that's sharp partition that you have between the darker blue and the Turquoise. So I'm just outlining it first very carefully, very unevenly. Remember that it has to be very uneven because that's when the natural form of nature comes into play. It doesn't have to be even. Next them that I'm doing is with a very thick consistency of paint. Actually, I am moving these strokes upwards. Can you see just dragging my brush upwards? This kind of creates that illusion that the Crashing Waves casting this beautiful seafood and splatters to this fly all over. And when I do this, it creates that denser effect and you can create that flow that's coming in. So it works really well when you just kinda create this actual first before you add in those splatters on the top, While that is drying, again, I'm switching back to those waves at the bottom. Just adding teeny-tiny details wherever I feel like good ad bit of light or highlight to the Waves and the water. Once you're done with that, the next thing that we will focus on is adding the splatters on top and making that Crashing Waves a very beautiful one. Alright, so now that this section has dried, you can see in my reference image how there is those plateaus that we have to create. So I'm just going to go ahead and cover all the remaining bits and just focus on that particular area that I have using my toothbrush. That's where the toothbrush comes into play. You're going to create, like, I wouldn't say, a very thin consistency has to be on the creamy side. And then you're just going up and brush over the bristles. And it will create these platters. Make sure that you're keeping your brush very close to the paper so that these plateaus don't fly out everywhere. And another thing that I like to do while I'm doing this is once one section that you have is like a stable paper, I don't unmoving that. The next thing that I'm doing is having this paper that I can move around. If I were to just leave the paper flat on the surface when I take the paper. Or you can clearly see that we didn't line where you're like, okay, let's clutters have not moved beyond this point. And that is why you want to make sure that you are moving your brush and paper depending on which area of the wave that you are targeting. Right? Now you can see how we've got splatters on top and splatters on the bottom. Now one thing that I don't like is the look of all these plateaus at the bottom. So to get rid of them, what I'm gonna do is just to wet my brush. And just with my wet brush, I'm going to blend every thing in. Now. Right now it might look like a crazy step to do. Why are you brushing over all those white splatters? But once it dries, it makes a lot more sense because I didn't want the white spatters to be everywhere. In the reference image that you will see that you can download. By the way, you'll see how it's lot more controlled. And to achieve that, you have to work and blend that out slightly so that the splatters look a lot more controlled. Now, over here we've captured a very similar look to the final painting that you're seeing on the left side of. A lot of things will change. The way in which the waves move, will change, the structure might change. But the step, the overall step in which you're working, remained the same, right? You can see how we worked in different layers, which is an important part. By the way, we are gonna be working in a lot of layers and all our paintings you'll have to use see me to at least two or three layers to achieve the final painting. You can also use the same step for the second painting over here on the left that you see, or even the third one. Very similar concept. The same sort of play with the lights and the shadows and highlights at the contrast and things like that. But the process will remain the same, the way in which you think will remain the same. This is it for this exercise lesson. I'll see you in the next one. 8. Exercise 3 : Top Ocean View: Alright, so another line, Sky and almost like a Beach Seascape that we will use. The next thing that we are going to learn is almost like an aerial view or a very deep view of the ocean where we see the deeper, darker parts of it. So for example, we have this one here. We have to focus on the different shades of the ocean, even here, this is an aerial view of the beach or the water body or the ocean that we are looking at. In this type of painting. Whenever you're painting something like that, we use them watercolor consistency. So I'm going to how you can create this using the techniques that we learned earlier. Over here, Let's see, we're going to paint a section of the painting that you have on the left, for example. The first thing you'll do is obviously understand where the waves crashing the beach. So we need to know where this the form is going to be. Again, does not have to be exactly like your reference image. You can always play around. You can see how we have caught a beautiful blend. In the background. You've got the, the ocean is much, you can see the sun and in the water form as well. And that's kind of merging into the deeper ocean body. And you've got a lot of darker colors and deeper colors if we have to play around with it. Whenever you're painting something like that, the first step is to use the wet-on-wet technique, very similar to watercolors and that you will build onto it. The first thing that I'm going to do with wet my surface, use a flat brush, make sure spread the water evenly on the entire surface. So it's nice and even and clear. Alright, and once you have that, you are going to start adding color on it. So we have to make sure that our base is prepped and nice and ready to have paint on it. Next, I'm switching to my size than round brush because I want to be able to spread the water on a larger surface or even larger area. So the first color that I'm going to mix is a mix of Prussian blue and my Van **** brown. Remember how I showed you in the color palette lesson that, that deep blue color that you need you can achieve using this shade. So that's exactly the one that I'm going up and I keep brown and Prussian blue. You can see how it's such a beautiful deep dark color. Now when you painting with gouache and doing the wet-on-wet technique, the Colours just spread over. Once it dries, it dries down a little bit lighter. So you have to do this in like two layers to really achieve that vibrant mix. Two or three, I would say. Next I'm mixing my cobalt turquoise with a bit of my Prussian blue and a bit of pen diarchy branch that comes in that same color family. And this is going to be the lighter color that I use. And I can clearly see how this is different from the left painting. The colors are slightly different and it's okay. I'm not using the exact shade, but rather we want to focus more on getting feedback nuclide. You can see how I swallow my brush, but at the same time I tap my brush as well. When you tap, it is kinda blooms and with the different colors and kind of blends in without really having to really swirl your brush. You can also get those little specks of darkness and depth in your Ocean, especially when you're painting the aerial view. Now, the next color that I'm mixing is my Van **** brown and yellow ocher with a bit of white to cover the sun. Again, this is very different from the reference image because there have used burnt sienna. But over here I just wanted to use the same color that I have on my palette without having to add more shades to it. So I'm just keeping the Colours separately over here, focusing more on the techniques. Now over here we are blending the sand with the Turquoise. Can you see how I am straightaway swelling my brush and getting them to blend into one another and also tapping. Now what happens when you do this as it creates a path or a background for your C form to rest on, the more careful you are with the shape in which you are trying to move them. Obviously you cannot control the way they blend, but you can obviously control the, the direction in which they go that will act as a base for you to add sea foam on it. So this is my first layer. I'm gonna let this dry completely first. And then the second thing we're gonna do is layer over it. Here you can see how there are still a bit of whitespaces that are there. Now what I'm gonna do is using my spray bottle. I'm just going to carefully spray over this entire section. That's what I've covered the top parser that the water doesn't go there, but it is spread evenly and spray bottles do a good job here because you don't have to move your brush around and you're not going to reactivate the paint. Now what I'm going to do is repeat the process again. So I've just sped up this little part because Obviously, we're just repeating the step again what we did earlier. You add the darker colors and then you add in the lighter color, which is your Turquoise. Make sure that you're cleaning your brush and you can also lift off excess paint or excess. Wonder if you feel like there's a lot of water. And then go back to your Turquoise at that in and make sure that you are working on getting the blend to be really nice. And I wouldn't say even, but the desired blend that you want, and most of the time Do desired blend that you see. You look at the reference images really usually can really tell where the depths are going to be in where the light part is going to be. So you follow that as well. So it has to be like the dark, almost modules into the light and light also merges into the dark without really having very distinctive separation points. And then I'm doing the same thing with the sun as well. So the sand that has the sea foam on it. Again, the Son and the beach that you're seeing as we're just going to repeat the process. You can see how I'm using a mixture of brushstrokes, that is your swirls, you adapt and just getting all of this to blend into one another. Once I'm happy with that, I will also move on to the beach part where I'll add the sand again so that I get that to be nice and even Do. I really liked the way the water looks? I'm not going to overwork this section because we've got C form, add majority of the bottom part where especially the muddy color is. I really liked the way this looks. I am going to let it dry completely and then we'll add the sea foam on top of it. Alright, so now that this section has completely dried up, you can really see how the second layer has made so much of a difference. You can clearly see how vibrant the colors look. Now, we're going to start off with the CFO first. And for that, I'll be using my size zero round brush because the waves are, the CFO needs to look very fine here because we're using an aerial view. And for that, the stroke that you need to make have to be very defined. What I would say a lot more finer. Alright, so I'm using a very, very thick, thick creamy consistency. You can see how the consistency look. And I'm gonna go ahead and first out line the wave. Very similar to the previous practice, but that we did where you outline the wafers, gives you a more basic idea with the direction is going to be aware the wave needs to end. I just outline that first. And then slowly, I am going to go ahead and start releasing these strokes, which are like these broken swirls, shot broken swirls. They're going in all directions. And organ the direction also matters on the reference image as well. You'll see some like the one that I'm making is going from right and moving slowly upwards towards the left at an angle. So that particular right-side portion of the wave of the sea foam is going to follow that direction. The center one again is going to don't don't try and make the center one leg go vertically upwards, give it a bit of direction. I feel like that makes it look a lot more natural than it just looking. Blending is going straight upwards. Another thing that you will see do is you can see how I have used a combination of pickers, jokes, thinner strokes, and their own set of interconnected, right? So it's almost like a, I was actually painting and thinking about it in a way that it all looks like. On NAEP. They're all interconnected. The sizes are different, the direction is different, but they're all interconnected. That's one thing you can visualize when you're painting this, even though whatever direction they're going in, a few smaller strokes might connect them. Really the only way in which I could really describe this to you is it's a very uneven, It's very broken, short strokes and the kind of going in all directions and in all directions. I mean, you can see how I move from right to left, but for the left section and moving from left to right and slightly upward and then curving. And there's a lot of things that you can do. It makes a lot more sense when you look at a picture and see how these things exist in nature. Because we painting landscapes, it is something that exists in nature. Right now for this particular practice session, I'm not really going into all the details and trying to perfect this because I just want you to focus on the technique more than the final picture. So it's a good practice. It's very like these broken strokes that you can practice. Try connecting them. You can feel like I'm getting bored with this little section. You can completely switch to the left side and then get something to come out from left. And then as you go you connect them. So this is not something that you should think so much about, but rather just enjoy the process. And I'm sure like when you're painting, you will end up doing something that makes sense. I usually like to function like that where don't like to think so much about what my next step is going to be, but more about just enjoying that journey and then just doing it all the way. Is that that's what I would say. I like to put it like that. But overall, this is what your waves are going to be. Like I said, you can perfect this in a lot better way, but right now we're just focused on the technique. I hope you enjoyed painting this practice lesson. In the next one, we'll explore all the details of a Crashing Waves 9. Exercise 4 : Crashing Waves: This lesson, alright, now the next practice lesson that we're going to do is for this particular wave, a close-up of this wave that's going up and it's crashing down. The colors are a lot more intense here. I'll try to do it in a very simple sort of colors that are already on my palette. But the first thing that you do when you are painting something like that, sketch out the waves so you want to understand the placement of everything, right, in which direction it is, where it's going. You want to just have that picture clear. So take some time when even the one, the painting that I have on the left side, you can observe that or the reference image is also there in the practice. In the project and resources sections which you can download and look at. Even if you don't want to do that. These are available in the each of the projects that are usable for a sketch. You can have a look at that and then go along with it. You can see how I've sketched out the foamy part at the top just to get the basic idea and obviously that curve for the Waves, everything in the background of it. You can see the depth of the ocean and the remaining space that you see where the waves crashing has a lot of the splatters already that you're seeing from before. Honestly, we're not going to walk so much on the details for that. So let's get into the painting process. I'm going to just load up some more Prussian blue because we tend to use a lot of pressure. Louise's, I love using Crashing grown on my paintings, so I ran over it really fast. Here I have my Prussian blue and my Van **** brown that I'm mixing together to get already deep blue color, just like what we did in the B21, which is on top of this, which we did the first one. We're going to use that same concept here as well. Now what I mean by that is you're going to use those thin strokes using your flat brush to cover up a big chunk of it with the darker color. And then you lighten the shade. You can use the same shade, but a lighter color of it. And then add that in and fill in that space. So very similar to what we did in the first beach water body exercise that we did. So we're going with it, same concept here as well. So just going to cover that entire section, make sure that you have a good amount of the lighter bits, a good amount of the darker bits. And you can just blending everything into one another and not leaving any empty space. So that's a little bit important thing to keep in mind. Even though this section is not something that you see a lot of work so that it looks good enough in the background. Even if it's in the background. I felt like I did a lot of lighter bits, so I went ahead and added some darker bits here, just some more depth into my Ocean using the same watercolor brush technique that I taught you earlier. And I really like the way this looks. I'm going to let this dry first. Alright? Now that this section has completely dried up, before we go ahead and paint the Crashing Waves, it's time for us to create that background first. So I'm going to go with this turquoise light turquoise color that I have. I'm just going to cover that entire section fully first. Now why I'm doing this is because that little section, It's like something that rests in the background of the Crashing Waves. Obviously, we could also say that that section is already crashed. Although sea foam and the lighter splatters are there all over. That's what I've added, a bit of white and blended that just roughly into the background as well. Now, we're not going to walk a lot in the details of that section because like I mentioned earlier, you do tend to not pay a lot of attention to it because that's not the exact important point in the composition that we're going for. Next, I'm going with my turquoise color. First. I have my Turquoise and my blue color, and then I'm in that same code. So you want to make sure that you're moving along your sketch here. I'm adding the darker color. So basically I will again just stain the paper, which is just create a background for the colors that I want and then build on top of it. So I've got the lighter turquoise color, then I've got a medium shade and an app called a darker shade. This, if you really think about it, is just like the first blend that we did, the thing that we do for Skype. But this time we're not really focusing on getting like a seamless blend and getting a perfect blend and things like that. So the first thing I'm doing is creating that background. Again, you can see how I'm making these thin strokes with my brush as well. It adds a really good texture for your final painting or for that, for the final look when it dries But again, we will be layering over this. So it does not make a lot of difference even if it's not a perfect blend. Now that I've added the colors, I'm going to let it completely dry first. Alright, so now that this section has completely dried, it's time for us to this. Again. What I'm going to do is just repeat the process again. So I'm going to mix my cobalt turquoise color with a bit of blue and it has a bit of brown. And then that's gonna be the lighter color that I have. And I'm going to apply that and make sure that I'm covering up this section evenly and it's spreading out evenly and a lot more opaque than before. Next color that I have is a mix of my Prussian blue and my wenn die keep round. Obviously it is a little less darker. And then the extreme end is going to be the darker color. And once I lay the Colours down next to one another, I'm just going to clean my brush. And using a clean brush, I'm just going to get everything to blend into one another lot more seamlessly. This time again, I'm adding a few little strokes here and there of the lighter color as well. So that kind of blend and it's not just to Flat, that hasn't been part of that depth in it, even as a single layer. Once that dries, it's time for us to start adding some details on it. Doing for the Beach that is on top of it. We added a darker color first, right, of the blue, and then we added highlights on it. Over here. We're going to go with a similar concept. But now that we have the base ready, it's time for us to add some lighter highlights on it. So I'm going to start off with a mix of Prussian blue, turquoise, and a white fill the shape that I have. It's a lighter color. I'm going to go along the flow that I have. And I'm going to create those similar squiggly lines, but this time they're not very sweetly. They follow the shape of my will be if that I have. Another thing to keep in mind is you want to be very gentle with the pressure that you're applying on it. You don't have to apply a lot of pressure and a lot of thicker strokes. These are very fine strokes if you don't have a lot of good control over your brush and the pressure, then you can do the smallest size brush and ensure that you get smallest strokes. You can see how I'm having these broken section of these waves are like the details for the Waves. Let kinda flows along the shape of my B that's going up. I'm going along that shape. I've got some longer strokes, I'm short strokes or combination of it. And you have to follow that. Once you're done with this strip, which is lighter, you will go for a color which is slightly darker, of course, in the same color family, but you don't want it to be as bright, you want it to match with the background color. So be ready for an even lighter color for the first trip because that the color that is lighter. Now that we're working on the second section where the colors a lot for deeper. We still want to show those details. But using a color which is not that light. So again, I'm using that same method in which I'm creating those strokes. But over here, I am making it with a different shade and also following the shape along the wave. So that's one thing that you have to keep in mind. You can also make these darker strokes with a darker color in the lighter area as well. Obviously, this is not the end of it. We're going to add some more white details on it which shows those little sea foam that QC go along with the Waves. We will add those details as well. So this is like the second detailing that you are doing, like a mid-tone detailing that you do it. And then on that you add more Asia. So I'm just gonna go ahead and add this along the whole surface first. Obviously are not covering all of it. But you're still kind of creating details in it to have that beautiful illusion of depth and the lighter parts just going to show the movement on the water. Once you're happy with that, while it's drying, we will move on to the lighter bits. I really like the way this looks right now. Overall, I'm really happy with the overall outcome in the way it looks. So what I'm gonna do is clean my brush completely and then using a light color. So I'm not going with a plain white color here. I'm going with a lighter color, which is again still Towards the blue of family. And using that color, I will add all the details for the C phone first are especially at the waves, are the white details on top. And then I'll go ahead and add that at the bottom. Sophia, you can see how using this very, very light shade of blue As the shade that I'm using and just make it very, very big strokes and covering up the entire section. You can go up on this little spaces that you have left, right? You can go beyond that as well. So your basic idea is to create a fluffy white area of for yourself to work on an add splatters on liter. So just like what we did in the beach section, you're gonna do something very similar. So you will also have those elements go upwards and those sections flowing upwards. And then we'll add splatters on top of that. Very carefully using a brush, you're going to go ahead and add in this area and just cover up that entire section using this color. The reason why I left that whitespace as it's a lot easier to just lay over white as a single color first instead of building it on, right? And also those plateaus get a lot more concentrated. It's a lot more easier to achieve the look in that manner. That is the only reason I went with a space that I left already. Again, one more thing that you have to keep in mind is that this is your right time to change the shape of the white area of your Waves in case you don't like the way it looks. So this would be the perfect time for you to maybe make it a little bit bigger than bit smaller, depending on the reference image and what the look is in case you change something as the perfect time to fix it. So you can see how I've added this lighter blue shade. And the other thing that I am going to do after I apply white on all over that section is to add a bit of a shadow that's been caused. And I'm going to use that darker color that I haven't added at the bottom while the paint is still wet. We do want this to sort of merge into the white that you already have. And because we'll be adding splatters with white on top, I don't want it to look very flat. If you feel like those darker colors creating a lot of harsh lines and you can just use more white to cover it or use a clean brush to mix it. But this is what it should look like once that completely dries or while that is trying, even. The next thing that you can do is work on the form that you are seeing at the bottom area. I'm just going to load up some more white on my palette. And I am going to go ahead and start creating that. Now, what is this white that we are going to add words, this highlight that we're going to add. So it's that sea foam, like I was saying, it's all like verb. It's almost connected. So that's the highlight that we're adding that this is going to go up and then crash down to the sea foam and the lighter highlights that you see in the water. That is exactly what we have to cover in this section. Now again, you will clearly see what I'm talking about when you look at the reference image or when you see a picture in real, right? Or real image. When you see that you can really tell the details that you are picking on the, the, the way a composition in which you're picking it on. So it makes a lot more sense when you see a real picture. Again, it is there in the project and Resources section. You can download it from there. Then have a look at is named under each project that you have to can have a look at that and then keep it with you. Not only for this, for this class, for this painting, but also for you to sit down and analyze it later on when you are done with it and you want to kind of paints something that's similar over here. But I'm doing is creating the white highlights on top of the middle tone that I was talking about that you've already had. I'm just going to again follow that same route. Your white can be bigger. These tropes can be, they are, as you can see, a lot larger than, a lot thicker than the previous strokes that I added. So it's going to be along the same lines, along the same way, following the same route, but you can make them bigger or smaller. Like I said, reference image makes a whole lot of difference in which you pick on it. I think I will put a reference image somewhere on this paper or on the screen right now for you to really have a look as to how I'm approaching this particular section. Now, in the reference image, obviously the color is a lot different the way my painting looks as a lot different. And also I have simplified a lot of things from the image so that it's not very complicated because there are a lot of details in this one. As you can clearly see, the ways look a little bit different. But I wanted to approach it in a lot more simpler manner, which still kind of captures the essence of this painting, captures what the composition is. But at the same time is not as complicated to approach than if you were to make it look exactly like the reference image. And this is what I always say as well. Your painting does not have to look exactly like an exact replica of the reference image. You can still look at a picture, break it down in your own ways, and approach it in your own ways. And when you Painting, keep practicing, do it on your own and all that stuff. You have an eye for it. You have an eye for how to analyze the composition and how to look at it. I've taught so many students and the bus, when they first started painting with me, they didn't know how to approach something. And eventually in like maybe a few months when they kept practicing, they were able to see things differently. They were able to see the reference images differently and how the entire composition, they could change the composition and still feel very confident about it without getting scared. Anyway, coming back to the painting, I am going to go ahead and add in some more white dots on the waves that you are seeing. So I'm not going to just leave it with this light blue color. I'm gonna go ahead and add in some white. I'm still leaving the place for that darker color that we added so that when we add splatters, you can still see it through. Now, the next thing that we are going to do is work on this flatter. So I'm just gonna go ahead and cover everything. Cover all the other painting so that I don't end up splattering anything on them. Then the next thing that we're going to do is get another people for you to move around. So like I said, when you make the status, you want to have a section in which you can move around. So I'm going to switch to my toothbrush. You forgetting my toothbrush. And using that, I will create those splatters, right? So again, make sure that the consistency is not too thin. Because if it's too thin, then the spatters just go all over the place and you don't have a lot of control over it. And make sure that you are keeping it very close to the paper. When you keep it very close, you have lot more control over those plateaus and where they go. And also make sure that you are moving your paper as you go so that you have a bit more control in the direction in which we are going to do. Now, one more thing to keep in mind is this is the basic technique in which we go about this painting. When we are painting something or when we painting from the actual reference image that I showed you, you will see how we approach it in a similar manner, but also a little bit differently. But over here, I just wanted to give you a basic idea of how things work. When you have to approach a painting like this, you're just gonna go ahead right now and create splatters and make sure that you are covering the entire surface carefully in a lot better manner, and not only splatters, you can also use your round brush and create some bigger dots, ambiguous plateaus around these. The ones that you already have to add a bit more detail. So it's not like you have to only stick to the splatters itself. You can add in some more extra details wherever you feel like you could use some. And go ahead and really just let, let your heart out. Just let whatever you're feeling, whatever your mind phase your heart says, go ahead and do that. There is no right and wrong here. And when you approach it a couple of times, you'll really get more confident and also understand what and how to do. This is all about building up the confidence to approaching a little bit, Paint a little, building up the confidence to achieve paintings that are a lot more detailed. That is why I wanted to create this class and also give you like a practice lesson and exercise lesson. Where if I were to tell you this is what you're going to Paint, you don't freak out because it does have a lot more details than the previous challenges that we've done where the details are a lot more minimal. Now, again, we could approach this even in an even more detailed fashion. But I wanted to keep it like this medium zone, but it's not too easy, but not too detailed. And I hope you enjoy painting along with me. And enjoy the challenge. Painting the challenge and painting along with me as much as I enjoyed filming this entire class. Anyway, I've taped I mean, I've peeled off my tape from what both sides and these are the four practice lessons that we did. I hope you get a clearer idea of what we're going to, what you can expect in this class and also what the techniques are. And if you practice this, I'm sure you have a better idea of approaching the paintings that we are going to do in this challenge. It's, it is going to be a really FUN challenge because we are going a step further in a Gouache journey VR, going to add more details and I really wanted bring you along with me. So we've got these three different types of ocean bodies that we're going to pay it. You've got the atrial view, the beach, and also like the Crashing Waves. And we're gonna be approaching a few more along the same sort of practice lessons that we did. I hope you enjoyed painting this. I will see you in the first class project 10. Project 1 Part 1 : Turquoise Beach: Hello and welcome to your first-class project. Here's what we're painting today. You can see the colors that we've used here are the swatches as well. So let us talk about all the colors that we'll be using. First, I have Prussian blue. The second color that I have is cobalt turquoise light. You can use cobalt turquoise if you have or you'll have to mix yours if you don't. Using lemon yellow, if you are unaware of how to do that, you can watch the color palette lesson. Next, I have when **** brown. Next, I have yellow ocher. And lastly for the most important color for this project that is white. So gathered all your colors, get your supplies, and let's begin with the sketching process. So I've taken out all the colors on my palette and tape down my paper on all four sides here are all the colors. I've got white, blue, Turquoise, and the two shades of brown that I mentioned earlier. This is all the colors that I have. The first thing that we are going to do when you are going to paint something like this, a composition like this, is to create your basic sketch and also Start off with the horizon line. For the horizon line, I'm going to use my skill and I'm going to divide my paper in a way that I have a major part are like two-thirds of the portion is for the water body and the Beach area, and one-third is the Sky and Clouds. So I'm going to carefully just place my scaling away, make sure that you're making a straight line. And using a pencil, you're just going to draw the lines. You can see how I have one-third for the sky, or even reduce the sky area a little bit. But you get a basic idea, you need major portion for your Beach. The first thing that I'm going to, the next thing that I'm going to do is create the sketch of where the waves are. Like. You can see in the reference image, you can sketch it out. It doesn't have to be exactly like that. And make sure that you have very light sketch. You don't have to really press down on your pencil to create the sketch. Now that we understand where that portion is, we're going to focus on the way that's Crashing. Leaving like an inch of space or like half an inch of space. I will go ahead and outline the top parts. You can see where the waves are flowing upwards, right? Only going to focus on the top part of it. So that top line of sketch, that top line. And you can see how that top line costs almost like a shadow under it, which you can achieve by using that Prussian blue color over here. Very same concept of the practice lesson that we did earlier. If you haven't done that, please make sure that you watch it. Just that it's a lot easier for you to follow. You can see how that is a shadow under it is like a curve that's coming in and that is casting a beautiful shadow. The next thing that we have to focus more on are the Waves. They've got a big chunk of land which is just very light and does not have a lot of blue color and not a very sharp shadow cup. I mean, your sand color as well. This is like your basic sketch. We're not going to do a lot of sketching here. I like to keep my sketches to the minimum and let us dive into the painting. The first thing that we are going to do is create a background. So I have my size, 18.10 flood brushes ready with me over here. I'm using my size 18 Flat Brush. The reason why I'm doing that is because it can cover larger surface area without having to do a lot of blending work. Going to dip my brush in water and then load up some Prussian blue first and then add in a bit of white in it to light in it. You can see how it's not a very, very deep shade of blue light. It's quite light. I would say. I am keeping the color to the light, shade of blue because I wanted to show us like a daytime sky. This is the color that we have using this shade, I'm just going to apply it using the left and right motion. Very similar to your practice lesson. The first blend that we did, that technique, you're just going to follow that, create the background. And as you go down, you are going to lighten the tonal values. So adding more white, you're going to lighten it up, then apply it again. Move in that left and right motion. Make sure that you are maintaining the consistency of paint just so that you don't end up with a thicker consistency and the thinner consistency and just a blend of all consistencies, you want to try and maintain the consistency. Now that I'm done with this blend, I'm going to clean my brush. You can see how I'm cleaning it completely and then load up a bit more white on my brush. You can do it directly with white, or you can just create a blend on your palette and then move it upwards as well. Anything but the idea is to have a very light Sky at the bottom. And that transitions into the lighter blue and then it transitions to the whatever darker blue that we have at the top, right. So once you are done laying the color, I would suggest is cleaning your brush. And then going over this section again just so that you are confident and happy about your blend. And that's why I said cleaner brushes because many times does happens to the best of us. We end up adding our brush and the lighter area and putting in the darker colors in that section. So make sure you clean your brush and go over that section again just so you have a seamless blend. I like my blend, so I'm just going to leave it to dry for now. And once it's completely dried up, we can start adding the Clouds. So here my section has dried. You can see how the background is lighter. And that is why it works really well, because we can layer over this using a slightly thicker consistency of white paint. Now, I'm going to switch to my round brush, which is my size four round brush for this. And create a nice creamy consistency, workable consistency for my Clouds, which I'll be using. And then we're going to start making the Clouds. So the basic idea, even in the reference image that you can see is we get to have a bunch of Clouds at the bottom which local optima Flat. And as we move upwards, we get a slightly fluffier versions of the Cloud. So when you're painting these Clouds, you're gonna be working exactly like that. If you don't know what I'm talking about in terms of the reference image, then please do download it from the Projects and Resources section. It's called project one. This will give you a better idea of how to analyze the picture on your own and also follow me along for the techniques, but also you can look at it and see, okay, there you could totally not like something that I'm doing. Not be happy with something that I'm doing. You could, you would want to achieve, approach it differently. Let's completely okay, we're all here to learn the techniques and then apply them in our own manner. So you could download it, have a look at it and see. You don't see it side-by-side while you're painting. Now coming back to the Cloud, you can see how I've got to see these like a whole line of my horizontal Clouds are all interconnected. Obviously they're not have the same size. So I'm varying the height of it and the depth of it. But they do move in that same line once I reach halfway, going to leave it there, and then focus on creating a bunch of other horizontal Clouds on top of it, just slightly on top of it. And then add in some more details with it. Along with these horizontal short stroke that I'm making, I will also make some tiny ones. So then let all those Clouds can interconnect and just connect with one another and just look a lot more seamless. Alright? I feel like I'm really enjoying this process right now where I'm adding the Clouds and their oldest horizontal bunch of Clouds. And you can really tell that they are at a distance. They're not close to you. And that is why I'm not seeing the whole fluffier version of it. And that's how you bring that variation. When you look at Clouds, added distance, That's how you see them visually, that's how they appear to you. Now, then I'm done with these Clouds, which is the horizontal Clouds. I'm going to slowly start moving into the other Clouds where which has a bit of more fluffiness that will rest on top of it. And these Clouds, I would say, are a lot more closer to the observers. So that is why they appear bigger and a lot more fluffier because the observer is seeing a lot more details to it. You start off with a flat base again. And just like how I taught you in the practice lesson as when you start adding those rounded edges on top, make sure that you're doing short strokes. Be very patient with it, very gentle with it. And you can obviously vary the shape as you go. And that is why when you go very slowly, a lot more mindfully, I would say you get to change things along the way and you don't feel like you're ruining things. So just be gentle with it. Just be slow with it. And if you feel like there's something that you would like to change, you can totally do that. I am going to go ahead and add in some whole bunch of clouds that are connected to one another and just kinda flow in altogether. I'm going to let you watch this on your own because the process is very similar and just a potato and I'm just adding a bunch of different sized Clouds. And then I'll get back to you in the next step. Alright, so really liked the shape and the whole appearance of the Clouds and how it's turning out. So what I'm gonna do is I'm going to leave it to dry first. And then we can add in another layer over this just to bring out the opacity of these clouds a little bit more. So I think I'm just gonna do that in the next step. Alright, so now that this has dried completely, but I'm gonna do is again, using my round brush, I'm going to go with a slightly thicker consistency of paint. You can see how it's very creamy. I'm going to add this at the top of my clouds, again, assuming that the light is falling from the top. And even on the reference image, you can see that the top, top portion of the clouds appear to be a lot more opaque and that are lot more like white. And that happens because you want to show that the light is falling on, appears brighter and things like that. So you can just achieve that by adding another layer over your Clouds just to bring up the opacity of it. And this is also another time for you to really change any shapes. If you'd like. Add in some extra floating Clouds if you'd like. And just really added any final details to your Skype Ocean that you would like, play around with it, enjoy the process. And once you're happy with the way you Sky looks, you just let it be and then we'll move on to the next portion. I feel like my Sky could use some more smaller Clouds are more floating clouds would like to change the shape in some of them. And I'm just going ahead and done that here. I've added some more obesity wherever I felt like it could use. But other than that, I really liked the way this looks. I'm just gonna leave it to dry and then we'll focus on the water pit. Alright, so now that we're done with this guy, the next thing that we are going to do is paint the water bird. Starting with the brush that I'm going to use that as the size Stan flood brush, like I showed you earlier in our practice lesson, we'll start off with a darker color. And these strokes that you're going to make is going to be perpendicular. So this is the sheet that I'm using in that same little section where I had a bit of white, I added pressure in blue and just got a deeper shade of blue. And using my brush, you could say perpendicular to the paper, I'll create those strokes. First. I want to go over the line very carefully before I go ahead and make those drugs. I'm not going and creating a slightly line. I want to get that nice straight lines. So that's why I'm going carefully this way. And then once I reach that section, I can clearly just load my brush up with more paint and have my brush perpendicular to the paper. And go ahead and create these strokes as you can see, right? So you're going to be leaving some white spaces in-between. So that's the trick. You leave a bit of whitespaces. And next I'm going to add a bit more white into it. This is the color that I get. It is a shade lighter. And you are going to fill up those empty whitespaces that you could see. You are going to do this all the way. That wave that you had sketched out. Now again, you are not going to be seeing a lot of the details of this little section like the photo area of the ocean because you have all those plateaus and Waves and the form that we have to work on. But it's still better to just sort of add that in. Next, I'm going for a slightly more lighter color, then adding that in and blending that in as well. So I've added a bit of the cobalt turquoise in this to get it in that same shade. Once I do that, I felt like it was just all two lights have gone ahead with the darker color and added that in there as well. You will have to go a little bit back-and-forth until you are happy. I am really happy with the way this looks right now, so I can let it dry. You could also add in some lighter tones if you feel like it. But overall, you don't have to add in a lot of details. Your Flat brushes and these short strokes are going to do the trick We're going to let this dry now. And once that dries, we'll paint the remaining bits. Alright, so now that my section I've tried, you can see how the color dried to be a little bit more darker, right? This is done. We'll focus on the next steps. So starting off with my cobalt turquoise color, I'm mixing that with a bit of the Prussian blue. And I am going to add in some white in it. I felt like it got too dark, so I'm just mixing it again in another section. But it does have a bit of blue and a bit of the cobalt turquoise color mixed with white. That's the shade that I'm going for. You can also use Turquoise blue directly here. If you have that. You don't have the cobalt turquoise color. I sometimes just put a bunch is Colours on my pattern. Just try and mix and get the similar shades. So I just go about in that way, but you can use Turquoise blue here if you have that available color mixer on Turquoise blue. The first thing that I'm doing is again, we're going with a slightly lighter consistency, right? Don't worry about having a thick consistency. I'm going to go ahead and apply that carefully, first of all, under the sketch so that I get that sheep right. You can see how I'm actually moving it in this diagonal brushstroke, I would say moving towards the left leg, slanting towards the right. And I'm going to bring that in like that animal to blending it in that similar manner. Where I just bring that in and just kinda get them to blend with one another. The idea behind getting them to blend with one another is to just for the blue to not just look like it's just too harsh, right? You don't want it to look that harsh. And that's why it's better if you just use your clean brush, like just a clean wet brush to blend it in. Now I'm adding the blue and I feel look at the reference image. There's a shadow that's being caused. The color of water there looks blue. That's exactly what I've done. I've added that blue and then I've cleaned my brush and I'm going to just kinda blended into one another. Once you do that, you can focus on bringing the color further down. So again, you are going to maintain the consistency. It doesn't have to be that thick and you're going to start bringing it downwards, leaving that little blue section as is, it doesn't have to be very harsh, but it doesn't have to be fully blended out as well. And now I'm going to bring the color for the mowed down. You can look at the reference image again to understand the placements of it, right? And I'm going to leave a good space for the blend to be with my browns and those different the sand colors that we have. I'm just going to roughly kind of bring it down very short strokes. You can add those short strokes as well. And again, making the color a little bit more lighter. I'll go ahead and add that and bring it further down. So very roughly, you are going to bring it further down very unevenly. And as you bring it down, you are getting closer to the area where the wave crashes does send. Alright, so now that we are done with the water bit, we're going to move on to our sand portion. So I'm going to make sure that I'm cleaning my brush completely. And I'm creating a mix that is a mix of Van **** brown and my yellow ocher color. Still ensuring that I have a lot more of the yellow ocher color. And I'm going to add white to it. And this is the shape that I get and I'm going to nicely apply it first, add that sketch where we had where the sun or the waves crashing the beach. And then using a clean brush and a little bit more white into the same mix, I'm gonna go ahead and start pushing it upwards. So we get that beautiful light blend in the color and we're covering that entire surface area with the shade. You can see how I am just filling up the whitespaces that I had left from earlier with this Colours, you can just carefully fill that in. Then we just watched the color out for you as well in a bit. But right now I'm just going to clean my brush and I'm going to use my round brush to just push that in slightly into the blue as well, just so that we get a lighter shade of color in the blue. And so that we have a bunch of different layers and Colours to work with when we add furthermore details to it. Over here you can see how I've just added are those little details and it looks like a beautiful blend. So leaving that, now we're gonna go ahead and create a darker mix for the sad. So when dark brown, I have my yellow ocher and just a tiny amount of white in the mix, didn't have to have a lot of white. And here's a swatch of the color. Swatch of the color and using the shade, I am going to apply it completely in the bottom portion, covering every bit. So I'm just going to carefully go ahead and apply that. Be careful under the sketch that you have, make sure that you are going very carefully around that area. You can also add in some of the darker colors inside. At the very bottom portion of your sketch, just to add a different sense of shade into it so that it's just not all light color and just blend it out. So this is what your section looks like. Once you add the sand color, obviously will have to work in a bunch, more, bunch of more layers to really bring out the Painting. So right now you're just going to leave it, clean your brush, and using a wide I'm in my round, round brush. I'm just going to blend the darker color in slightly. I felt like just a little slightly. I wanted to blend it out. Now also add some more strokes, just some more lines and some more depths of this darker color, which will act as the shadow when we start laying out the whites over it. So this is what the layer looks like. And I, we're going to let this dry completely before we move on to the next step. And I will see you in the next part where we add more details to it. 11. Project 1 Part 2 : Turquoise Beach: Alright, so now that we're done with the base layer, we're gonna go ahead and add a second layer over this to get everything to look nice and opaque and just build on the layers, right? I'm going to start off and repeat the process again. Starting off with my turquoise color that I have, which is a mix of my cobalt turquoise and a bit of Prussian blue and white. So that's the color that I'm applying on top. And then you can see how I'm bringing it down again in that diagonal motion and going with the flow of the Waves. Next, I'm going to just load up my brush with a bit of Prussian blue and white color. Adding that at the bottom, same location, same places. You can do a little bit of changes here and Beth and I am adding that in certain places as well where I want the color of the water to be a lot more blue. So that at that. And next, I'm just going to use a clean brush to blend everything out. So just to get these colors to merge into one another. We know painting with Gouache, this technique really helps a lot to get rid of any harsh lines, any harsh edges, and just get two colors to blend into one another. I'm going to load my brush with some of the Turquoise color and start bringing it down again using the same method that we did. So you can have bigger strokes in combination with some shorter strokes. And when you do it that way, it ensures that you are adding a bit of darkness. And then when you lay it over with the lighter colors, you're adding a bit of the light colors and just getting everything to merge into one another. This time we're doing it a little bit more perfectly, I would say. Now I'm going with a light blue color, which is a mix of my Prussian blue and a bit of white. And I'm going to add that using my round brush. And I've also added a bit of the Turquoise color to it. This is the color that I'm going to use to bring it in that sad Asia that you can see that Sandy bit. I'm going to bring this color in Waves. And then what I'm gonna do is make the short strokes with the lighter color in the deeper parts as well. Now, like I mentioned earlier, you're going to add lights and shadows and play around with it to create that kind of texture that you see in water. So you've got a lot of depth in it, a lot of shadow play in it. Even though you're not doing it exactly like the reference image, but you still want to capture that essence of it. Next, I'm going with that light sand color, which is the mix often **** brown, yellow ocher, and white. And I'm adding that in as well. And creating these beautiful light strokes. Again, we want it to be uneven and not flat. That's why there are a lot of Colours involved. I wouldn't say a lot of colors, but a lot of layers involved for you recreate that kind of transition where you are seeing lighter colors using darker colors, the resting over the darker colors and creating that kind of light and shadow play in your painting. Now, using my brush, I am going to go ahead and start creating with a lighter color. By the way, it's a very, very light shade of my Turquoise color. You can also use your Prussian blue and white here with a bit of lemon yellow to create that color, very light color though. I'm going to start creating these light uneven, sweetly strokes. These are, these strokes show the movement in the water. And you can see how an ad, this light color, you can see the pop of the layer. You can clearly tell that this layer is all the highlights in the water and all those Ito's has received a light and that kind of listening over the deeper parts of the water. So that's exactly what you can see here in this little section. In terms of the tonal value, we are going for a very light shade of color to add over and add highlights. So as we proceed further into our layers and the way we add more layers, the idea is to add lighter and lighter and lighter colors over so that altogether, the final picture ends up looking a lot more details whether we have a bit of contrast in our painting, which is the deeper colors and obviously the highlights in our brain things as well. So you can see how I'm creating these strokes, almost I would say, over the darker blues so that there is a bit of F over on which I'm laying the lighter color. I'm not doing a lot of strokes and you can see how this color is not extremely vibrant. There's just a gradual difference in the tonal value. As it dries, it has dried a little bit darker than you first apply the color. But again, it's not showing up so much and it's not very evident. I mean, it is evident, but what I mean, it's not really harsh white. Now the next color that I'm Mixing us for the sun because I want to redo that layer once before I go ahead and start painting the sea foam. So I'm gonna go ahead and create the color for the Sun, similar shade. This time the consistency I wanted to be a little bit thicker so that when it dries down, it's nice and opaque. So I'm just going to go over with my flat brush and carefully just cover that entire section below the sketch that I've made below the sea foam area where the waves are crashing the beach. You can see how Applying the second layer has made that entire section nice and opaque, a lot more prominent. So you're gonna go ahead and carefully just cover this entire section. And while that dries, you can go ahead and switch to your white brush and start working on the right. So we're gonna go ahead and start working on the waves again, I felt like I needed some more lighter blue color. And this time again, making it really nice and light. I am going to go ahead and add more details to it. So the color is in fact, I would say very similar to the one that we used earlier. So I'm just trying to match a similar color format so you can see how it's that same color. Now I'm gonna go ahead and start adding in some more details slowly moving into the water bit as well. What I mean by that is the area where the waves go up and crash or like curve in and crush them carefully adding some details in that area. Again, the details are, again like I mentioned, they are very short strokes, horizontal strokes, trying to go with the flow of the water. So you can see how it's not very vertically moving into the water. There is that gradual shift in terms of the curve of it. I'm going with the flow of the water. But at the same time, I am just going to make sure that my strokes are in line with the background. And this time I'm making a lot more shorter strokes. I'm making some smaller dots just to show the brighter parts of the water are all glittery part of the water which reflects all the light. So I'm trying to achieve that kind of look here. And you can see how these trucks already nice and short and small, very delicate strokes I would say. And course you can apply this depending on how your painting looks. You don't have to exactly follow my painting or follow the way exactly that I'm going for. You can proceed in that manner in which you are making it in line with your painting. But you have to just keep in mind the way the strokes. I'm only because that's the important part to understand how the stroke set. And for me, honestly, the best way to describe it as just small, gentle strokes. If you ever feel like you've brought the blue in too much into the brighter part, then you can just go ahead and use your clean brush to kind of blended in. I felt like I could add in some more blue so that you could it could, would act as like the shadow beast. When I lead the white over it, I really liked the way this entire section is turning out right. I feel like you've got a lot of details in, but I also feel like we've got a lot of lighter details now. I would like to add in some darker details. So I'm using a mix of my Turquoise and Prussian blue together with white. Just adding in some darker details. But these details I'm adding, as you can see below, the lights that are lighter color that I've added. That in a way creates a shadow effect. Again, if you feel like you've added too much of the shadow or too much of the highlights, you can go ahead and just clean it up or just add white over it and blend it. And I'll use a clean brush to blend it. And that way, you're gouache is very forgiving. You can always go back and fix your mistakes. I feel like it's all good, but I feel like the blue is really sharp. So I'm just gonna go ahead with my clean brush and kind of blended into the background. I'm not just blending it altogether. I'm keeping a bit of the color in place, but still I'm blending it a little bit so that it bulges and it's not that harsh. You can always go back with your clean brush and get rid of any harsh lines that you might see. And feel like, okay, It's due to too harsh, it's too strong. This Colours coming off too strong in go ahead and clean it. Now the next thing that I'm going to do is focus on the lighter part. So I'm going to select an area on my palette which does not have any color. And I've gone ahead with this little corner on the shelf. And this is the blue color that I get naked. See how it has a very, very light hint of blue. And it's white, but it's majorly white. So now I'm gonna go ahead with this color and start making this sea foam. Now, for the sea foam, I might choose to go with two layers because I feel like that's how the whole vibrancy of the color comes out. That's why I chose that. This one should have a little bit of that blue tint. So that when I go ahead and apply just white on top, it really makes the painting or the make the C form a lot more three dimensional. And it stands out even more. Again here one more thing you can keep in mind is how I'm moving my brush. You can see how I hold my brush perpendicular to that paper. And the way in which I'm moving my brush to create the sea foam is, are these really short strokes? Again, it is going in line with P wave. So the way the wave moves, I move my brush very similar to that. So this one, for this one, I want it to be a little bit horizontally moving in. I didn't want it to be vertical strokes. I'm just moving in line with that. You can see outlined the final way where it crashes the beach. And then I've got those little strokes that I'm adding in kind of getting it to merge into the water agency. You're gonna go ahead and do the same thing. Screenshot strokes creates monasteries very similar to our practice lesson that you've done. Enough practice lesson. We basically just practice this once before we went ahead and did our final painting. I'm pretty sure by now you have a bit more of practice and you know how to achieve the look that we're going for right? Along with just the leaves, I'm adding some strokes on top on the water or the Turquoise area as well. Just to get a little bit more details and a little bit more of the lighter colored in. So wherever you feel like you could add in some more of the color, please go ahead and do that. I'm giving you for creative freedom here as well. I'm just here to tell you the right techniques to approach it in the right concept in which you approach it. But the strokes that you make the way you approach it is, again, totally depending on what you feel like you you don't have to make an exact replica. Remember that? I'm gonna go ahead and add in some of the white all over. You can see how along with those squiggly stroke, short stroke, I also make these little dots and lines that resemble just the literary part of the ocean, water. I am really liking the way this looks and it's coming along. So now that I'm done with this, I wanted to add a bit of the lighter turquoise color in the wave that's coming in and going to crash. And you can see how I'm adding that little bit of that cooked tropes. It's like curve towards the left. And when you see I apply the stroke, you can see how it's harsh, its resting over the layer. So first you apply that in at the details depending on how you want it to be. And then using a clean brush with not a lot of water, I'm just going to roughly blend that in. The water ensures that this layer blends in and it's not that harsh, It's not that sharp and you cannot see it that well. But at the same time you added that hint of lighter color in your painting. I really liked the way this layer has turned out. You're going to stop here, let it dry. And in the next lesson we will work on our Waves and splatters 12. Project 1 Part 3 : Turquoise beach: Alright, so this is a licensed final part for this class. And now that everything has dried up, you can see how the white is not as vibrant as you need because it had a British blow in it. I am going to use my pure titanium white colour and add that on my paper as like the last and final layer. This time the consistency of the paint two is nice and thick and I'm gonna go ahead and just create very similar strokes covering. I would say not all of the strokes that we laid out from earlier you want to add on it? You should be still able to see the previous layer that we have added. I'm just going to carefully go ahead and add this all over. Now. Literally this step honestly just means that you are layering over the previous one and adding highlights to it. I'm just gonna go ahead and add highlights on the bottom part where the waves are crashing the beach, even those white spots that you see on top, I will be adding details there as well. And I'm gonna be very carefully adding more details at the wave that is Crashing on the beach. And then in the water when I go, I'll be a little bit like I would just add a little bit of the highlights using the pure white new. See me do that. But focusing majorly on this little portion. So go ahead and just add similar strokes like you did earlier and cover this bottom portion where you're seeing the most whiter part of the sand. Alright, so not that I'm done with the major portion of the sand, but I'm going to slowly transition into the water part. So again, very similar brushstrokes like I did earlier, but this time a covering over going over the layer that you've already added in just adding some highlights. So we're not adding too many of those because if you add too many, then there'll be a lot of this lighter tonal value and very little of the darker colors. So you have to be a little bit careful when you do that. You can just watch how I do it first. See what the final picture turns out to be, as in the final layer turns out to be. Then you can go ahead and do that so that you're not only just following me along as you go, but you're watching how I do it and then applying it in your own painting as well. So it doesn't have to be exactly like mine. But you proceed in a way that makes more sense to your painting and the way in which you are moving. So you can see how I've added some lighter strokes. And this time you can really tell the water is a lot more clear. But because of the movement in the water and sand, there is a bit of depth in the water. And the water is getting deeper as you go and as you look into the painting. So whether Waves Crashing The water is still a little bit more, not that deep I would say. But at the back of the water is a lot more deeper and then that merges into the sky. So I really like the way this has turned out and it's going to add in a couple, a few more strokes. And once I'm done with that, you let this dry and we focus on the main splatter and the waves that are going to crash later. So I'm just gonna leave it to dry. And then we'll move on to the next one. Alright, so now I'm gonna go ahead and work on the layer that is the wave layer that's going to crash on the beach. Soldier's going to curve in and then crash. For that again, I'm mixing my pure white writing and paint. I've made sure my brush has been completely cleaned and I'm not using dirty water. I'm using clean water, so there's no chance for any other mixes. Now what I'm gonna do is carefully outline the layer where the blue kind of merges into the darker blue, the lighter blue and the darker blue kind of much And also you can go ahead and create your own sort of wave movement that you want, right? Even if you sketched it out a lot more Flat, he didn't like the way it looked. Nice your chance to rectify it. I wouldn't say you can completely change the shape, but you can sort of move a little bit up and down if it doesn't matter. So first I'm going to outline it very carefully and you can see how I'm making small, I would say strokes, dots, I would say connecting it all together so that there's a sense of unevenness. Very similar to what we did in the axilla exercise lesson as well. So you outline it first. Then you create those. Drag your brush upwards, that you create that splatter moving upward effect. Once you do that, then you add in your splatters are the smaller white dots using your brush. So I've gone ahead and just outlined all of this very carefully. Be very slow with it. You can, like I said, you can change a few shapes here and then that's what I'm doing now. Bringing it, bringing some a little bit more down as I wanted it to be and they look very flat. Now I'm going to switch to my size zero brush because I want to have a lot more controlled and smaller drags of what is Flat is going upwards using a thick consistency of paint and a dry brush. So you notice how I did not add any white in it. That ensures that I'm just loading up Paint and no water. I'm dragging my brush upwards. And because you are going to use a thick consistency, which is the first consistency that we saw in the techniques lesson, using a thick consistency. And that's why it creates this sort of textured effect. Going with a smaller brush gives you a lot more control in a way though, these drugs don't out to be very carefully, go ahead and drag your brush upwards. One other thing that I'm keeping in mind as I am playing around with this sizes of them. You can see how not all the drugs that are making are really tall or really short. I'm using a combination of it so that when I add the splatters and the overall picture is ready, it doesn't look very patterned or something that has an exact shape. Because in nature a lot of things have a very uneven and imperfect. They do have very exact shapes as well. But most two times this beauty in the imperfection, right? So you're going with that same thought. You want to have uneven splashes. They don't have to be the same size. And look at the whole picture here. It looks really nice. You can clearly tell the Texture. Coming onto the foam kind of gets from pig go to the lighter one. And that's where the texture blends into the darker part of the ocean that we're seeing. Right now what I'm going to do is with my same brush, I'm going to layer this again. So the whole concept when I've told you with white is you have to layer it twice. You can also lead at once, but twice really brings out the vibrancy of the color and ensures that it does look really opaque, white and stands out, right? So that's what I'm going ahead and kind of outlining the structure. Again, not entirely, but in some places I am then going to blend it with those drugs of brushstrokes that I made. So very lightly. I'm gonna go ahead and complete this entire thing with my size zero brush. Alright, so now that this has dried up, I'm gonna go ahead and start adding the splatters. Before I go ahead and do that, I'm going to protect my Sky and ensure that I have covered that area with another paper. And now moving onto my brush, this is the brush that I'll be using. I'm going to dip it very, very lightly in water. Very likely you do not have to load up any excess amount of water. And then I'm going to mix that water with the color just to have a workable blend. I want to ensure that it's not too thin, but it shouldn't be too thick as well, otherwise the status will be too tiny. Now, I'm going to just ensure that I'm splattering it on the designated area, which is going to be set above the waves that we have, even if you will be on that, it's okay. We can blend it out like we did not practice lesson as well. I'm gonna go ahead and carefully add these splatters. Remember, you want to ensure that your brush is closer to the paper. The toothbrush needs to be closer to the paper so that the way in which you splatter, this is a lot more controlled and you're not getting those splatters everywhere. Another thing to keep in mind is that you need to have a paper that you hold with your other hand, not your working hand. To ensure that you're not splattering on the remaining part of the painting as well. So you can see how very controlled with this movement, right? I'm just ensuring that I go slow. I go nice and slow in this entire section. And each time I feel like my brush is dry or the Paint or the spiders are not coming around. So when I go ahead and carefully load up and then start this entire process again. Overall, I'm really liking the way this entire structure has come around. And you can see how I've got splatters everywhere and it has raised a little bit lower than our expected it to be. So what I'm gonna do is just clean that up, like I've taught you in the practice lesson. They just kind of blend that out. When I was blending, I felt like I removed a bit of the blue. So what I'm gonna do is I'm just going to add in some of the darker blue which create, which creates that shadow effect in the water. So I'm quickly going to add that. And that's why when I sell that gouache is very forgiving. And then a lot of things that you can do is exactly this thing that I'm trying to say. Even though we've reached the final part of our painting, we've reached the final part, but it's not like you cannot change a few things, you cannot add a few things. I'm just gonna go ahead and add the blue. And then using a wet brush, just a clean wet brush, you can blend it out. The color might look darker than it is right now. And that is because it's wet. Once it dries, it will dry down to be a little bit lighter than it looks right now. Just using a clean brush, you can get rid of those harsh lines. You can get rid of those very prominent edges in between the two colors. If you feel like it's not happening that well when you can add in some of the lighter color as well. And then clean your brush. And using a clean brush, you can blend that out as well as you can keep going back and forth with this until you are happy with what your final painting looks like. I really liked the way my painting has turned out. I'm just going to stop right here, let it dry and then we'll peel the tape off together. Right? So now we are on our final step that is peeling the tape off. There's something so satisfying about this step because it's majorly like I feel like it's sense of accomplishment. Get here like I finished it. I've worked so hard and my painting, let me peel the tape of and reveal the final picture. And most of the times the final picture really comes through when you peel the tape off from all four sides. Let us have a closer look at our painting. I hope you enjoyed painting along with me. Don't forget to sign up paintings, by the way, here's a closer look. I love everything about this picture. Honestly the Colours, the depth of the see, the Crashing Waves, the splatters, everything is just so gorgeous and well-put-together. I hope you enjoyed painting day one. Here's a sneak peek of what's coming on D2. So see you there. 13. Project 2 Part 1 : Towards the Shore: Hello and welcome to day two. Here's what we're painting today. It's a beautiful aerial view of the ocean or let us talk about the colors. The first shade that I have with me is Prussian blue. Secondly, I have cobalt, turquoise light. In place of this, you can use Turquoise blue or mixture on Turquoise shade that I showed you earlier. Next, I have burnt sienna. I have in the ICU brown. And lastly, for the browns, I have yellow ocher. These three are the shades, and I have titanium white for all the lighter details that we're going to add, such as the cecil together supplies and let's get started. So over here, I've taped down my paper on all four sides on my clipboard and taking the Colours out on my palette one by one. I like to separate them in a way they can see how yellows and browns are isolated together. Why does isolated and blue and the blues are isolated? So I just kinda like to place them like that. So we're going to create a basic sketch first. So here's your reference image. On the left. You can download that from the Project and Resources section. It's all a month as the project number. This will be under project two. So we're going to start off by marking some, some elements of our composition. So over here, very sharp transition that we're seeing is still waves. The waves crashing Towards the Shore and has this beautiful sea foam textures in the ocean. So we're going to sketch that first. Now, you don't have to exactly mimic what you're seeing in the reference image. Always remember that it doesn't have to be an exact replica of what you're seeing. But we're just going to go ahead and capture the essence of the paintings over here. I have gone ahead and created my own sort of wave Crashing at the Shore. It's not very much similar to it, but again, it is kind of inspired from that. Now also your, you can see that the Texture reaches into the ocean up until a certain point, right? So we're gonna carefully sketch that. One more thing that when you look at the reference image, you'll notice is that from the left side and almost at the center, the way in which the CFO moves as kind of straight upwards, but obviously at an angle from the right side, it's kind of going into what's left is lot more slanted. So opening here what I'm trying to basically please and mimic is the way in which the flow is not. It doesn't have to be exactly by Mimic. I meant like capture that essence. This have to be exactly like that. One more thing that you can do from reference images is really kind of changed the way things look. You can even zoom into the painting and create something from that. So it's not like you have to always create the entire or the whole reference image as is. Now. The reason why I've sketched out where the sea foam ends, because if you look at the reference image, you see how they're in that particular portion. There is a bit of the sand kind of going into the water and there's a bit of that brownish color. When you sketch where the waves are ending or the textures ending, you can work with your colors according to that, over here, I felt like I could change the shape of my Waves which is Crashing at the Shore. I just went ahead and rectified it, but overall, I liked the sketch. We're going to start painting process. Now, let's painting process. We are going to use the second type of techniques that I showed you in the techniques lesson. And we also learned the application of it and practice this exercise. I'm pretty show you if you've done the practice lessons, I'm sure you have a you know, what to expect and how we're going to proceed with this, right? The first step that we're going to do is make sure that you keep your spray bottle ready with you because we are going to need it for this project. We're going to start off with layering our entire surface full width, just water. Now, hello with watercolors, you are almost there with the technique because we're going to use the Watercolour kind of property of gouache in this lesson. Now, when I tried this out for myself and experienced how you could apply wet on wet on this particular project. And to achieve these effects, I was blown away because I don't know why I never thought of it. But once I did and I did a couple of paintings with this technique, I was blown without beautiful, that blend turns out, and I just couldn't wait, I had to teach you the technique over here. I'm going to use a size Stan, round brush because there's bigger round brush helps me apply paint on a larger surface. We're going to start off with that beautiful blue mix that I was talking about that I like to use for these people are Ocean paintings. Now over here you can see how the color has a bit of that Turquoise and like the teal blue color in the reference image as well. And if you were to just use Prussian blue, I don't think you could capture that effect. And that's why I'm using a mix of Prussian blue and then Nike brand for that beautiful blue color. Over here, I'm going to start off with just making sure myself, this is a wet because it depends on where you are. Sometimes your paper might dry quicker and that's why you need to have a spray bottle. Now that consistent Off my paint. I wouldn't say it's really thick. It is Towards the slightly lose sight because you want your paint to spread with the water. Now over here, I'm going to start tapping and swirling with my brush. There is no particular method. I was just say go ahead and tap and just do what you would like really and let the water and the paint blend in together and create the magic. Now why is it Tap and so on? There's a reason behind that. But obviously not everyone stopping soils are going to look the same. But when you tap and scroll, you add extra paint wherever you're tapping and because of the water spreads out and creates this beautiful effect. Can you see how there's deeper and lighter colors? You want to create something similar. Now I'm gonna go ahead and mix my Turquoise blue. That's my cobalt turquoise blue with a bit of Prussian blue and the Van **** brown so that we are in that same color family. And this will end up being your lighter color right below the Prussian blue that I just added. I'm going to add that and also blend it into the blue so that it doesn't look like all the colors are standing next to each other, but more like they are blending into one another. Next about it, a bit more of the wenn die keep brown and you can see how get, how I get this shape. So basically we are transitioning into the sandy part of the aerial view of the ocean that we are getting. If you do it this way, that transition is not that are weird, I would say or muddy. And you slowly just move it. And now the colors might look a lot more intense when they are wet again. But don't worry because we want the colors to dry out and we'll be doing this in a bunch of different layers for us to finally finish the background color. Now that I've done this particular section, I'm just going to get rid of that extra pain that I had. Next, I'm mixing Prussian blue, yellow, ocher when Jackie Brown and a bit of white. And this is the color that I get. Now in the CDC. It's a little bit muddy and it has a bit of blue in it. And I wanted to keep that because I want it to transition with the water. Now in that section where the waves are being pulled back or like Crashing and then being pulled back. There is a blend or the color blend has a bit of water and has a bit of the sandy color. We have to work with that. You don't want a Colours to be two different and distinctive from one another, but rather kind of just like blend in. And that's what we're doing, right? So each time I go ahead and in this tapping, swirling, even see how the movement of my brush is. Small movements. And you load up the paint, get it to blend with it, and keep moving it down slowly. Now, I'm sure you have this question is, what did the sketch layer a roll off in this painting? But I'll tell you why, why that was important. And I'm going to load up a little bit of burnt sienna on my palette, but I'll tell you what I mean. When you have that sketch, you understand where the sandy part is or where the waves are crashing and going in and where the sea foam is. You can work with that blend in that same manner what you are on my palette, I'm mixing burnt sienna with a bit of Van ****, brown and white. I'm just going to walk on a sandy part of this entire painting. Again, like I mentioned earlier, we will be working in, in multiple different layers so that we build on the why brands CNAME density of the colors. Now with the sketch coming back to that particular point with the sketch, you know where to stop and whether Sandy potters. And that eventually leads to you being very easily being able to add the C4 when you know where to do it. And that really works out. You'll see how that happens in the class projects further down in the third part, or even the second part rather, over here, this time the color for the sand. I may have not added a lot of white in it, so you can see how it's lot more white blend. And I wanted to be that way, especially for the background layer. And you can see this is the last part that we are adding any color too. If you notice how the intensity of the color is going away, right? Because the color is drying, so it's going to try lighter. And that's why you need to work in multiple layers to really capture that essence of the depth, the lighter part of the ocean. I'm gonna go ahead and just carefully make sure that I know where the wave end side don't forget later on. But overall, I really like the first blend for this. We're going to let this completely dry. Remember it has to completely dry before you to the next step. So leave it there with a hairdryer, whatever. But only when it's completely dried like nowadays on my screen On your screen how it's dried up. Only then you are going to proceed. Now the first thing that I'm gonna do is actually just create the sketch again. I don't want to mess up and makes sure that I have everything in place. I really liked the way the waves are moving. And for the remainder of the part, you don't really have to sketch anything out. You can change a few things even if even if it's not perfect, it's okay, doesn't have to be right now over here. Instead of taking a brush and applying water, spreading it with the brush, I'm gonna use the spray bottle. Now. This one just makes it easier, ensures that you're not moving the colors are a lot with your flat brush, but rather just getting your surface nice and correct for you to add the second layer on it. Now, you've done the exercise lesson so you know what you're doing. That is adding a second layer to this. Over here, again will be Mixing the same shades and repeating the entire process again to intensify the color. Now over here you can see how the colors don't have to be lighter blue, right? But immediately when I add this blue, you can see how it spreads in. And then obviously you have a background color. The intensity of the color comes out a lot more. And as you build on it, usually get that perfect background that you're looking for. Now, I think with watercolors, obviously this is a lot more easier to achieve because that's what they're meant for. Over here with gouache, the colors are a little bit difficult to move around because even though they are similar to watercolors, they consistencies are different, right? So we're trying to work with it. We're trying to work and make it varies. Use it similar to watercolors to achieve that beautiful blend. So there's so many possibilities with this medium. And this is one of them which I absolutely love for Ocean paintings. Trust me, after you do this particular project. If you are someone who loves painting ocean, you are not going to stop. You're like, Oh my God, I need to use this particular technique using Gouache for literally all my Ocean paintings that I do, especially for the ILO View ones. Alright, coming back to this, you see how I've tapped same process, same procedures seem step just adding another layer over it. So I've added that. Next, I'm switching back to my turquoise color. Again, Mixing the same mix, which is my cobalt, turquoise, my Prussian blue, and a bit of Van **** brown to get into the same color family. And then tapping that in to the same areas that we covered earlier. Now over your if you feel like you could go a little bit more into the blue, please feel free to do that. I am going a little bit into the blue, so that the blue area is not just blue and the tacos era is not just Turquoise. So a little bit of the Prussian blue comes into the Turquoise section, and a little bit of the Turquoise color goes into the deeper blue section because the ocean does not discriminate between the colors, right? It's all kind of like a blend mixed together to create something so beautiful. So we're gonna do that. You're gonna get everything to blend into one another beautifully. Over here. I feel like I'm done with the Turquoise section. Another thing that you can really do, and it's a technique and it's a tip that I would like to give you is if you feel like, Oh, I feel like I've got too much of paint, too much of the Colours is floating around. I don't know what to do. Then you just dry your brush. You can easily just lift off the paint very similar to watercolors. With a dry brush, the paint is just going to go back into your brush and you can lift off the color from your paper. It does not just apply for a color. You can also load up excess water if you feel like there's too much water on your paper. I'll works perfectly for that. Next, I'm coming back to my brown color, which is a mix of Van **** brown, a little bit of yellow ocher and white. Adding that in doodle, Turquoise, blue section over here, I will try and be a little bit more careful because I want those streaks to go and very carefully so that when I'm adding little, all the sea foam on top of it, it doesn't look bad upwards. It also acts as the base and also the layer at which I know where to end my CFO, right? So I'm just going to be very careful whether you could switch to a smaller brush, if that makes you a little bit more comfortable with the process. But overall, you can use your big brush as well. But you can see how they stopped the tabs that are making. I like the smaller ones, very gentle taps so that it blends in Medicare fully into that area. Now, I'm moving on to those Sandy pod. Now over here, if you notice on your paintings, if you feel like you're water is drying really quick, then you can use a CFO, I mean Nazi for the spray bottle to kind of just a very wet the surface. And it'll be nice and prepped for you to go ahead. Again, I'm going ahead with my brown color. I've added a bit of burnt sienna in it because I want the color of the Santa not be but Towards the, I would say blacker side or the darker side. But a lot more Towards the vibrance, sandy color. What I hope to I'm sorry, I'm trying to say over here. Right. So this is the color that I've used for this side. You can see how the blend is a lot more better with the second layer, right? It looks very similar to the reference image, I would say you have, you been able to capture the color very carefully, very properly. And I really like the latest flux. Now, I'm gonna go ahead and add the sand in, applied using a flat brush or round brush, whatever is more comfortable to you. You've got to keep that in mind. Whatever's more comfortable to you, you do that. I am just playing around with the different colors of Brown's that I have on my palette. I have added, took the burnt sienna more at the Ada, which is right below the sea foam or where the wave crashes. And then a little bit more of the dark Van **** brown color at the bottom just so that I have this differentiates the sand should not look Flat. And that was the idea that I was going with. I don't want it to look Flat overall. I really liked the blend. So we're going to let this completely dry before we move on to the next step. And in the next lesson, we'll be adding the sea foam and extra details 14. Project 2 Part 2 : Towards the Shore: Alright, so here's how my artwork looks with the second dried layer. But I still feel like I could make the depth a little bit more darker like the darker colors. After they've dried out. I feel like they're a little bit lighter than I want them to look. So I would think I'll go ahead and do another layer majorly, again, focusing into the deeper parts of it rather than your lighter buds, right? I'm just gonna go ahead and with my spray bottle, I'm just going to rewet the entire surface. Now honestly, it's like a decision that you make as you go where you think you'll just work on this particular area, but you end up doing kind of like the whole thing. Again, I'm gonna go ahead and just this time use a lot more of the Van **** brown and ensure that the color is a lot more deeper. And the consistency of my paint, as well as not very, I would say. It's still slightly towards the creamy aside because I want the colors to stay in place. Not entirely same place, but a lot more, I would say controlled. And I wanted to spray out a little like a lot and kind of blend in. I want to preserve the darker colors so the consistency of my paint does not do pin, I would say as compared to the previous times, have used this color. If you see how when I tap my brush on my surface, it stays where I'm tapping and making the brushstrokes, right? It is blending in. I'm not saying it's not, but it still stays in place. Only the edges are kind of blending in. That's not really flowing as much. You can clearly see how it isn't flowing as much. And I am leaving a little bit of preserving a little bit off the darker colors from before, that the colors from before. And I'm just going to go ahead and start bringing this color Towards the Turquoise side. Like I mentioned, you will have a little bit of the darker colors and the Turquoise era as well. And then when you add the turquoise shade, you will push it into the blue as well. And that's why I'm just tapping very slowly leaving a little bit of the species so that you can see the previous layer and the color through it and in-between them. And I feel like I'm done with the darker color now I'm not going to add in anymore and will switch to the Turquoise color. So I'm gonna go ahead and load up my cobalt turquoise, mixed it with a bit of the brown color and the blue color. And if you think it's a little bit too dark, you can add white to lighten it slightly. Again, I'm going to start tapping it in and you can see how I am moving this color into the blue as well. So I kind of tap bit, ensure that the blue is sort of blended in with the Turquoise sheets, not just standing on top. Turquoise shade is kind of blending into the blue as well. Very lightly. I'm not pressing my brush a lot, I'm just letting the tip of my brush kind of do all the blending process. And I'm also tapping in some of the Turquoise in the remaining spaces from the GPhC, the previous sheet, somewhere in-between those and just adding a bit of the Turquoise color so that once it dries can drive into this blended mix, I'm going to clean my brush. I would just have clean brush, just the brush. I'm going to blend everything now. Right now, I'm not using any paint just to clean brush and I'm just going to tap my brush, get rid of the extra water on the tissue and then blend it in. Once I'm done with that, I'm switching back to the sand color. I'm going to add that in as well. So you remember the mix that we made earlier, it's all those same colors at this time the mix has a bit of blue in it. You have your yellow ocher and when they keep Brown, that was the color that we used. And I'm just blending it in. You can see how the blend is lot more control now, it's not flowing everywhere. But because the surface is wet and it's prepped, it's kind of more general like moving, it's not very harsh. The brushstrokes are not harsh. Now that I'm done with the sand color, which kind of blends in with the water. Again with my clean brush, I'm just gonna go ahead and kind of blended into the brown that was there from before. And overall, I really like the blend. Now I'm not going to work on the sun, but again, But overall I like this color, so I'm going to let this completely dry up and then we'll move on to the next step. Alright, so now that this layer has dried up, you can clearly see how the deeper colors are standing out a lot more. And it's a blend that's very similar to what we want to achieve based on the reference image. You can see how there's a little bit of the light and the shadows. And now we're going to work on the sea foam. So I'm just going to clean my palette Then we're gonna go ahead with that. I have to brushes here size 4.0. So it can be switching in-between them. So I'll go with taste force is zero depending on that with brushstrokes, I want, I'm going to use size zero for now, and I'm just going to load my brush with some clean water. Make sure that you have clean water with you. Because we're working with white. I'm just going to load up some white border on my palette and create a mix which is nice and creamy. You want the color to be nice and creamy. And you want to blend it and mix it with a little bit of white so that it's in that workable state. Alright, and then you're going to move the palette aside so that you have enough space to move on and create the structure. But with your size, zero brush and thin brush basically, first thing that I'm going to do is outline the structure that I want to paint very carefully, very light handed leaf. You can load up the paint several of times if you feel like you're being that's getting over. And then you're going to go ahead and outline the entire structure. You basically get an idea of where the waves and how they look. Once you kind of outline and you can go ahead and start adding more details to it. For the details, you can look at the reference image too. Get a basic idea of what they way they move, how they move, how they're blending in better stop. And like I mentioned earlier, you will stop at where that muddy blue brown mixes. But now that we know where our Waves and where the waves crash at the Shore, you're going to slowly start creating these tiny strokes and moving them inward. Now there is no exact order. Not all the index are going to look alike. Even mine doesn't look like the reference image or even not like the one. If I were to recreate this, I could not do the exact same thing, right? Because every time you sit down to it, you approach it differently. The basic idea that I'm going with here is a very tiny small strokes. And from this left side, the waves are slanting in towards the right. You can see how the diagonal, but I'm not going to make all the waves go diagonally. I am going to move slowly. I'm going to add a bit of texture, which means you can use a dry brush technique, kind of add some texture and a thick consistency of paint. Strokes are not very not exactly like how they would look if you just want to draw a line. It also has the roughness affects your effectiveness. And if you feel like I'm working way too much on this side and I need a change of perspective and in what direction I should go. And you can leave this left side and start doing the right side. That's how I like to do it as well. In bits and pieces, I go everywhere. Then I just connected with one another. Over here, you can see how the bottom most part of the wave is a lot thicker. And from that emerges a lot of thin lines. A very uneven wiggly moving all over the place, tiny broken, a combination of a lot of different strokes. And the mood. I'm even you'll make them look. The more broken you make them look, the more Texture you make them look, the more natural the effect is going to be. You can see how another, the bottom part, I just literally went on the top portion and I'm making some more strokes. And I'm going to go ahead and bring that in so you can see how I work with this entire structure. Very uneven, just all of the place using a combination of different strokes, tinier ones and bigger ones. The main goal that I'm going for here is I need to stop where the Waves colour is, where that muddy color is. I need to stop right there. It's not like I can't go beyond it. But I want most of my waves to be in that era and stop at that area itself. Now over here, it is going to be a very long process. I would say. It's something that takes time, a little bit of patients. But if you're really going to dive into the process, it can be so therapeutic where you just have the reference image or the basic idea in front of you. And you look at it. Just, just look at it. Just observe the reference image and you know, the strokes that you're supposed to make. It's broken small and you have to get everything to connect to one another. Then you just observe the reference image and enjoy the process of doing it and connect all your waves together. I would like to imagine these textures like a web or a net, right? How everything is interconnected. And even in these ways, if you were very closely observe it when they crash on the Shore and then go back. And the sea foam that's created. They are very connected. You can see the textures obviously, but even with smaller, like Those tiny bubbles that come in it. I feel like they're all interconnected with one another. Like to think of it in a way that it looks like a web or it looks like a net, right? So it's just kinda like a whole connection of different of those white colors and see form. It's all connected to one another. That's just an idea that I have a go with that. So whenever I think of creating these CFO, the CFO, I think of it as okay, in whatever direction they go, wherever they go, however they are supposed to look like. Eventually at the end of the day, I am supposed to. The next thing, even if they're not entirely connecting with very evident lines. But the flow kind of connect set or the way in which it looks kind of connect set, right? So you can see how I keep moving in that same man and smaller strokes, bigger strokes. And I'm also trying to trying to have a combination of this with a lot more thicker sea foam. And then you have all these Tino ones. So this where you add a bit of character into your painting as well, where some parts are thicker, a lot more closer, closely knit. And the other puzzle lot more spread. That kinda looks like it's a lot more wide apart. So different combinations, different set of strokes mixed together. And really just no particular order in which you to this, you look at the reference image and just try to follow along with me, or just follow along with the reference image, even if it doesn't look exactly like that, you can clearly see how in the reference image itself you have some paths that are a lot more thicker. Citizens is try and follow that same order. Wherever it's thinner, you kind of try and follow that order like I could in the reference image, you can clearly see one Part which is very evidently a lot more thicker. Kind of trace that out right now so that the remaining Waves AD is just coming from it connecting with the bottom one, a lot more thicker and then slowly transitions into a tunnel one. So all of the idea that you get for the type of structure that is supposed to make comes from the reference image. And that's why I always say that these paintings are inspired from something that you really see in nature. And when you observe it, you know exactly how to proceed with it. And all you need to know is the techniques, the colors, and just like how to approach an artwork. If I were to do this five years ago or even three years ago, I don't think I would approach it in the same way as I'm doing right now. The way every time, in fact, every time I sit down and paint, the approach changes. And moreover than the approach when I sit down like I kind of like okay, I could add more details. I could do it in this particular way. I could approach it in that particular way so that it always changes when you sit down and paint. So I would always suggest that when you are painting along with me and learning something from my class, sit down and look at the reference images as well, and try to do it again, if, if possible, try to do it again while you're not following me along, right? See, you follow me along donor techniques for me, learn how I approach it. Then sit down with those techniques, think about it and see if you can approach it differently. See if you can add something. Maybe I left something, maybe I didn't want to add that particular detail, but you do you can do that as well, right? So that's how it works, That's the beauty of it. You can always approach a very similar, are the same reference image differently. And that's, that's, that's the magic of each of us. We all have our own ideas on ways in which we'd like to do things. So I make, I feel like that makes all of us really unique right? Over here. I'm just going to leave you in this BED because you're gonna continue this adding of details in the CFO. In the next lesson, I'll see you there. 15. Project 2 Part 3 : Towards the Shore: Alright, so now that I'm done with adding of details up until here, you can see how the basic idea that I'm going with here is to cover the bottom part first. And then we'll move on to that top right movement that you can see the Waves. So Overview and I'm focusing more in the bottom most portion. You can also change the shape of the waves here if you'd like, maybe you went to upwards to downwards and you want to slightly change it. Please feel free to do that. You can always change the way your waves look. The mode, tinier strokes you add in this painting, the more very light handedly, the more you go ahead and add these brushstrokes, I'm unnatural. They're going to look. It's not like when you put down your brush and you're creating a brushstroke gives supposed to continue it. The way in which I work is I tried to have these very broken strokes, like I said, broken short strokes and kind of get them to connect with one another. So that's like the idea behind the Waves. I'm gonna go ahead and just leave you and let you do this on your order. You can watch me as you do it. And the structure remains the same same shot, broken strokes you are creating, loading up your brush and making sure that you are consistency remains same. So don't forget about that. Make sure that your consistency is same and I'm gonna leave you right here. And once we move on to the rightmost section, I'll come back to you and explain what we're doing there now. Alright, so we're almost done with this section. I felt like some areas could use a little bit more of the white paint and make get them to look a lot thicker. But overall, I really liked the way this looks. So what we're gonna do is go ahead and start continuing on the right side. From the right side, the movement of water there I'm going with and that is the reference images well, is coming from the right and it moves upwards and tilts towards the left. So that's the kind of flow that I'm going to follow. It's not like as opposed to continue the flow like I mentioned all you're also that is supposed to cover the same place. No, it's not. You can literally start from the top and work your way to the bottom, or start from the bottom and work your way to the top. This is literally personal preference and how you'd like to do it. The only thing that you'll want keep in mind is you want to make sure that you're Waves kind of stopped somewhere where that muddy color as in you're not going dive deep into the deeper side of the color, deeper side of the ocean. You don't want to go all the weight on that so you make sure that you're Waves end there. And then again, the process is same. Keeping in mind where the flow is and the direction in which those sea foam is going to move. Then again, you can add a combination of these thicker see forms, smaller details, shortest, broken strokes The same combination, but they're gonna go ahead and fill that entire section so you can watch me as I do it. There's nothing that's changing here. The process again is the same thing, but we're just adding a bit more details and filling up this right side section completely. Alright, so now that I'm done with like the main structure, I'm gonna go ahead and just add these tiny dots and very, very fine details. I would say very short strokes, just almost dots. And I wouldn't normally say dots. They like kind of short strokes. If I were to put it exactly, I don't want them to be exactly like a dot. There. Broken strokes. This acts as the waves are the see from that can just blends into the water and it's not too sharp. You must have noticed, even in the reference images, fake can just short, short strokes are very tiny strokes and just kinda blends into the water. That's exactly what I'm doing here as well. Right now you're going to take a look at your picture and your reference image as well. And then look at it and feel undecided where you want to add those finer details. If there's something that's missing, that's something that you'd like to add. I'll put up the reference images so that we can look at it from the screen itself. And you don't have to go ahead and look at open another window to see it. But go ahead and just add these tinier details, finer details into your painting. It makes a lot of difference. Let me tell you when you add these finer details, the painting gets a lot more of that realistic feel in it. Looks a lot more, not sure a lot more. The idea that you're trying to achieve. So you can also make certain sections thicker if you want them to look a little bit more opaque now is your chance to go ahead and make it look a little bit more opaque. So just take a step back. If you want, go, want to walk, walk around your house and come back to those painting after like ten, 15 min with a fresher set of eyes or like vision, you point whatever. And then look at it and see where you would like to change certain things and go ahead and add that in, rectify it, fix it. You don't want to do anything. Don't do anything. That works as well. Alright, so I feel like I always go ahead and add in a lot of finer details here in there. And There's a fine line between overworking on your painting and just letting it be and being satisfied with it. I feel like we said point. So I'm going to let this dry completely because it was a thicker layer, might take a few extra minutes. But now that this has dried up, I'm gonna go ahead and peel the tape off very carefully. And you can see how the magic of those white edges are going to pop up. And you're going to have this beautiful painting right in front of you. Those edges are going to make everything look a lot more put together, an, a lot more in-frame. And the basic idea comes into play where you're like, okay, this is a section that I'm supposed to focus on. Let's have a closer look at our painting. I've signed my painting. Make sure that you sign yours too. Don't forget to do that. And let's have a closer look over here. You can see how there's this beautiful blend of the lighter color over the darker color and with the muddy color and the sand, the texture in the sand, the sea foam look spectacular. This one has to be one of my favorite paintings from this class. Let me tell you I really liked the colors of this one. So this is it for the to sneak peek of what's coming on day five? So I'll see you soon. 16. Project 3 Part 1 : Ocean Texture: Hello and welcome to your third Class Project. This is what we're painting today. Let us talk about all the colors that we'll be using. So here I have Prussian blue, I have cobalt turquoise light instead of this, you can also use Turquoise blue or Mixing your own Turquoise blue as we learned earlier, but it was available with you. Next, I have jet black and titanium white, so just four colors that we'll be using for the project, but will make different tonal values as we go. I've taped down my people on all four sides and taken the colors out. And as we know, the first step towards achieving any main thing are proceeding with any painting. It's creating a basic sketch. On the left you have a reference image that you can download. Now the question here is, what are you going to sketch in this particular part? The basic idea that I'm going with this, I need to have a separate region for the lights and the darker colors. Not entirely. I would say the light that are on the leftmost side or just at the bottom right side. But I want that curve that you're seeing in the reference image to be placed into my sketch or as a sketch. Just so I know where the lighter parts are rare, the Ocean Texture are, the colors are kind of going up and it appears lighter. And where I have to achieve with the darker colors. The sketch here is very be done very lightly. We will not entirely follow the sketch. And what I mean by that, you don't have to follow each and every element and where the lights are going to be entirely. But this gives you a basic idea of where and how to achieve that kind of color, right? So I've just create a very light sketch. You can see I've just sketched out the lighter parts, especially that curve. That curve is the most important part. Once you're done with that, we can proceed with the reference, I mean, with the painting process, with the colors on my palette. So I like to sketch, it gives me a basic idea. So I'm just going to proceed with the painting. Instead of using my flat brush, I'm just using the spray bottle to wet the entire surface. Then you can use a flat brush to religious go ahead and ensure that the water has evenly spread on your paper. So I'm just using my flat brush here, making sure that water is nice and evenly spread out. You can go left and right, top and bottom, whatever, just to get everything to look nice and even and prepped before we start adding the colors. Again for this project, the process in which we achieved this is very similar to what we've done in the second one. We will be achieving this layer so that we're building on the light and depth of our painting. And then add the Ocean Texture on it. Some starting off with my turquoise color, which is my cobalt turquoise color. Now I'm adding a bit of white, add a bit of Prussian blue in it. Again, you could use Turquoise, blue, and white instead of this mix. You can use that color directly. So this is the shade that I get. You can see how it's very light. And I'm going to add this color in the lighter regions first. The way in which will proceed is, I would say very similar to watercolors where we were. We have to add the lighter colors first and then proceed and add the darker colors, right? We're going to be doing that same exact thing for this project as well. It's moving in that same exact manner. So we're going to start off with the lighter color on top. And then we are going to move to the medium tones or the darker tones. I really like the way in which, kind of like the lighter colors are getting in place. You can look at the reference image and understand better for yourself as well as to where you want to add it. You can see how am going that same COVID era, even though it's not entirely inside the line, it still is somewhat around that age, right? So this is where it might look different from the reference image. And again, we're not trying to recreate it completely, but we proceed in that manner. Next, I've made a slightly darker blue to the scene, makes about it a bit of Prussian blue and white in it. This time, I'm going around the lighter colors where you've just added and you're just trying to get this color to blend in with the lighter color. And you can see how unlike watercolors, it doesn't really just blend in very seamlessly, but it kind of sits next to each other and gives you a basic idea. And also over here, the colors will blend differently because obviously the medium is entirely different and will also have to work in multiple layers to build on the color and bring out the vibrancy of the color. Next, I'm loading my brush with some Prussian blue and adding a bit of black to the same color to get a really deep tone of blue, adding black. Remember I showed you in the color palette lesson as well. Adding black gives you this beautiful indigo looking shade. And that's the perfect mix for that, is your black and Prussian blue together Using this color, I will go ahead and add that for the deeper parts. If you feel like a paper is dry, you can always prayed with your spray bottle, adding a bit of water so that your paint blends in a lot easier. I can see how over here I'm a little bit more controlled over in the way in which I move my brush and how much darker colors I'm adding integrate. First, you just want to roughly place it. And you don't want to work with the blending process entirely. You just want a lovely place the first. And this way you have the flow rate in, you know, where the color is going to be, how you want it to look. Then you can always do the blending process with just clean brush or a lighter color just to get everything to merge into one another. I feel like that It's a very good step to keep in mind. Now you can see how I've added the darker colors around the Turquoise color or the slightly Madonna of the Turquoise color that I added. And then you can, I'm working with it now. I'm just adding it in. Then I've cleaned my brush over here. I'm just cleaning my brush entirely tapping of the extra water and just using my brush, just the brush. I'm moving the colors around. Sometimes you might load up the darker color with your brush. So you'll have to keep cleaning your brush in between so that you don't load up a lot of the darker colors and put them in the lighter colors. So that is something that you have to keep in mind when you're working with the blending process that you want to keep cleaning your brush, keep rinsing, and making sure that you are not loading up a lot of the darker colors and blending it into the lighter parts. Now that I've worked with this, I'm going to clean my brush again. And then I'm going to make that lightest tone of blue that we use, the first shade of blue that we used. And again, add that in the lighter parts. So I'm adding it in the lighter parts and blending it with all the colors that have reached that agar, right? You can see how I'm just adding it in, blending it out, adding it and blending it out. If I feel like I'm loading up a lot of bringing out a lot of the darker colors into that area. Then I will clean my brush again and go ahead with it. But since this is the first layer, we don't really have to work on perfection here. It's almost like trying to stay in the paper properly. And then eventually we will go ahead and add another layer, which will make everything a lot more better. You can go ahead and just move the colors around because our main focus is on the Ocean Texture. That is your form at the end of texture on it. I'm going to be a lot of attention to the details that are below it. But obviously if you are able to capture the light and shadow part of the depth of the ocean. It's a plus point for you. It is, it makes a lot of difference and I'm going to light does not like it does not make any difference. It does make a lot of preference. But again, you don't have to really work on the perfection of headway. You are like, Yeah, this is the depth and this is the lighter parts. No, you can make it in your own way as well. As long as you are capturing what we want to achieve. I'm going to let this dry completely. And now that might be biased, completely dried up. It's time for us to repeat this process again just to intensify the color and get all the lights and shadows to really be in place. So here I'm using my spray bottle to wet the entire surface again, just so that an paper is nice and prep for the second layer. So again, you know, the spray bottle works really well. And I think these are the only two projects in which you needed the second one and the third one. So now I'm gonna go ahead and repeat that entire process. You're gonna go ahead with the lighter colors at the medium color. The darker color, kind of blend everything into one another again and intensify the color. So I'm making the mix of a little bit of cobalt, turquoise, blue, Prussian blue and white. A lot of white actually to get that really light tone that we had used earlier. And then add that into the lighter bits. Over here you can see how immediately as I added, the papers gotten a lot more opaque. The color is intensifying as we go. And obesity is really what makes the colors really stand out, pop out a lot more. Unlike watercolors in which, where you would, you couldn't really lighten the surface if you've already added the darker colors in a dry. But over here in case you feel like no, I don't like I want you to be like the you can go ahead and add the lighter color on it. This is one really good benefit of Gouache. I would say that especially when you're painting something like this and you feel like, Oh no, I was not able to control my colors. I feel like everything just kind of blended in a way that I did not like. You can go ahead and fix it. You can add light colors over darker colors, and it's perfect that way right over here have used a lot more Turquoise based color. I haven't added any blue in it. And that's why it has that mode brighter shade, I would say, of added that into all the sections where I wanted that middle tone, that medium blue color, and I'm adding it around the other sections as well. So I'm just really tapping going around the surface and adding the lighter colors wherever I feel like it needs light of bits. Now, you can look at the reference images well, to get an idea of where you'd like to do it. After awhile of looking at the reference image, I tend to go with the flow and do things in a way that I would like to do them in or which feels right to me in the moment for my painting and how I'm approaching it. So it may differ. You may want to do it differently. You may your sections may look different and that's completely okay. It's sections don't have to look exactly like mine or its actions don't have a look exactly like the reference image. They have to look something that comes for you, like from the inside. So you have to work around it based on that. Next, I'm adding the darker color. That is a mix of Prussian blue and my black color. And you can see how this time when I added the color is a lot more in Bends, right? It's lot more deeper. You can really say, okay, these are the depths of the ocean and I can tell that these are the depths of the Ocean. So you're gonna go ahead and add the deeper colors leaving that curve. And remember, that curve really has a lot of the Ocean Texture popping up and it appears lighter. So you want that texture or that area to be really there so that you are able to proceed with the Waves and the details on it accordingly. So just make sure that you are adding the color and dissolving that curve that you've made. I'm gonna go ahead and just add in the darker colors almost at the same places where added earlier. But if you feel like there's something that you could change some other places where you'd like to add some darker colors. Please feel free to go ahead and do that as well. I've also added some dabs of like a slightly lighter blue. I would say it's not as light as the others that we've added. But I've added a mix of those in-between so that it makes the process in which I use to just use, I used the clean brush to blend everything. It makes the process lot more easier so you can see how I'm just doing a clean brush, cleaning my brush and just clean water to use that to blend everything and just move it around, unlike watercolors, but I think he could just move your paper and your board around and the colors were just blend. Unlike that over here, you'll have to slightly work with the bending process. You will have to keep rinsing your brush, going back and forth with that to blend these colors into one another and get them to look really merged and really blended into one another. So this is a bit of a process. But the overall result, I feel like doing really well. It looks beautiful, especially once you add the texture on top, the details on top, it is going to turn out perfectly. And I know that's for sure because this technique, even though it requires you to work in a bunch of layers, the overall result of it is a really good and you must have noticed in the previous class project that we did, the result is really good. And overall, like once you have all the details and it looks so beautiful. So over here you can see how I'm still preserving that curve, even though blending it in, but still preserving that light Part a lot. Well, overall, I really liked the blend right now. I'm liking how it's all coming along. I might, I am still thinking if I should do another layer, but I will judge that as we go and see if I like it. Once it's completely dried up, I've just blended all the colors into one another. You can see how many times I go back and forth with it. My dishes all different shades of blue. And now that I've done it everything, I'm going to let this completely dry and make the judgment if I should do another layer. But this is it for this lesson. I will see you in the next one. 17. Project 3 Part 2 : Ocean Texture: Alright, so here's what my dried-up people looks like. This is a second Leon and there are few things I would like to change about this, like, I don't like that blend that there is between the light and dark. I feel like it's too harsh and it's not as for what I like or I could do a lot better with the third layer. I'm gonna go ahead and do the third layer, but if you feel like you're blend looks perfect, please feel free to skip the next 5 min or so so that you can dive into the adding texture. But I'm gonna rewrite the surface using my spray bottle. And then we are going to go ahead and repeat the process. Now over here, I will not be adding it ready, pretty much like entirely like we did earlier, will be in a lot more control state, I would say. Before I go ahead and add the lighter colors, I'm gonna go ahead and blend those harsh lines that I was seeing, right? I'm using just my lighter color for it so that it adds a layer on top and blends that harsh, the harsh edges or lines that we were saying. And then I'm going to create that very light consistency or very light color and add that in the lighter parts. You're just repeating that entire process. And this time the consistency of my paint is I would say a lot more creamy or as compared to very nice and loose like before. I'm just going to place the color. You can see how the color is not moving and diode D, right? It's not going all over the place like the previous layers. And that is because I want it to be a lot more control here. So I'm gonna go ahead and add the lighter colors wherever I feel like I could use a bit of light. And then using a clean brush and just a bit of water, again, blend it out. Just water, a bit of water in your brush actually. And your clean brush is going to do the job. I really liked the way can see how that curve is really popping out a lot more. Looks a lot more defined. Again, you can add lighter colors if you feel like there are certain regions that required it, I will suggest that you clean your brush in intervals so that you are not loading a lot of the darker colors in the lighter regions. So make sure that you're cleaning your brush, drying your brush, cleaning your brush, drying your brush, this slide, you have to keep going back-and-forth with it. I'm really liking the way this looks. It could use a bit of the darker colors. So I'm just going to go ahead and make that mix that is of my Prussian blue and the black color together. And I'm going to go ahead and add that just slightly in the bottom part or the corners are the edges where it could use a bit more of the darker shapes you can see I'm not bringing it in entirely right. I'm just adding it on the edge and then slowly just making a few strokes inwards or just letting it be as-is so that I can use just my clean brush to blend everything out again. So here again, you can see how the colors are just sitting there. They're not moving so much. And that is because they are not very thin inconsistency. There are going to be a lot more just where you lay them to be. Then I will clean my brush once I'm happy with the way I've added the darker colors and just using P water, I'm gonna go ahead and blend it. You can see how I'm bringing it in and then rinsing my brush again, drying of getting rid of that extra paint, but extra color on my brush. I felt like the paper had slightly started drying. So I'm gonna go ahead just add to add just a bit of water to make sure that it's nice and wet and going ahead and blending everything out again. So not that the paper is wet, you can see how the colors are moving a little bit better because the surface has been prepped, it's wet. It's going to move and flow with the water. And I'm just using my clean brush to blend two colors together. And this time instead of tapping, I'm just moving my brush. So that blend is not as harsh. And especially once it dries, it doesn't show up to be that Todd, if you feel like you're loading up too much of the darker colors in the lighter regions, then you can just go ahead with the lighter color, layer it over and blend it out. So this is something that you'll have to keep going back-and-forth width. I am actually really liking the way the overall blend is turning out. I love how the, this, that curve that we wanted to preserve and even the lighter colors are rounded. And I'm just kinda blends in with the darker colors. Alright, so now that this is done, I am going to let it dry. I really liked the overall blend. I feel like because we added this third layer, everything looks a lot more blended and seamless. And I would really like to just let this be for now and not overwork this. And then the next part, we'll be adding details. So I'm just going to let it dry completely and let's have a look how it looks. Alright, so in other, the surface has dried. You can see how the blend is a lot better than previous one. Obviously the color for the lighter bits has dried out a little bit. I would say darker, but it's okay. I really like this. I'm using my size zero brush and I have cleaned my palette of all the blues that there was, so that I can mix my white and different shades of white and add the texture in The first color that I'm going to use or mix is my just just white paint, just titanium white. And it could use a little bit of blue. So I'm just going to go ahead and add a small amount of blue in it, a very, very tiny amount. It could also be like the glue that you've picked up and you've left some amount of blue on I just like on my palette, so I'm not adding anything specific. It's a very, very, very light tone of blue. Are white because I want to layer it over later and then just get those opaque regions that make it a lot better. Now, this entire process, I would say of adding the Ocean Texture like we did in the previous class project. But I would say in the previous Class Project it was a lot less as compared to now. And then this class project, using this blend of color, really nice and thick consistency of paint as well. I am going to go ahead and start adding the Ocean Texture. Now, the Ocean Texture, like we did in the previous class project. And I told you that they have to be connected. Even though if they are connected by little dots and little short strokes. But you want to give the overall appearance of the Texture as a connected sort of web or a net, that kind of connection is there. So I'm gonna go ahead and start meeting the Straus entirely like that. One thing that really brings out the natural log of the painting is to have variations in terms of the size and the strokes that you're making. So you don't want to make all the brushstrokes that you put out a look the same going the same directions and stuff. Over here. We don't have to be really picky with the direction in which it's going. Because we are not painting, I would say like a wave that's Crashing at the Shore and going back or whatever. This one's a lot more of like one Part of the wave and one section of it which has these beautiful textures and they can flow in different directions. So we don't have to be really picky in terms of direction, but you can always look at the reference image to understand the flu with which they are going. So over here, I'm going to be working in sections. Yes, I have left part done and then I'll switch to that curved section and add details based on that. And, or like go back to this left section and add more details. So I'm going to be, you're going to see me do a lot of back and forth in this area and really do add the Ocean Texture. Like I mentioned, the only thing you keep in mind is having different variations. Getting them to look kind of connected, even if it's with small squiggly lines, uneven strokes, even gods. But try to give, give, give it as much connection as you can because that brings out that flow in it. Because they are like when the, when the wave crashes and the white C4b part comes out, they'd all emerging from one particular area and then spreading out. I would say like because their origin place is from one area of one object or one disturbance on the water. It creates that sea foam that's kind of interconnected. So you want to have that effect in our painting as well. So just make sure that you are bringing in that particular connection. In. Other than that, you're just going to go ahead and created based on the flow that you want and how you want it to be. So I'm just going to leave you over here for a bit. You can watch me because I have not increase the speed of this. I haven't made it faster or like we did two times or whatever because I want you to observe, see how I'm doing it and then flew along with me and I don't want to cut out time based on that. So I'm just going to leave you here for a bit. You can watch how I'm doing it. Just different short strokes and making certain sections a lot thicker and bigger and having shorter and smaller, thinner strokes emerging from it. And it's almost like making thunder like a lot of thunder strokes. I would I would like to put it that way a lot more than the strokes and thin ones really do look like thunder or I would even say like branches. I didn't, I do not go into that concept entirely, but again, just Thunder strokes would be a lot better to explain this. Then. So two places I have a lot more thicker. And again, it's a combination of thin, big shot dots, everything that you possibly can put in this area, you go ahead and put it in there. And right now will only work up until the curve. And then again proceed later on into the curve. So just go ahead, I'm gonna leave you here and then I'll pop back in wherever I'm changing certain things and adding a different colored in. So I'm just gonna leave it here for a bit and then I'll get you once I have something to say about this Alright, so another thing done with this particular section, I really liked the way this is coming along. And now I want to transition this color into the curved section over there. Instead of having just plain white, I am going to mix a blue shade, which is again a lot, a lot light. I wouldn't say it's entirely blue, but again, it's deeper than the color that I was just using. Right? And this way, your Waves and the textures that you're adding, they don't look very flat. You don't look like yeah, it's all just white and it's just a layer on top of the other layer that you've added, all the background layer that you've added. It adds a sense of all lot more opaque layers and some darker layers in the background and then some lighter layers on top. So just kind of add that variation. And using this color, I will be focusing more on, let's say the area that's beyond that curves like on the rightmost side and then bring some into the curved wave section as well aware the curve is but majorly focusing on the ends because I want a lot more opaque and bright white for the Waves in that era around the curve. But using this shade, I'll go ahead and add details of, let's say, some thunder strokes, like I mentioned earlier, those dunder strokes. And add that again, connect them and add led them to connect with ones on the left as well. If you feel like this, you're getting a bit confused with how to continue the continuity of the Waves and the texture. You can go ahead and start an entirely separate section and then walk your way. However you feel like it again, does not have a proper direction or I wouldn't say Just direction but a proper way. You can move it in different directions as you like. If you are feeling confused than a look at the reference image, I will put up the reference image cured for a bit so that you can look at it and see how I'm proceeding with it and then proceeded in your own way. So I'll just put this up here. And then I'm going to leave you to adding these Waves and details because I don't want to force anyone to do it entirely and exactly how I do it. Because this is something that you really learn and observe from the reference image and put that on paper, you just need the technique for it. I feel like, you know the technique now. I'm just going to put the reference image. You can watch it and then continue this with the darker color. And once you switch to the lighter one, I'll come back again and let you know how we go about it. Alright, so now that we're done with the lighter blue color that we added, I'm switching back to work on the waves that are at the curve. For the Waves here, I want them to be bigger and a lot more thicker. And that's why the brush strokes that I'm adding a lot more, I would say press down and the strokes are coming out in that exact manner. The way in which the waves move is like you wanna go from the left and kind of spread it across. On the right side. You start from the left and spreaded across on the right side. And the strokes are gonna be a lot more thicker like I mentioned earlier, because we want to show that evident wave that is coming up which is lot more lighter and that's why it has to be thicker. And then when you proceeded towards the right and decrease the size of it, you kind of add that variation that okay, this one's kind of spreading out. And let's say the connectivity that I was talking about, it's kinda breaking up, but it's still connected, but it's not as opaque in a lot and not that much intense on its own. So I really liked the way I'm going about this right now. It's going to come altogether. And I'm going to start with the code. First. I have the placement of the waves I want around the curve and then slowly start transitioning it outwards. So overall, I'm just going to leave you for a bit again. You can do this and follow me along. And then I'll get you in a bit. Alright, so now that I'm done with the overall white deposit the curve, I'm using my blue color again to add in some smaller strokes in filling up the surface and bringing in that connectivity with the white and the more opaque one. Now in the next lesson we will be adding more layers to this and adding more opacity to this. But right now I'm just focusing on those smaller blue area. Like I said, you have those intense wide wherever the water is disturbed and creates that for me, effect. And as it spreads across and apart from the point of origin, it kind of just disintegrate and becomes the form just like gets more apart and then kind of break and the connectivity is lost. And that's how we're trying to capture those details in this class project as well. So it's a lot more intense around the curve because the color is lighter and as it moves apart, it is kinda breaking and you're getting those lighter shades of blue is not even that intense or white. And a fan of just like goes away. So you can see how we are working in that same manner. Short simple strokes are going to make major difference when you're working in Waves of this kind. So be very slow with it'd be very mindful of your strokes. And just go ahead and add that. Don't overthink it. But again, be mindful with the strokes, be slow with it, and enjoy the process of creating this because these Waves painting because it's such repetitive motion, right? It can be so therapeutic when you are painting this because you're just repeating the process again and again and again. And you really enjoy it at the end of the day. This is a from this lesson, I will see you in the next one where will add more details to the Waves and bring out the of the city even more 18. Project 3 Part 3 : Ocean Texture: Alright, so now another spot we're going to continue with our Ocean Texture. I'm going to start off with that lighter blue or shade. And I'm going to remove this series of patterns, I would say like the ocean where extra. I'm going to remove that from the more opaque section that I have at the curve and then move it upwards and then just flow with it and fill that entire top left space that we have. I'm going to start off and do it with a light blue color because I want to layer white on it later on, which will bring out the opacity a little bit more and just add a lot more detail right now if you notice the strokes look a lot of I wouldn't say a lot but similar in size. Right? Only the curved section on the left bottom part has the difference in the size. Can clearly see that part of the Texture is a lot more thicker. And overall everything else is around the same size. Now they're not I wouldn't say they're the same size, but they are like in that same opacity and the same size. And in the sense that it's only a little bit sure in there, there is a little variation in the size is not a lot. Especially on the left, bottom and the curve, the sizes lot thicker. So of course you can see that variation a lot better. So right now we're going to focus on adding in more details and flowing in the Texture. And again, you can flow the direction of the texture based on however you like it, or based on the reference image. I am moving the left side that you can see slightly upwards. And I've also got some of the patterns emerging from the curve vision and moving from the right to the left in this curved manner, which is slightly moving upwards. So overall, at the end, the idea is to join them together and get them to mod Z. Remember how I was talking about getting these patterns to be interconnected. And that's the idea that we always have to keep in mind, especially for patterns like this. You want to keep them interconnected. The more connected they are, the more natural and free-flowing it's going to look. I'm just gonna go ahead and add in some of the details for the texture using this light blue color and fill up this entire section. And I'm going to leave you right now for a bit because the process is very repetitive. I haven't increased the speed so that you can watch me do this in real time. You can follow me along. All you have to do is just look up and observe and then do it on your sheet if that's what you like doing. And after that, once I'm done with it, I'll come back and tell you what the next step is going to be. Alright, so overall, I really liked the way this is looking. I love how the waves are interconnected, right? They're all like joint and together, but you can still tell that there's something missing the missing paddles that we're going to add an and we have to add in some more obesity in our painting so that these Waves kind of stand out even more, right? So we're going to focus on that first So here I have titanium white on my palette, as you can see on that corner. I'm just reactivating whatever paints left of it on my palette and adding white to it to get the lightest color possible, a color that's very close to white or white? Most most leaf I've made them mixed, correct. But it's a very light color and we are going to focus on creating more obesity and making our strokes are lot more thicker, a lot more vibrant and the strokes to stand out more. Another question is, Where are you going to make these strokes? Firstly, you're going to focus on the area which is the curve, right? That era, the waves are going to be a lot thicker. Even if you look at the reference image, you can see how the waves are thicker and they're lot more opaque. I will tell lot more white. It appears a lot more white as compared to the remaining bits. And that is why we use that lighter shade of blue instead of just using white. Because that way, when we add white, it really shows up a lot more and brings out the different tonal value of whites that you are playing around with. And that's why I've used that color. So focusing majorly on the lighter part of the wave and the curve of the wave. I'm gonna go ahead and start making the stroke. Now another way to make the strokes and the ways to look a lot more natural is that you'll start with a thicker, thicker brush stroke, like let's say at the curve now that we're making it there. And as you transition and progress towards the end or like move towards the right, you slowly kind of want to decrease the size of it so that if merges with the strokes that you've already made in that rightmost section, right? And so that transition that you have between the thicker strokes and thinner strokes, it isn't that harsh, but a lot more seamless and smooth along with the curve. I'll also be adding some more strokes for this nice strokes. On the left corner, you could already see how I started off with those thicker strokes, right? Give you more control on your brush. Makes sure that you are holding your brush perpendicular to the papers so that it's a lot more easier for you to control the way and the thickness in which you're applying these brushstrokes. Along with the one at the curve, I'm going to add different variations of these thicker strokes at the bottom and bring up the opacity of it. Really just look at the reference image, analyze it, and just go with the flow. You don't have to do it exactly like the reference image. As I said, focus mostly on the edges where you have the lighter colors. That is something that you could work with and that will make the process in which you add these lighter strokes easier. We have to focus more in the region that, that is a lot more lighter. So wherever the light blue colors you see, you want to add these thicker strokes in the same way. Now another thing to keep in mind is you want to add these thicker strokes over the stroke that you've already made. It's not like you're creating new strokes. If you feel like you want to add certain variations, maybe some small dots and small lines and small strokes. You can add a rounded, but majorly, you want to add these thicker strokes over the strokes that you've already made so that you are following the direction that format in which you've already laid out the strokes. And it's not very awkward for you to lay a completely new set of strokes, right? So you want to work in that manner. I can see I've moved from the curve, moved it into the lighter color. And I'm adding in some more strokes on the top as well. And kind of adding different variations for these brushstrokes. I'm just going to go ahead and do that. I'm going to leave you to it, look at it, observe, and then analyze your painting and apply what you're seeing in your artwork and how you are doing it currently as you go, right? So your Waves might look different from mine and that's completely okay. And you have to work with your Waves based on the way your painting looks. Alright? Overall, I really like the way the waves are looking. You can really tell that difference in the shades of the sea foam that we've added. Now the last step that we have to do is add in some splatters. So I'm just going to use my round brush. And then I'm going to load up a nice creamy consistency of you don't want to make it too thin. Then tap it against another brush and just add this all over your surface. Now you don't want to overdo this step. So remember, don't pick up a lot of paint and splatter so much. Just a little bit to add some dots and details and splatters in your painting. And once everything dries up, it's time for us to peel the tape of the member. You want to ensure that your layer has dried because we're using a slightly thicker and creamy consistency of the paint. Right? So you want to ensure that everything has dried before you peel the tape off. And you can immediately see how those clean edges bring out the, you know, like the essence of the depth and the lighter parts of our buildings a lot more along with those beautiful sea textures that you can see. If the CFO, I really like the overall feel of this painting. The color palette is so beautiful, just to combination of lighter colors and darker colors and a bit of work on the waves. But you end up with such a beautiful painting that really shows you the lights and depth of the ocean and how deep and beautiful the ocean is. This is your third Class Project. Here's a sneak peek of what's coming on day four. So I'll see you there. 19. Project 4 Part 1 : Hills & Beach: Hello and welcome to your fourth class project. Here's what we're painting today. Let us talk about all the colors that I'll be using here. I have Prussian blue. The next color I have is cobalt turquoise light. You can use a turquoise color directly. Next I have some brown shades. This is my mendik brown and I have yellow occa with me. Next I have jet black. Lastly, on my palette, I have titanium white. These are a bunch of six colors that I'll be using and mixing different tonal values of. Let us get started with the painting process. Here I have the colors on my palette. So I have blue, white, all the black and the sand colors, and the browns that I need on my palette. And I've taped down my paper on all four sides. And let's start with the basic sketch first. On the left, you can see is the image from where I'm taking inspiration for this project. You can download this from the Project and Resources section. We're going to be dividing this in two different sections. I have a horizon line which I drew using a scale. First I'm going to place the elements that are above it. Clearly you can see on the left side we've got two sets of hills, right? One is at the back, which appears to be slightly lighter than the second one or a part of the second one that we're seeing in front of it, which appears to be a lot darker. There is only a very slight color variation in those, right? You can see it's just almost the same shade, but because of some fog or some light in the distance, we're seeing them as two distinctive shades of mountain. So I'm going to sketch that out first. The first one reaching all the way up to the top. The second one or the one that's in front only reaches half way. You're going to place that in according to the reference image. That's the only element that is above the horizon line. Next I'm going to sketch out the wave that is crashing at the shore. The bottom most line, you can see how it's almost like a slant, right? I'm going to sketch that out first. The next thing that I'm going to place in my painting is the wave that's in process of crashing. It's moving upwards and it's almost going to crash. I'm going to sketch that out first. Now, carefully going around, you can clearly see how there's a difference in the color variation, right? One at the back is a lot more darker and the wave that's going to crash and it is curving in, appears to have that beautiful turquoise color. So you're going to place that in, and then we are going to be adding a lot of details using our color. You can clearly see how there is so much detail for the sea foam here, right? A lot of whites in our painting. And we'll add all these details when we are adding the white color. I'm just going to sketch out a line below it which differentiates in the height of my waves. I can clearly see how, where the white ends and then the wave starts below that. I've sketched another line where you can clearly see there is a wave that's crashing in, it has curved in crash, and you can see only the white foam there. And then we've got three sets of different wave details to act over here for. One is one that's curving in, second that's crash and moving forward and retreating back. These are the three different variations that we're supposed to work with. Now I'm going to keep the sketch very simple, just understand the placements of it. I'm not going to add extreme details. And again, it does not make any difference because we will have to paint over it. And since quash is opaque, you sketch is not going to be seen as well. I just wanted to perfect the shape of the first line. That is the way that's retreating back carefully. And just change it a bit. But overall, I'm really happy with the sketch. Let's start with the painting process. Now, for the painting process, the first thing that we're going to do is work on the sky. I'm using my size 18 brush because I have to create just a very even blend in the sky and it works really well to do it with a flat brush that's bigger for the color, for the sky. I'm going with a mix of Prussian blue and white in that beautiful, creamier consistency. I wouldn't say very creamy, but a lot more opaque consistency. And I'm using this paint and adding it at the top. The idea here is to start off with the darker color at the top. Move in that left and right direction so that you're blending it evenly. As you go down with every half an inch of area that you are covering. You just go down and add the lighter color and then blend it in. Again, I'm using my brush here, you can see the shade that I made and I'm going to go ahead and apply it right where I left off first. That that blend is nice and even, and then bring it down slowly again. You can blend it in with the darker color as well, so that the blend does not look very uneven. The idea is to have a very seamless blend in your sky. Now that I'm done with that color, I'm going to add in a little bit of white into the same mix. We're making any different mixes here into the same mix. I will add this color and then go ahead and apply it in this left and right direction. And blend it out first before I go ahead and add in another shade below it. Sometimes, especially with blue, it stains the paper. And it might be a bit difficult to blend it properly, especially when you're mixing different shades. In case you're stuck in that kind of situation, all you have to do is add a bit of blue or match the color from the previous stroke that you made, the previous color that you made, and then blend it with the new one that you've added. That way, that harsh line kind of goes, you'll have to work your way in this manner, especially for blues. I've noticed that a lot with blues it could be for a different color as well. But yeah, again, I notice a lot with blue. And I'm just going to clean my brush and just blend everything out. But I overall really like the way the blend looks. So we're going to let this dry and now that my paper has dried up, it's time for us to add some clouds. So the clouds for this class, I'm going to keep it very minimal, right? And I'm not going to add in a lot of clouds, a lot of details to the clouds because they're just at a distance and even in the reference image, you can clearly see it at a distance. And you're only seeing a few floating clouds. And like I taught you in the exercise lesson as well, we will just be creating these horizontal strokes, you remember The first. I mean, even for the sky and the clouds that I taught you. The first part of it. We're not adding the fluffier versions of it, we're just adding the first part of it in which you see those horizontal clouds. Just using my round brush size four and a creamy consistency of the white paint, I'm going to make these horizontal strokes and create a bunch of clouds in the sky. Now, you don't have to overdo this. You don't have to add so many, you don't have to add it up in the sky as well to somewhere below half of the sky surface area that we're bucking with is where your clouds are going to lie. So we want to show that these clouds are at a distance, they're really far away from the observer. That's why he's not able to see a lot of details in there. And these clouds are quite close to the horizon line that brings in the distance of these clouds. Again, he's not seeing a lot of details, she's not seeing a lot of details. And it's just the essence of these horizontal clouds is floating in the sky. I've just added a bunch of strokes, some bigger, some smaller, and a beautiful combination of these. Once you're done with that, we are going to move onto the hills. Now I'm switching to a smaller size flat brush. For this one I'm using a mix of Prussian blue and black. That beautiful indigo color that I was talking about is the one that we'll use for the hills here. First, with this color, I want to go with, I would say a mix, which is again, a lot more bluer than a bit darker. I would say I want it to be lighter. And like I said, these two hills are very close in terms of color. And they're just just one is darker than the other. With my flat brush, I'm going to go ahead and first create the outline of the hill that I want to work with. Now, one technique that I think really works in this section is to have a very, uh, I would say slightly thinner consistency and just be very rough with your brush strokes. Okay. And by rough, I mean you just blend it out very unevenly, especially for these hills, right? The more uneven they are, the more natural they are going to look. Because you've seen so many variations of color, the surface is not flat, right? The surface has a bunch of different heights and depths in it. Unevenly, blending it out makes a big difference in the overall structure of it. And when it dries, it looks very beautiful. So you can see I've just unevenly covered the surface with my flat brush and I'm making some strokes along the shape of the hill. And I am overall really happy with the way this looks. Honestly, I really like the way this section has turned out, so I'm going to let this dry for now. All right, so now that this section has dried, that is the hill at the back, we are going to switch to the next color which is going to be a lot deeper than the one that we added before. So it's again a mix of Prussian blue and black, but this time a lot more black. So that this color is sort of very close to the black color. And I'm using my round brush for this one because it's a smaller area and I want to be a bit more precise with the way, the way in which I add the color. Again, unevenly adding the color. Using my round brush, you can add a bit of water because you want the consistency to be nice and thin and just uneven at the bottom. I'm just going to carefully go ahead and cover the surface, making sure that I'm not entering that wave line that I had initially sketched out. So you don't want to be in that zone because we don't want the dark color to come in. And then using a bit of the lighter shade, which I've just added the same color into the white and the blue mix. I'm adding some taps and some details so that there is a variation of the color and it just doesn't look so flat. Overall, this is done. I'm happy. So we're going to let this dry. All right, so now that this section has dried up, it's time for us to start painting the area that is below the horizon line, further areas below the horizon line. First we'll work on the C that is at the back, that is the C and the details that are behind the wave that's crashing in. Right? And I'm going to start off with my size ten flat brush because obviously we have a lot of details to add here. Over here, I'm mixing turquoise blue, that is my cobalt turquoise, into the same mix which had, I would say, prussian blue, turquoise blue, white, and a bit of black. It's all that mixed together. This is the shade that I get. And you can clearly see how it does have a bit of black. Because there is the colors a lot more toned down, right? It's a lot more towards, like this grayish undertone in it that you can see. I'm going to go ahead and first outline the area below the horizon line very carefully. And then I'm going to add a bit more of the turquoise blue in the same mix. And using those strokes, that is using my brush and holding it perpendicular to the paper. I'm going to go ahead and cover the surface. For this, we have to work in layers and add in details accordingly before we go ahead and proceed with the layers that is in front of it, that is your waves that are crashing in front of it. I've just unevenly covered the surface first with this color. Once I'm done with that, I am going to just go ahead and add a darker mix which has a bit of the cobalt turquoise color, a bit of crush and blue. And I just want to make it slightly more darker. And then using a round brush, I'm just going to make these horizontal strokes short, horizontal strokes that acts as the layer where there is depth in the sea, right? So I'm just going to go ahead and add that. And then using a mix of the pressure blue and black that I have. This is the color that I have on my palette. Just a deeper shade, but not as deep as the one that we used for the hill. I'm going to go ahead and make these short strokes again to act as the layers and the depth in the ocean. The darker and the lighter bits. I'm just going to go ahead and make these short strokes and horizontal strokes. Now, these can have variations in sizes. The variations in the location for it where you don't want all continuous ones to be right below one another, right? You want to have a variation in it where it looks a lot more natural. So you want to just add shorter strokes. And you want to add in a way that not two lines go parallel over one another, if that makes any sense. When you break it off and not make it look very parallel, it looks a lot more original. Once you're done with that, I'm just cleaning my brush and getting rid of any harsh lines that I saw. Right. I wanted to kind of blend them into one another and you can clearly do that with just a clean brush. You can just re, wet the surface and add, get the layers to blend into one another without having those sharp edges. And for it to not look like one single layer. So I'm just going to stop here. I really like the way this looks. We have to add a lot more details on it, and we'll do that in the next lesson. 20. Project 4 Part 2 : Hills & Beach: All right, so now we're going to go ahead and start adding more details to the sea area, Right? So I'm going to start off with my turquoise blue, that is my cobalt turquoise color. In that I'm adding a bit of Prussian blue and a bit of that indigo shade that I have at the bottom are the paints gray color that I have at the bottom. So I'm just going to go ahead and this is the color that I have and I'm going to go ahead and use that to kind of just add in some extra details in just to kind of get everything to look nice and evenly spread out. This color is very similar to the shade that's in the back. Not the darker one, but the lighter color that is there in the background. I'm going to go ahead and add this color over those areas. I'm not covering the darker colors that I've already had because I'm going to use that as the color that is in depth. Right. I'm going to go ahead and just cover up the areas that are of the lighter color in the background for now. Then we'll add more layers over it. Add some lighter layers, lighter layers. And then bring everything to look put together. So you're going to go ahead and cover up the surface very carefully. Make sure that you are leaving those darker bits and you're not covering it entirely. Next, I'm going to clean my brush and add in some white into it. Now, I'm not immediately going with a very, very light shade of color because I want to build over this and then slowly proceed with it. So I'm going to go ahead with this shade that I took and showed you earlier and you are going to go ahead and fill this in between those darker colors. Again, we are adding lighter shades over our layers. You want to preserve those darker colors and whatever spaces you have in between, you are going to add this color in between so you can see how I'm not going ahead and adding it over the darker colors. Once this color dries, it will dry down to be a little bit darker than it initially looks. So keep that in mind as well. When you are mixing your shades, your colors are going to sometimes dry darker as they would look when they are wet. I've added some strokes and some details with this color. Next, I'm adding in some more white into the mix. Right at this time, the color is a lot lighter and it's a nice and light shade of blue. Here's the color that I get. This is a very light shade of blue. As you can see using this color. I will go ahead and add in some more extra details this time you want to focus on this being the lighter parts and the waves that are coming into place. And you want to place them right over your darker colors that you've laid right. So remember that you want to place this very carefully over the darker colors that you have. In this way, it looks like the waves are coming in. There's a movement in the water and they're coming in from a distance and you can see it right now, and they will eventually crash. We've got a lot of details to work in the front area or the foreground as well. This section is like your middle ground area. I've got this one nice long strip. As you can see, you can tell that this one is a wave that's just flowing in. It's going to come, it's already forming and it's going to crash soon after this one goes back. Next, I'm adding some more details, very short, broken strokes. You can place some more waves, some more waves that are being formed. And you can see how I'm placing it right over the darker colors and how I'm just using the tip of my brush. If you're not confident that you'll make very thin strokes with your size for brush, you can switch to a smaller size brush as well, so that you have more control over your brush strokes. And you can see how I've added this again right above the darker colors so that it shows like the wave that are forming and that will crash eventually. So I've almost got like two layers of waves waiting to come and crash at the shore. In between all of that, you can also add in some more details, some more of these lighter strokes for the colour and just some extra details around. I'm also adding some details with this color right above the wave that is going to come and crash as well. This is to just get all the areas to have beautiful shades of layers and not anything to look like it's empty along with the ones in the front. But it also added some at the back as well. Very lightly, very thin, short strokes, because it is a lot more further away than the two crashing waves that we've got to work with. But overall, I am really liking the way this layer has turned out. You can see how this has that beautiful light blue color. But once this dries, we're going to go ahead and add some more white details before we go ahead and start painting the remaining bits. All right, now that this section has dried, I have just loaded some white paint and I'm adding this over those sort of waves that are going to crash and move ahead and just add that right over and especially at the top of the lighter blue color very carefully. You want to add this over the lighter blue colors and make them as taps, not as lines like we did earlier. Not like those short broken strokes, but almost like little taps. But they're like continuous. And you know, they go one after the other and forms like a chain. It is in fact a line now that when you think about it. But it's made in like these taps and they're not like horizontal strokes. You can see, I'm careful you just tapping it in, having variations of the sizes. Not everything is just same size. I'm doing that for the one at the bottom as well. I've just added some more taps there to bring out the color and show that, yes, these waves are forming and they will eventually come and crash along with this layer with these two waves. You can also add in some at the bottom, some around it. And just add some more shorter strokes to add in some more lighter details into your waves. And it's not just at these two waves. You can also make some dots to kind of show the brightness of the water and all the lighter bits in your water. Overall, I'm really liking the way this section has turned out. I love how there is that effect that there is, there's a flow in the water and eventually this wave is going to crash. That is right below. It's going to crash and then it's going to move back and the new ones are going to come. So I really like the way this looks, so we're going to let this try and then paint the background for the next bit. All right, so now we're going to start off with adding the color for the waves that we're seeing in the front and the elements of the foreground. So we've got two sets of waves which will be all white, covered with a lot of sea foam. And then the last one, which is the third one, which is going to curve in and crash is going to have a lot of different shades of blue. Starting off with a mix of cobalt turquoise and my Prussian blue together with a bit of white. So this is the color that I get. It's very similar to your turquoise blue color. If you don't have this, you mix your own turquoise color as well. And I'm going to start off by first outlining the shape carefully. Now, over here, if you feel like you want to change the shape a little bit or modify certain things and make something stand up even more or go lower, you can go ahead and do that as well. The next color that I'm mixing is cobalt turquoise with a bit of white. So there's no Prussian blue in it. The right most section which has a lot of those splatters and the waves just crashing and has a lot of those sea foam bits. And the whiter bits in the air is going to appear lighter. That's why I have that transition between the two colors, where I have a slightly deeper blue on the left side and somewhat, almost more than half of the wave, I have that lighter color. I'm just going to blend it in. Now if you notice very carefully, I'm going in the way the wave moves. I'm not making fat strokes, but almost like a curve, like a blend. This way your motion of brush and the way in which your brush moves is very similar to the way in which the waves are going to crash and come up. It makes a lot of difference if you blend it in that manner and you'll have that beautiful transition come in when you add in a lot of layers as well. Right now, we are just focusing on creating a base layer. And only later we go ahead and add the second layer and add in more details. Now that I'm done with all the bluer bits, we're going to add a bit of Dak brown and a slight amount of yellow occur in my paint. And this is the color that I get. So it's a mix of two different shades of like a brown and a blue mix together. Right? So you get this like a muddy green shade. And I want to add that in because it is going to act as a base layer for you to start adding a lot of sea foam details on it. I felt like it looked a little too green, so I added a bit of Prussian blue blue in it to kind of make it more towards the bluer side. But it's still like that weird mix, like a muddy mix. Next I'm adding a bit more of the wind, aka brown. And a bit of yellow occur to kind of get in that white. I mean, not white but like that brown er, shade. And here's a swatch of the color so you can see how it's a brown color, right? And I'm going to blend it in first. You can see how this color is going to act as the background. And it will make a lot more sense. When you have all the colors in place and do the second layer, that's when it really pops up a lot more and you can really tell the difference of why I have a lot of these muddy colors mixed in. Now that I'm done with this brown, which is this particular color because, you know, the waves are kind. Or the, the blue is rather blending in with the brown. And that's why it looks that particular way. Next I'm mixing Dak, brown, yellow occur and white together. And here's a swatch of the color. You can see how it's a brown color, which is not as deep as the one that we have in the background. And you're going to go ahead and add that in as well. The consistency of the paint here does not really make a lot of difference because we are not going for a thick, creamy consistency, or consistency in which your paints look a lot more opaque. But rather, we are just like placing in the colors so that we know what goes were. And it gives us a basic idea for K. This color goes here, this color goes here, and this is what the background is supposed to look like. And then once this dries, you kind of layer over. So this one would be very similar to the first class project that we did in which we had a bunch of different layers. Right. And then we proceeded with it and added more details. So right now I really like the way this looks. We're going to let this dry, and then in the next part we will add in some extra details to this. All right, so now that my background has completely dried out, I've just sketched out where the two waves are going to be just for a better understanding of mine. Because, you know, those lines were gone after I added this layer, but I went ahead and added that again. Again, if you feel like you wanted to rectify something, please feel free and play around with the waves and the shape of it. If that's what you'd like to do Now, we're going to go ahead and start adding the colors again, right? So I'm going to mix my cobalt turquoise with a little bit of Prussian blue and that weird indigo color that I had with white. So I get a lighter color, very similar to the one that we've used in the background also. And I'm going to go ahead and start adding that color in. And you can see how, again, over here I am moving in the direction of the wave as it curves, I'm flowing along with the curve. Next, I've added a bit more white into it, just to lighten the color. And like I mentioned earlier as well, you're going to lighten the color in the right side. I've lighten the color and then I'm going to apply that in the right most section. Right now it does not look blended at all. I've just put the colors in and then using my round brush, I'm going to just add in some extra thinner details. So that I have a lot more control over the way in which the waves are going to look. Just with a clean brush, just with my clean brush, I can also blend the lighter color and the darker color together. And then load up the darker color. And just make sure that I am filling up that entire surface with this layer, which has made it a lot more opaque. Now, right, you can see how it's a lot more opaque. It's a lot more detailed. Now I'm going to add in a bit of the indigo color in it. Just so that I have a bit of a darker color. So that I can add in a little bit of details for depth or a little bit of details for some darker colors. In right now, we're just going to play around with a bit of dark, a bit of flight, So that even though this wave is kind of coming in and crashing, obviously, it's not going to be all flat, right? It's going to be a bit of movement and a bit of unevenness in it, so we kind of have to capture that with of lighter colors and darker colors. Next, I'm going to load up some lighter color. And you can see how I'm adding that right along the shape of the wave as it curves in. I'm adding those almost like curved lines, right? And don't worry about it standing out a lot more or it looking too vibrant. Because you can always go ahead and use a clean brush to smudge out the edges better for the lighter bits. You can use a lot more white, whiter color to add in some details. Next, I'm going to go ahead and while that's drying in the background, we can go ahead and add the color for the. More like horizontal parts of it. Right over here in that brown, I added a bit of turquoise and I'm just blending it all in. And then first I'm layering it down so that I create that blend between the wave and the horizontal part where the sea foam is going to lie or the fluffier part of the waves. Blend it in with my round brush and then again go back with my flat brush and then add in the second layer over it. You can see how clearly when you add this, the layer starts looking a lot more opaque, a lot more detailed. And obviously you are going to see a huge difference with the second layer itself. Now this particular section where I've just added this mix, the muddy mix has a lot of the C foam on it, right? We don't really have to work a lot on the opacity of this. If it's uneven, it will look a lot better because it will create that uneven effect on the ground where see a bit of light and dark and things like that. Like it makes a lot more sense as the bigger picture. Next I've made this mix, which is a mix of my brown color with a bit of that indigo side that I had. And then I'm adding that in between those two lines that I sketched out. Right, I'm just putting this color in between those two lines as you can clearly see. Then again, with a clean brush, you can just blend it in and move it into the muddy section as well. Now over here, the question is like, why are we using a muddy mix? Why are we using a color that is not entirely venky brown or not entirely? I would say yellow occur now. The reason being over here is that basically we want to create shadows in our painting, the colors that we're already using in our painting. If he were to use just browns and just very harsh browns, it would not look as appealing, in my opinion as it would if you were to just use these kind of mixes on which you're going to layer white. I feel like that looks a lot better as an overall picture. But again, everyone has their own preference right now. I really like the way the layers look right now. But I feel like I could do a little bit more work for the wave that is crashing in and curving in. I'm going with this beautiful lighter mix of color of it curse blue and white. And then I'm going to add in some more details. The way in which I'm moving with the details, I am just creating the same stroke along the shape and the direction of the wave, but I'm bringing it from the top. Now, this is actually like a third layer, I would say, where you're trying to make the lighter bit stand out a lot more. Then eventually we will add waves and all the whiter details. But that's why I've not used white entirely. I've used a light shade of blue using this color. Even in the reference picture. You see how there is those curved lines that acts as the lighter bits in your painting. I'm just placing that in very carefully. I'm just going from the top, bringing it down along the direction of the wave. Now, again, if you feel like your lines are too harsh, you can use a clean brush and blend it out. There is no going wrong with a right over here on the left side as well. I've added some very fine details. If you feel like that color entirely turns out to be too dark for that lay out, then you can use a bit of the turquoise color in it to make it a bit darker so that it goes in line with the transition in the color that you have, where the left side is a lot darker and the right side is a lot more lighter. Right, along with the turquoise color being in the wave, we are going to make a few in that area where the muddy mix is that it just blends in together. Using my round brush. Again, size four round brush, I'm going to create a curve in which it moves into the wave, but at the same time it's a little bit more horizontal as well. Again, in a similar way, we will add white on it. This is almost like creating a base for your white to rest on later. I'm just blending it into the wave also, then carefully go in the left more section short strokes, it might look a lot more vibrant right now. Again, that is because the color is wet and it hasn't dried. Once it dries, it ends up being a lot darker than it appears. Initially, I've added this detail to blend my white, or rather the wave and the darker bit together so that it's easier during the transition phase when I add in the white color. Along with this area being all over in that middle section where the browns and the turquoise meet. I'm also adding some strokes in that very horizontal, broken manner up until those two lines that I have. So I'm not covering those two lines, but somewhere in that first line where I've made, I'm going to add that in all the way till there. Now you can see how these strokes, they don't really matter, I would say, overall. But it does add a hint of that lighter color into your painting, so that once you layer over it, it has that bit of blue underlying it, and then it has that brown color underneath it as well, and then the white lays over it. So it's like adding a bunch of layers for your final picture. Again, you don't have to worry so much about the perfection here, because overall, it doesn't make a lot of difference. But it does add a hint of color into your painting. You can see how I've added all the way to that line, the second line or the first line from the top. Once you're done with that, you let it dry. In the next lesson, we'll add all the white details. 21. Project 4 Part 3 : Hills & Beach: In this lesson, we are going to work on all the lighter bits of our painting here to have a mix of a really bright white color. Maybe it has a little bit of blue, but that's okay. I'm going to start off by outlining the wave first. I'm starting off with the left side and moving towards the right. And I'm going to follow the sketch or the base that I've already made. You can see how I'm not making straight lines and just very, I would say evident strokes or definite strokes. They're very small movements. They are a combination of taps as well and just very slowly transitioning towards the right side. As I transition towards the right side and the right most area where there is a lot of the splatters and the details. Right. I'm going to go ahead and just tap my brush. Make some of those grass shapes. If you followed my previous classes, not this class, but previous classes, you know what I'm talking about? Just these very free flowing strokes in different directions. You just add that in. And then just some dots on the top that will act as the base when you layer the splatters over. So it just doesn't look like your splatters as just there. There's something at the back as well right now on the right side. You can see how I have those strokes coming in from the top and then just spreading all over, right? And it's also like kind of transitioning down and curving in, right, Obviously you're supposed to follow the shape of the wave in which it's flowing. So I've added that on the right side. And then again, loading my brush with some more white paint. Make sure that your point is very nice and intact and you don't have a very blunt brush. You want it to be nice and pointy so that you can add different variations of brush draws. I've also made the consistency very nice and creamy, so that the colors, when I lay them down, they're nice and opaque. So these are just some tips to keep in mind. Now from the top, I'm going to release these shapes like some taps. And they're interconnected with one another. And I'm going to release them in again following the direction of the wave. That's why all those lighter colors that we laid in the background, they act as a base for you to guide you where and the where and what the direction is going to be. If you have that in, it's a lot easier for you to be like, okay, this is the way in which I flow with my brush and the direction is going to be in that particular way. It makes it easier. I'm going to start adding these fine strokes and I want them to just flow in with the direction in which the waves are coming and going to crash. Right? Remember the flow is important. It's very similar to the kind of waves that we've done earlier in which they are interconnected, they have to be connected. And they're just a combination of these short strokes, some curve, some dots. Really, just look at the reference image. I'll put that on the side here as well so you can see it for yourself and understand what exactly I'm talking about. And you want to just put that there and start bringing these colors down as you bring it down so you can see how I'm curving it in. And as I reach at the bottom, I'm making it turn towards the horizontal direction, if it makes more sense. Because this is curving in. That's why the waves and the details are curving in like that. But as you come down, right, as you come to that level where the water is, you can see how it becomes a lot more flatter, right? A lot more like horizontal. So you want to merge that in, in that way. You bring in that direction, that flow of the water. As you come down and you reach that muddy mix where those two colors blend in together. You want to bring them in a way that it starts getting horizontal. Because after that, we start adding strokes in a very horizontal manner and cover everything in. As I transition again to the right side, the brush strokes also will increase the thickness you want to slightly increase that. You're carrying that variation in along with you so that it's not just flat but you know the size is increasing and because it's at a higher height as compared to the one on the left where it's just kind of building in. You want to show that transition with your brush. So thicker on the right side and slightly thicker and more fine on the left side. Now as I'm moving towards the right and blending in with those waves and where the splatters are going to be, I don't have to be very defined in that region because there's going to be a lot of splatters and a lot of white paint all over the place. It does not really make that big of a difference. But again, just if you want to keep that flow in and you want to keep the details of the flow in, then you can just not be very lazy and add those details as well, but they do end up getting covered with your white splatters and those white details in that area. Once you're done with that, you slowly start bringing it down and we start working on the layers in that horizontal manner. You can see how I'm just starting with a bunch of brush strokes going in that horizontal manner. And they're kind of like curves, you would say, in different directions, but they're kind of interconnected as well. So you want to like just kind of curves, a bunch of different swig lines. I would say if I were to put it and you just put that in and just swerve them around and reach the first set of line that you made, right? So you can see how there is no finite brush movements. I'm just kind of bringing it in and I've outlined that layer, this part of the video. I just didn't want to, like I went back and just did it by myself. But the basic idea is to just make these swerves and get them to all be kind of interconnected, but you also leave a little bit of space through which you are able to see the previous color. And that's where all that details that you put in, you know, makes sense for you to be able to see it from the white right where the line is, you take it. Okay, here's the finished version. You can pause and you can fade up until here with me where I've got these waves, like the first set of wave where it crashes and you know, all those white foam details on it, stops and that merges with the layer of or the water or the wave that's going to crash in. Now, we're going to move on to the next one. The next one I'll show you exactly how I go about it. So here I have my white paint. I'm making sure the consistency of my paint is nice and even the first thing that I do is kind of outline the structure. So this one is very similar to the one, the first class project that we have done. The only thing that really changes here is that I would say this is a lot more closer Persian, a lot more sea foam details as compared to the other one. That's the only way in which you know the whole composition changes. But overall, it does have a crashing wave. It does have a wave that's curving in, it has all those platters and things like that. So very similar to it, but still again, it's not completely similar. Now I'm going to go ahead and start adding these curved lines and those swerved lines that I was talking about. It's just like a bunch of brush strokes in which very uneven, some are broken, some are short, some are thick, and you just combine all of it together and cover up the entire area. There is no, I would say, need for it to look exactly in a particular way for you to just start from left and then proceed towards the right or any direction to follow. You can really just start from the middle, connected up in the right side and left side and just go about however you feel like it. Because even in the reference image, most of that area is covered in white foam. If you look very carefully it was covered in white form. Right? So you're just kind of going to do the same thing here. The only thing that you have to keep in mind that even if you go up and down in terms of direction and in terms of placements of the white foam or the sea foam, you want to make sure that you are still moving in that horizontal direction where your brush strokes are. They don't go like in a vertical manner, they are all in that horizontal manner. Again, obviously, it will change a little bit in going slightly tilting upwards or downwards. By horizontal, I don't mean it has to be completely horizontal. It is horizontal in terms of the way in which the waves are. All right, so you're going to go ahead and add this entirely. Fill this until that wave that you just finished, you reach up up until there. Then I'll tell you all the other details that you have to add. I'm not increasing the speed here because I want to keep it real time so you can just follow me along. But once you reach up, Puttal there, I will let you know what to do next. H. All right, so overall, I really like the way this painting is. Turning out all those details for the sea foam, and you can still see that layer beneath it. I feel like it looks so good together. I'm just going to add in a few more details where I see empty spaces, but overall, I really like it. So we're going to let this dry. The next thing we'll do is work on the shadow part and some splatters. Before we go ahead and work on splatters, I'm just going to go ahead and add a bit of shadow underneath the first wave that's crashed. Right. And you can see how there are clearly two different sets of thick white layers of wave. Let me see. Right, so for the first one, I'm mixing a very, very light consistency, almost like a watercolor consistency of the brown paint. And I'm adding it right underneath the first layer. This way you add a bit of like a shadow effect in your painting. And it does not look very flat. Earlier it was looking a bit flat. And then with a darker color, I'm just going to go ahead and define that line a little bit more just so that you know that transition of the shadow is, again, not very light, but you're able to see a definite difference between the two. Again, if you feel like the lines are too harsh or the color is too harsh, you can go ahead and smoothen it out with a clean brush, like I'm doing here. You have to be very light and gentle with this step and make sure that the layer that you're adding is very thin in consistency that you're not disturbing the white layer that is beneath it. You want to be very careful when you are doing something like that. Next, I'm mixing the same brown color and I'm going to add that underneath the second wave that has crashed as well, to add in a bit of shadow effect there as well. Carefully go ahead and add it in. You don't have to outline the entire section, but just work in the waves which are like tilting outwards. You want to add the waves there as well. Then again, with a clean brush, you just smoothen those harsh edges out so that they look like they have blended to one another and doesn't look very harsh in that area. And then if you feel like any areas where you added too much of the shadows, you can go ahead with your white paint and add that over it so that you're covering those regions that you don't like. Wherever you feel like you've added too much of the dark colors. Like I've gone ahead and just added that at the layers where it's nice and even now and it does look like the wave is resting on top of the shadows and not the other way around. Sometimes it might appear that way. So you can just go ahead adding white again on top and then everything comes back to its natural form. Overall, you can see how we're able to see the difference in the two sets of waves that are crashing right Now that we're done with this part, it's time for us to go ahead and add in this platters. Now for the platters, since we've done this in the past, I'm sure you know the method. The first thing is to cover up our section so that we are aware that we're not adding these platters everywhere. Next, I have my toothbrush with me and I'm going to add a bit of water in my paint so that it's nice and workable and not too thick. And I'm going to load up my brush with the paint and make sure that one of your section is movable. That is one set of paper. It's with you in your other hand so that you're moving it around and you're going to carefully, very close to the brush, you're going to splatter some white pits all over the place. Now, the reason why I say move your paper is because you don't want it to be concentrated in that slant manner, right? You want the splatters to kind of flow in different directions and you want it to go beyond some point. And like some of them, not all of them. And that's why you kind of cover your sections. That you make sure you move your sections so that it's not just concentrated in that particular triangular area. Right now, I'm concentrating more on the right side so that I have that entire section covered in, because even in the picture, only that section has those platters. Overall. I'm going to stop here. I really like the way this looks. Once everything dries up, it's time for us to peel the tape off. As we know, as we feel the tape off, the painting starts popping up a more. We are able to see a lot more of the details stand out. A lot more of the work that we have done stand out. And, you know, your painting just looks a lot better once you have those white borders in. I really like everything. But before I go ahead and have a closer look at this, and before we do have a closer look at it, make sure that you sign your paper because it's very important. You've worked too hard on it. Right? Here's a close up of our painting. I love the combination of the hills and the beach view. The colors, obviously they are spectacular. Those beautiful turquoise and deeper blues and the sea foam is like everything is just too good. Here's a sneak peek of what's coming next. So see you there. 22. Project 5 Part 1 : Middle of the Ocean: Hello and welcome to your fifth class project. This is what we're painting today. It's a beautiful view that you can probably see when you're in the middle of the ocean on your boat and the disturbance create that creates that beautiful texture. The colors that I'm using are Prussian blue. Next I have turquoise blue to change the color of the water, slightly **** brown here. Lastly, on my palette is titanium white. These are going to be the four shades that I'll use to create this entire painting, obviously wearing the different tonal values. Let's start with the painting process. Over here, we have the paper and I've got all the colors on my palette. I've got white brown, and those two blues that I mentioned earlier. I've also taped down my paper on all four sides and we're going to start off with the basic sketch first. As you can see on the left is your reference image. Using my scale and pencil, I'm going to divide my paper. The first one third of the paper is going to be for the sky and the remaining bits is going to be for the water. I've made the reference image, or I've adjusted the reference image in a way that I don't have a lot of sky space and focus more on the water Bd right above the horizon line. I've got two hills or mountains at a distance. They are very, very small, so make sure that you are not increasing the height of it. You want to keep the height very small and very low so that you can really see that yes, these mountains are at a distance, right? So that is going to be your detail that is above the horizon line. Now very clearly in your reference image, you can see that there is a partition where we've got the sea foam bits and the deep sea in that area. And beyond that part you can see how, you can only see the lighter parts and the darker parts of the water and you can see the movement of it, but not so clearly. A basic idea is to place that partition correctly. I'm just sketching that out very carefully, where you can clearly see that the details are going to be different and the way we approach it is going to be different. Right. All the area that's below the sketch that I've made, I'll be approaching it in a different manner as compared to the area that's in between the horizon line and that sketch that will be approached differently. The sketch is very simple, we just need to get the partition in. Now that I have my basic sketch ready, let's start with the painting process. Starting off with the sky first. Over here, again, we are going to be using a very simple b***d in the sky, a simple gradient sky. Here I have my Prussian blue, to which I'll add in a bit of white to lighten the color so that blue is not that intense. And here's the swatch of the color that I'll be using. It's very similar to the sky colors that we've used in the past and in the previous class projects. You're going to start off with this color at the top, and I'm sure by now you know how to bring it down. How to sort of b***d your sky and change the colors gradually as you come down and b***d them together. I would suggest that you use a slightly bigger brush here, because again, that makes the b***ding process a lot easier. And you don't have to constantly use a smaller brush and go so many times over those layers. Having a bigger brush, really flat brush, really helps. I am using a size 18 flat brush here and then I've lightened the color. That means I've added more white to lighten up my blue. B***ding it in and ensuring that those two colors b***d into one another. One more thing that you can do and keep in mind when you are making that gradual change in the colors is to clean your brush and add a bit of white into your brush so that the color becomes lighter. Most of the times, if you don't clean your brush, you are loading up that deeper blue color. It probably why you're b***ding makes the color end up looking darker than what you intend for the color to look like. So make sure that you are cleaning your brush completely before you go ahead and make another shade. I'm just going to go ahead and b***d the sky very carefully. Once you've almost placed the colors, you can clean your brush and just use a clean brush to b***d the colors. That's also something that's really helpful where you don't really have to keep loading up the color and b***ding it in. You just lay it roughly. And then you can just use a clean brush to b***d everything together and get rid of any harsh lines between the two colors that you've laid out. Eventually, when your paint will dry, it will have that beautiful, gradual change in the color where you've got the darker at the top and the lighter at the bottom. You can also intensify the color if you feel like it or go with two layers of paint. If you want it to be really nice and opaque. But since we're doing a lot of layering, we're not going to go for that very opaque finish or we don't need to do two layers. I really like the way the b***d looks, so I'm just going to let this dry. Now that my base layer has completely dried up, it's time for us to add the clouds and I'm going to switch to my size four round brush for that. The clouds in the reference image look different. I don't want to go for that intensified look for the clouds and I want to go ahead and add my own versions of the clouds. But if you feel like you want to add that version, you can try to add it. I haven't really taught that in this lesson, so you might not be aware of how to approach it, but if you feel like you can, please feel free to do it. The clouds that I am going to add in my painting is those horizontal clouds that I taught you earlier where you're moving your brush in that horizontal manner and creating those far off clouds at the distance. I did not, again, want to go for those fluffier clouds that you can see in the reference image, and that's why I chose this one. And when I say that you can change things about a reference image, this is what I mean. You can change certain things if you don't feel like approaching it in the same exact manner as the reference image is. Now for the clouds, here I am adding a bunch of different shapes. And it's not like that one continuous set of clouds like we done in the previous ones. I would say there is a variation in terms of height and in terms of where the placement is. I'm making some at the bottom, some at the top, and also making some of the edges on the top a little bit more rounded so that it has that bit of fluffier feel to it. Even though it is at a distance. Feel free to approach the clouds in the manner that you want. But over here I am going with the horizontal clouds and I've already taught this in the previous class projects. And even in the practiced lesson, there isn't really anything different that's happening. One thing to keep in mind when you're adding these clouds is I want to concentrate them more in the lower half of the sky and not go beyond that or reach the top part of the sky. Because if I do go there, I'll have to make them quite differently, I would say. So I'm just concentrating all my clouds in the lower half of the sky portion. That is the sky surface area that we're working with. Once you're done with layer one, you can go ahead and add layer two to make it a little bit more opaque. Because we're working with white and there are chances that it might be not that opaque. Or the first layer might dry lighter to intensify it. We are going to go ahead and add second layer, especially at the top part of the clouds, so that it looks very beautiful and opaque and fluffier. Even though it is at a distance. I really like the way the clouds look here. I'm not going to really overwork and add so many of these. I'm just going to kind of connect them and add in any fluffier fields to it. But overall, I really like the way the clouds look. I'm just going to leave this section here and then we'll focus on adding the hills. All right, so now that my clouds are dried up, it's time for us to add the hill that is above the horizon line. For that, I'm going to switch to my round brush itself and I'm mixing Mendik brown with Prussian blue to get a very, very deep, intensified blue color. And when you really look at it from a distance, it looks like it's black. But it's not black, right? It's a mix of two different shades. That is n dak brown and your Prussian blue color. And it gives you this beautiful deep color that we need. And I'm going to go ahead and carefully, using my round brush, make the hill. Keep in mind that you don't want to make it really flat. You want to have that irregular shape in it, even though it is at a distance. You don't want it to be entirely very flat or your strokes to be very flat. Just keep a little bit of movement in your brush so that you can see that uneven texture or uneven shape of your heels. First, you have one on the left half, and then somewhere on the right half you have another one. You can see how I make very short movements in my brush to ensure that everything does not look very flat. And carefully, go ahead and make sure that you are over the line and your horizon line is nice and intact and you're not going below it. You can, but try to avoid that because we want to go with the different color mix below it. I really like the overall feel of the painting. You've finished all the areas that is above the horizon line and once that dries, we will move on to the area below the horizon line. All right, so now we're going to focus on the area which is in between, so below the horizon line and before the sketch that we have created. So I'm going to go with a mix of Prussian blue, turquoise, blue, a bit of Bendik brown and white. So here's the color that I get. So it's not entirely blue, it's kind of muted because I've added a bit of brown in it. And using this color, I'm going to go ahead and roughly fill up this entire section with a base layer. Carefully go below the horizon. Nine, make sure that you are covering all those little bits very carefully. Ensure that you have a nice straight line. If you don't, then you can go back with the darker color and add that in the mountains to ensure that you get a straight line. And then keeping my brush perpendicular to the paper, I'm going to roughly cover up that entire section. You don't really have to ensure that everything looks nice and flat. If it looks uneven, trust me, it works because then it adds a bit of character into your base layer and it does not look very flat. Make sure that you are not going for a very flat finish in your painting. And you can see how I'm using the top part and using my brush perpendicular to the paper so that I get those thinner strokes with my flat brush. And it creates that kind of thin strokes. And when it dries, you know, some areas will have more colors, some will have less. And then that kind of adds as an uneven tone for the background color. So I'm going to go ahead and add that entirely in your surface, and I'm done with that. I'm going to let this dry, and then we'll move on to the next bit, which is adding the next layer on top. All right, so now that the section has dried completely, you can see how those uneven strokes with my brush created a beautiful unevenness in the background, which is really helpful. Next, I'm mixing Prussian blue, turquoise, blue brown, and a bit of white. Again, the same color combination, but over here you want more of the blue and the brown. So that you get a color that's deeper than the one that you've already put. Remember, you want a darker color, and this is the color that I get. It's a beautiful mix of these four shades. And you can see how it's muted because we've added the brown color to it. Using this color and my round brush, you can see how I'm going to start making these thin strokes at the top just to create that sense of light and depth in my water and to show the movement of the water. The ones at the bottom, which is that bottom section which is right before the sketch, those movements are going to be a lot thicker and you're going to see it a lot better. The ones below the horizon line, they're going to be small and very thin over here. I'm also going ahead and flowing with the water. And the sketch that I have, you can see how I'm not making all of them very horizontally. I'm moving with my sketch because let's say you're taking a boat ride and there's a movement in the water. The water flows in the way it was disturbed, right? And that is exactly why I'm capturing it in that same manner. And it has to be short strokes and very uneven. So you tap and release your brush and I'm creating very, very short strokes. This is just layer one of the whole thing. We have to do this in multiple layers to create that beautiful effect that you can see in the final painting that you saw in the beginning. Or even to make it look like the reference image, you'll have to work in multiple layers. So I've added this color first, You can see how I've left ****** in between from the previous color that I had. So that we can add lighter bits in it. And add any darker bits if necessary. And right below the horizon line, these strokes are going to be a lot more horizontal. And try to keep it as short and thin as you can, so that you can bring in that effect of distance here as well. So that area below the horizon line is further away. That's why these strokes are a lot thinner and the ones at the bottom are going to be thicker. I really like the way this has turned out. Once you're done with this, you are going to get rid of those harsh edges. Now, right now, it looks like you've got a base layer and you've got color over it. Right? It's all b***ded in. To b***d everything in, I'm just going to use my smaller size, flat brush and water. Just water. Nothing else and not a lot of water. So I'm just dipping my brush and water drying off the extra water. Just with my brush, I'm going to brush over the section. I don't want to get rid of this layer entirely. You don't want to get rid of the color that you've already added. But you can see how when I b***d this over, it merges in with the previous color. And then we can lay it over again and add more details to this that will do in the next lesson. 23. Project 5 Part 2 : Middle of the Ocean: All right, so now that we are done with the base layer of the deeper bits or the depth in our ocean, we're going to go on with the third layer in which we are going to add in some more of the darker bits. That is the depth of the ocean. Using the same color that we did previously, you can make it a little bit more darker than before. That is completely okay, but you want to still be slightly on the same color range. You're going to go ahead and add a new bunch of strokes can overlap the previous one and can be a completely new location. And that's why we left a lot of gap in the previous layer. We left a lot of space, right? Because we want to add the second layer of the depth, and then we also want to add lighter bits into our painting. And that's why I left a bunch of space. But again, you can use the same color to kind of overlap the previous brush strokes that you had and then make some new ones if you feel like adding them there as well. To the process almost remains the same in which you're adding darker bits and you are adding it all the way to the horizon line. Keeping in mind that these lines are going to be very uneven, you don't want it to be flat. You can go with like short strokes very light handedly. What I mean by that is you don't want to make very flat strokes. You make flat strokes, they appear to be not in line with the painting and they look really flat to make it look a lot more natural and make it look like the depth of the ocean. You can also observe the reference image here to really see where those depths lie and how they move so that you can capture the essence of it in that same manner. Over here I have added the darker bits and I'm really liking the way this looks. Right? The third layer, you can see how it has added a lot more character into it. And you can really see that unevenness in the background where you have some lighter bits of the turquoise. And then you have some b***ded darker bits that we did in the previous lesson. And then again, obviously, you have this new layer that we have added. Now, the next color that I've made is the same mix, but it has a lot more white in it. Just to lighten the color a little bit. And then using this color, you're going to add it in all those areas that are in between the Sandwich area where you have, let's say, two layers of darker colors and the depth you want to add this color in between. And make sure that you're not entirely covering the background color that you have, but you're layering this in between the darker colors that you've added. I hope this is making sense. I'm going to try and be able to show it to you in a proper manner. Because obviously, since I'm holding my brush perpendicular to the paper, it's very difficult to see these brush stroke through an overhead shot. Just observe this very carefully. Also observe the reference image side by side, where you can really see where the depth and the lights are and how you can show the difference using different colors. Just observe that before you go ahead and make that in your painting. I've gone ahead and added this color entirely in the area which is in between. I'm also making some shorter strokes, some dots, trying to fill up that space as well as I can, honestly, so that there is that difference in the color. If you feel like the color that you made dried down to be a little bit darker than you expected, then you can add some more white to your painting, I mean into your mix. And then add that again as a layer in between the deeper colors. Just so that you bring out the vibrancy of the whiter bits that you are using overall, I'm really liking the way this lurks because the main focus is in the bottom waves, right? We don't really have to work so hard to give it that perfect detailing. It's okay with capturing them in like three to four layers, just so that you can tell, yes, there is movement in the water and you're able to find the difference in them. You can show the water is moving, You've got the depth, you've got the lighter bits, and I really like the way the slicks. I'm going to move on to the next bit. Now for the next bit, we are going to use the same technique that we've done in the previous two class projects like the second and the third one. And that is using the wet on wet technique over here. Instead of using a spray bottle, I am using my flat brush and adding it entirely in the bottom area where I want the waves to be. The basic idea that we're going with is we'll be using three different layers to get the color to look very intense and beautiful and b***ded. Because that's the background on which all the sea foam rests. Right? So you want to keep it in that same manner so I'm going to do exactly that. I've prepared my space where I want the color to be. I'm going with a mix of white and turquoise blue to get a beautiful light shade of color to which I'm also adding a bit of the **** brown, very, very little bit of it. Just to kind of be in line with the color that we are using. I'm going to go ahead and using my flat, I mean, my round brush, I'm going to go ahead and add that on the top. If you also look at the reference image, you can clearly see how that top section is a lot brighter. And then somewhere in the middle you have that deep color because you're really seeing the depth of the ocean in that section and not a lot of the lighter details in it. Then again, at the bottom, you are seeing a bit of light. We want to capture it in that same manner. The middle section is going to have a lot of the darker color and the top and the bottom section is going to have the lighter colors. You can also see how I'm not laying the brush strokes in a very flat manner. In very horizontal or a very vertical manner. It is diagonal, so I want to show that flow of water where the waves are moving up and creating that sea foam detail. For the middle color, I'm mixing a bit of Prussian blue and the indice brown. So very similar to the previous darker color that we used for the details in the middle section. That's the color that I'm using. And I'm using my round brush here again to kind of just add this color in and b***d it with the darker color. So it does not have to be very perfect here. Because this is again, just the first layer. We want to block our colors first, let it dry, and then we'll do this process maybe two times more and intensified a little bit better so you can see how it like almost been able to capture the lighter and the darker parts. Obviously, we can perfect this in a lot better way in the second layer. And I'm trying to also make my brush strokes in that same manner so you can see the flow of water very well and you kind of capture it in that same manner. So overall, I'm really liking the b***d here. I really like the way this looks. I'm going to let this dry and then we'll move on to the next step. All right, so now that this layer has tried completely, it's time for us to apply the second layer to intensify the color using my flat brush and some water. I'm just going to go ahead and layer this and prep my paper so that the colors b***d. When I lay them over, I'm trying and not brushing on the layer a lot because I don't want to reactivate it that much. I'm just trying to very lightly add water on the section so that, you know, your paper is nice and prepped for the second layer. Now we're going to go ahead and add the same colors like we did earlier. So you've got white, you've got turquoise blue, and a bit of the brown color. And you can add more white to kind of make the color lighter. So just keep that in mind. We want that section to be lighter, and as soon as I add the second color or that is a second layer, you can see how the layer has become a lot more intense and a lot more opaque than it did in the first section. That's why I've mentioned this earlier as well. You need to do at least two to three layers for b***ds in gas when you're using the wet on wet technique to get that opacity in and get the colors to be really nice and intensified. I'm using the same brush strokes, the same kind of color, the same kind of motion, and just placing the colors in exactly like that. Even in the reference image, you can see how the color is deeper in the middle and the top and the bottom section is a lot more lighter. I am moving my colors in the same manner and trying to capture a similar kind of effect in my painting. Using my round brush size, round brush. I'm going to go ahead and add the lighter colors first. I really like the way the lighter colors look right now. Switching on to the darker color, which is a mix of Prussian Blue and Nike Brown. A bit of white if needed, but I'm just using the white that I used earlier in the mixes to kind of get the colors to be exactly like that. But if you're mixing something new, please do add a bit of white into your mix. And then using the same brush and a very rough brush stroke, I'm adding the color in. You can see how I want to place it in a way that it looks like it's the deeper part and you're seeing the darker colors in your layer. And also it kind of b***ds in with the lighter colors. You'll just have to kind of move the paint around a little bit to get it to look like that, like it's b***ded in now. Right now, you can see how the lighter color in the darker color just kind of sit separately, right? But that's okay. In the next layer that we'll add, we'll add even lighter shades and create those brush Brooks in a way that it looks a lot more better when we add the sea foam on top. So I've gone ahead and made a deeper color. Just added that in the middle. And then using my brush and a clean brush, actually, I'm just going to b***d it out and make sure that it kind of mixes in with the background color. If you feel like your color is very intense, it's not b***ding out, then all you need is a clean brush. You can lift the paint off and you can also kind of get it to b***d with the other colors. I really like the way this looks. So we're going to let this dry now. All right, so now that this has dried up, you can see how the lighter bits have dried down to be a bit darker. Now our main focus is going to be adding lighter colors and creating a base and a direction for the base on which the sea foam is going to lie. So you don't have just the intense white sea foam, right? You've got those lighter colors. Like a very light blue color as well in the background. And then over it you've got the sea foam and all the details that will come in. You want to work in that same manner. I've wet the surface again. You could see how very lightly I brushed over a bit of water to just sprep my surface. And then using a mix of white and the same color that we used earlier, but this time the shade is a lot lighter. So a lot more white is there in my brush. I'm going to go ahead and add this on the top and the bottom section. This time we're going to be a little bit more careful around the edges. And as I bring it down, I'm kind of creating these shorter strokes. Like right now I'm covering up the section, but as I bring it down, I will start making these little strokes that look like waves. And it's on the same kind of manner in which I make those waves, right? And you want to go ahead and make it in that same flow in which it's that diagonal flow that I want in my painting. I'm trying to create these shorter strokes in that same manner. And that's why using my round brush is a lot more beneficial. Because it allows me to add thicker and shorter strokes or thinner strokes at the same time. That way it really helps. Now it's not like I'm only moving in the top and the bottom portion where the lighter color was. Using the lighter color, I'm creating a bunch of these waves and details in a way on which if I were to add the sea foam, it wouldn't look that awkward. Then I've also added a bit more white to lighten up the top section a little bit more so that it appears to be a little bit more brighter than it looks right now. Then using this color, I'm going to create these waves or details for the sea foam at the base of the sea foam. In the same manner in which the flow where I want to show it like diagonally, that's the same flow in which I am moving this particular section as well. Once you've covered up your top and bottom with the lighter color, you're just going to use this color to add in some extra details so that it's a lot easier for you. When this dries down, it will add a bit of detail into your background on which when you rest the sea foam and all the bright white, titanium white color, it will not look that awkward, like it just rests on a particular layer, but it does not have any details in the background and it's just resting as just another layer. You want to create that connection between all the layers? I really like the way this looks for now, so we're going to let this dry. In the next lesson, we will be adding all the details for our sea foam. 24. Project 5 Part 3 : Middle of the Ocean: All right, so now that we are done with the background layers, you can see how it has created this beautiful movement that we can still see. Now we'll go ahead and add in all the details for the sea foam that are caused by a disturbance on the water. Here I'm mixing my titanium white with a bit of water, so that I get a very nice, creamy, workable consistency. So I can just move my colors around a lot easier. And using this color, we are going to go ahead and start painting this sea foam. So I'm just going to go ahead and make sure that the consistency is really nice and well, and everything's just b***ded together nicely. And I'm going to start off by creating little strokes on the leftmost section. So the way in which I'll focus and move on would be like I started from the left section and just go ahead and create the waves in the same manner that we've done earlier. So nothing really changes here again, just the direction in which they move and flow would change, but the overall process remains the same. I will be putting up the reference image on the left so that you can really see how I am putting that into consideration when I'm making the waves and how I'm flowing and creating the strokes accordingly. From the top you can see how in the left section it flows in that diagonal manner, right? I'm creating those brush strokes in that same manner and they're very fine even in the reference image. Also, you can see how it's combined with not just these random strokes or swiggy lines that you'd call it. But along with that it has the small dots as well, some shorter strokes as well. As you move towards the right, the angle with which it's like slanted decrease. And it almost looks like horizontal strokes, right? Like, especially in the top right section, right half, you'd see the strokes in that manner. So you want to keep into consideration what the strokes look like and how the foam is flowing when you're making this. And that's why I've put the reference image here. You can look at this and follow along. The process. Again, like I mentioned, is the same like we've done in the previous class projects. The only thing that changes here is the flow with which it's going. I'm combining that with starting from the top, bringing it down. Or if I feel like I should start from the bottom and move it up, I can go ahead and do that as well. Remember in the last lesson, in the last part, when I added the final layer with the lighter color, I told you when you add that, it kind of acts as the base. So even in the reference image, you can see how there is that light color beneath all the C foam that we are seeing. Right, So that's exactly what I wanted to capture and that's why I went ahead and did that layer where the white and the lighter blue is on the top. And you can see those strokes b***ding in. And that's exactly why I did it. So when you add the C foam, it does not look very flat, but rather it has like a bag on which it rests. Now that I'm done with bringing it up halfway to my paper, I'm starting off with the strokes on the bottom. And you can see how the flow of the strokes are on the bottom as well. It kind of moves upward from the right. From the left. It goes left from the center, it flows up. And then from the right section it flows towards the left. Almost like joining the direction in which the waves are going. Like the top part, it wants to join that. That's exactly the way in which I'll move with my brush stroke as well. Over here, you're just going to look at the reference image and create these strokes. Like I mentioned earlier, the reason why I've put the reference image on the screen is for you to look at the flow and create it accordingly. Along with your bigger swiggy lines. You are going to go ahead and add in some dots as well, which are going to act as connecting sort of structures and then everything kind of has to flow together, right? So we're going to go ahead and complete this entire process by creating a bunch of these swiggy lines. Now you know there's no better way to describe this, because in nature, this is such an imperfect way of, of something that's like just existing in nature. And it's so imperfect and beautiful at the same time. And also, not two ways would look alike, right? The structure and the way in which the foam would come. It might not look exactly the same. And that's why when you sit down to create this as well, you're just going to look at the picture or the reference image and try and create something that looks similar to it. You don't have to create the exact same brush stroke or the exact same placement of it. But when you create something and you know the flow of it, you want to just move the brush strokes in the same manner like even I'm trying to do. I'm not creating something that's exactly the replica of my reference image. But something that captures that composition. Captures the colors and the essence of the reference image. So you could see from the right side, when I've made the brush troops, I moved it towards the left, right? And as I'm coming down, I'm bringing it all the way down and going all the way till the corner. So trying to capture something that looks like the reference image right now. When your white dries, it might dry down to be a little bit lighter, but that's okay. We will go ahead and add another layer over. Make certain sections pop up even more like even in the reference image. You can see some places have very intense white, whereas the others have a like, a little lighter shade of white. As in like a duller total value of white. To create something like that, when you just layer it over, the background color and the color with which the white dries down, that's enough to intensify it a little bit more or make it a lot more opaque. You can go ahead with a second layer. Now that I've entered the top section, you can see how my brush strokes are going to go ahead and start being a lot more horizontal because that's how the waves are flowing, that's what the flow of water is. And I want to capture it exactly like that. That's why my strokes, you can see how immediately the angle with which they're flowing down has reduced and they turn up looking a little bit more flat. Look at the reference image and capture things according to that. I'm going to leave you here so that you enjoy the process without listening to me talk about every little thing. Because this is a very meditative process where you don't have to go for perfection. You don't have to make something look exactly like the reference image or anything. But just enjoy the process of creating these broken, uneven, swiggly lines. To keep in mind is be very gentle with your brush and just have that put where you know very lightly. If you brush over, you get thinner strokes. If you apply a little bit more, you get a thicker stroke. And along with that, you want to make sure that you're holding your brush perpendicular to the paper so you have a lot more control over your brush stroke. Just a few things to keep in mind. Go ahead and create this and I'll catch you when there's something new to do onto this. 0, 0. All right, so another I've created like the base structure of the sea foam and understood the flow of the sea foam. I'm going to go ahead and add in a few extra details at the bottom just to see if they're nicely connected. A few dots and a few lines. If I could add, I'm going to go ahead and do that just to make sure that my base line is nice and ready before I go ahead and start intensifying the lighter color over it, That is the second layer of white over it to intensify or bring out the opaqueness of the white color. But overall, I'm really liking the way this looks right now. So once you're done and once you're happy with your base layer, you are going to let it dry completely just so that you have a fresh layer to rest over and then move on to the next bit Over here, my painting has completely dried up. You can see how beautiful the white has turned out, but I feel like there are certain sections where I could intensify the color, and that's why I am making a nice creamy consistency of my, uh, my white quash. And using my round brush, I'm just going to tap in some splatters in that area because even in the reference image, you can see there are some splatters in that area. As you notice, as you see in the reference image, you can download it from the project and resources section just in case you're not aware. Or put it up there and you are going to intensify the color depending on where you're seeing a lot more opaque version of the white. Now, it doesn't have to be ex, just saying it again and again, but it doesn't have to be exactly where it is in the reference image. You just have to place it around where you're seeing it in the reference image curve. You remember we had a sketch where you're very evidently seeing a transition between what's at the back or what's in the middle ground and what's in the foreground. You want to make sure that you're layering your strokes properly so that you're covering that sketch a little bit. When you do that partition, that line or where that difference was, it gets covered and you're not really seeing it that well. You can see how all over that sketch, I've layered my white in a way. I've got smaller dots b***ding into the back color, or the backwater section, or the middle ground section. There's just very fine dots. Fine, short strokes creates that b***ded effect into your two different sections that you have in your painting. Now that I'm happy with at least that border line, or at least that sketch that I have, I'm going to go ahead and just intensify the colors in certain sections. Just playing around and adding a second layer over. Now, it doesn't have to be exactly on the previous layer. If you feel like there's somewhere you want to add in some more of the foam, feel free to do that. You have endless possibilities and options to play around with here. I understand that these class projects in this class or this class entirely in general is a little bit more complicated. It is almost like a step up from all the guash classes that I've had in the past where we're working a lot in the details and especially with water paintings and seascapes and waves and oceans. I feel like the more details you add, especially with Guash, the more details you add, the more, you know, beautiful it turns out. And by details I don't mean it has to be very tough, it has to be exactly like the image or whatever. But whenever you are painting and you're adding details, the more details and the more work you put into it, the more patient you are with your painting, the more beautiful it's going to be. And that's like the concept, especially with Gouache. You have to be very patient because you know it's a pay between acrylic and watercolors, right? So you have to work with both properties. You have to know both properties and how it works. There are certain things to figure out when you're painting with Gouache. There is a chance that you might find this class a bit complicated or a bit complex. The class projects are not, I would say easy, but it's not very difficult as well. Just you need to know the right techniques, the right painting principles. You're discovering colors, how to mix these beautiful shades. And once you have that figured out, and you practice this a couple of times, so that's something that's very important. You have to practice the practice lessons. You might have to do it like a couple of times to really understand the way in which the wave looks or the way in which the sea foam flows, or the way in which your brush strokes are supposed to be. It might take a bit of practice. It might take maybe two tries or three tries to do it. But as you go, you will see how you are learning something new every time you're discovering the mistakes that you made in the previous time you tried it. And each time it's going to be an improvement. And that comes from personal experience as well. And you know just like how you are growing in your art journey, I am someone who's growing in my art journey as well. So as I teach and I practice and I discover new things, I am growing and I want the same for you. So I want you to grow as well. So don't be like, yeah, it's so complicated, I don't think I could do it. Give it a try and see what, you know, the whole why is. Now that I'm done with leering the second leer, I've just gone ahead and splattered some dots very lightly. I'm not adding too many, I just want to just lay some splatters just for those fine dots that you can see in the reference image as well. But overall, I'm really happy with the opacity of the color. Some sections look a lot more intense, some sections look a little less intense. And I'm overall really happy with the way it's turning out. Now, honestly, you can take a walk, come back to this with a fresh vision and a fresh eyes, fresh viewpoint. And then look for any details that you could add. And if you don't want to add anything and if you're happy with the way your painting looks, then you can stop. I've also said this in the past, and I'm going to say it again. There is a very fine line between adding details and overworking on your painting. So this is something that you'll have to teach yourself that, hey, stop, it's enough. We all have to practice and learn how to do that. Honestly, you could go on and on a painting and not be able to stop, but I'm going to stop right here. I really like the way this looks. Letting it dry and then peeling the tape off. Make sure that you're pulling your tape away from your paper so that you're not tearing anything, your sides are not tearing. And you get those clear, beautiful edges. And you can see how now that I have this white border around it, everything looks so beautiful. Here's a closer look at our painting. You can see how beautiful that flow of water is, the flow of the sea foam is, and in the middle, you can see the movement in the water. In the background, you can see the clouds and the mountains. Overall, I love this plus project so much. We're going to stop right here and here's a sneak peak of what's coming in the next one. 25. Project 6 Part 1 : Crashing Waves: Hello and welcome to your sixth class project. Here's what we're painting today. Let us talk about all the colors first, here I have Prussian blue. Next on my palette, I'll keep some turquoise blue. Next, I'm going to keep a little bit of red, not a lot. This is primary red, I have di brown. Next I have jet black color. Lastly, on my palette, I'll keep titanium white for all the lighter details. These are going to be the colors and this is your final painting. Let us get started with the sketching process. I've taped down my paper on all four sides and taken the colors out on my palette. So I have white brown, I've got black blue, and the Prussian blue, turquoise, blue. All those colors. Ready? Let us begin with the sketch. On the left is the reference image that we're getting inspired from and you can clearly see how there are two different things to work with. Right in the background, you've got a bit of the sky portion. I'm sketching that out. You can see how the horizon line is really up right now because we're not taking a lot of the sky portion into consideration. Right below that we see a part of the ocean. It's in the background. It's b***ded into the same background, but we're also seeing the crashing wave in focus. We're just going to sketch that first. Now, before you go ahead and bring into account all the splatters and all the water going everywhere into account, you want to focus more on those definite shapes that you're seeing, the splatters. And that shape entirely can be changed, can be worked on later. But you have to place in that curve so you can see how I'm placing in that curve. How the wave curves in and falls and all the whiter details are there. Below that you have all those beautiful shades of blue. And behind that at one part you can also see the wave that has crashed behind it, right? So the lot of white details are there. A lot of slight blue is there, but it's almost white in that particular section. And that's going to be, let's say, a middle ground. And in the foreground, in focus, we have the beautiful crashing wave, the sea foam that you see in all the whiter details. And you can see how they are going in flow with the curve, right? The colors are also b***ded in the flow. This is very similar to the fourth exercise lesson that we did. So if you've done that lesson, this project is going to be very easy for you to follow along. It's an exact replica of the practice lesson, but with a little bit more detail. Let's start with the painting process. So the first thing that I'm going to paint is the sky. And the sky colors are very simple. There is a hint of purple if you really look at the reference image carefully. So I'm mixing Prussian blue with a little bit of black to get this deeper shade. And then to that I'm adding a bit of white and you can see how the color has turned into this blue gray color. I would say it's not entirely that purple shade that you need for that. I'm adding a bit of red on my palette, which I forgot to add earlier. I'm just adding that in very little. We're not using a lot of red, so you don't really have to take a lot of it out on the palette. As soon as I add that in, you can see how the color has changed into that beautiful purple shade. It also has a mix of blue in it and white and black in it. This is the color that we get. You can make a mix around the same particular shade. You don't have to get the exact color. If you are somewhere close, you can achieve that as well. Next, I've added a bit more white into it. And here's the shade that I get, just a slightly lighter color. And then I'm going to add that in and b***d everything out. I'm trying to keep the b***d as simple as possible, not trying to do a lot of G radiation and the graded wash and things like that. I'm trying to keep it all a single color or slightly light at the bottom and I'm also making sure that I'm very careful around the horizon line. I'm going to keep it plain and flat here. I'm done with the sky portion, it was that easy. Once that dries, we'll focus on the water bit that you see in the background. Now for that you can see how there isn't a lot of detailing in that, right? I'm mixing a bit of black and blue into the same mix that I've used earlier for the sky. Then I'm also going to add in a bit of red in it to make that purple color that we used earlier. But this time we want to use a slightly darker color. The quantity of white that I add will be very, very little, just from what's remaining from the previous b***d that I had. And using my flat brush, I'm just going to add that in carefully around the horizon line, just ensuring that the line is nice and intact and straight. Once I'm done with that, I'm going to focus with my brush in this vertical motion and vertical way in which I make the brush stroke so that I first cover up the entire section. So you want to cover the era that you sketched out, even the right side section, right side corner. And you can see how everything rests flat, right to my color. I'm adding a bit of black in it. And I'm going to start making those vertical strokes for the depth in the ocean. I don't have to make it entirely very perfect because it's in the background, you're not seeing a lot of the details from that. And also a major portion of it gets covered when you add the sea foam on top. So I've made a bunch of strokes just to give it that unevenness and once that dries, it dried up like this. I just added a few more details with my round brush before it was drying, so it ended up looking like this. But just with your round brush or flat brush, you can add the same darker color in. And then you'll be able to achieve a b***d like this once it dries. Next I'm going to mix my turquoise blue with a bit of white and a bit of the brown color, and this is the color that I get. I've also added a bit of Prussian blue in it. And using this color, I'm going to go ahead and add that in the background of the crashing wave. And by that I mean the one on the right side on which the crashing wave rests and is in focus. Now you don't have to be really careful around the curve that you're seeing as in the crashing curve that you're seeing. Because that shape can be rectified later. You can just leave a bit of space like I've left here for us to work on later. I also added a lighter color and b***ded it out with the darker color that I had because I felt like that blue was a little too deep. So I went ahead and added a lot of white into the mix so that it's easier for me to rest the splatter on it later on. I'm also making sure that I am very careful around the edges. I'm going to let this dry and see how the color is. All right. So now that this color has dried up, I feel like it is a bit too blue and it's kind of not matching with the aesthetic of the background. So I'm adding a bit of the darker blue that I used earlier into my same blue that I used in just to kind of get the colors to match with one another. And then using a lighter shade, which is just mixed with white into that same shade range, I am going to add white and just fill up that entire section and b***d it out so that the color is not that blue, but it still has that tinge of gray blue color that matches with the overall feel of the painting. And it's not just like entirely different from the colors that we're using elsewhere. I'm just going to go ahead and b***d everything in, make sure that you're b***ding it with the flow of the water. And by that I mean you're curving it in as the waves flow. Just so that you have that seamless transition between the colors. And it does not look very different. And all over the place I feel like still it's a bit darker. So I'm adding a lot more white into that section and just filling it in with the dots and this will act as the background for us on which we will rest all the splatters on. That's why I felt like adding a lot more white into that section would be a lot helpful for us later on when we add the splatters on it. But overall, I'm really liking the way this is looking and I'm just going to make sure that that b***d on the top is nice and perfect. Once we're done with that, we are done with this section. While that dries, because I feel like that extreme corner would have dried by now because gh dries a lot quicker. We are going to focus on painting the background for the crashing wave. I'm going to switch to my size ten flat brush, which gives me a lot more control over my brush strokes. So here I'm mixing turquoise blue with a bit of Prussian blue. And the brown color that is my in ****, brown color. To get a shade that looks something like this. To which I've added a bit of my white paint in it. And this is going to be your first layer, so you don't really have to focus on perfection here, but focus on blocking in the colors. I'm going to reach that on top until where the white part of the wave is going to start later on, so you don't have to go entirely into the white. But below that you just determine that sketch as you see in the reference image. Next I'm going with a mix of the darker color, which is my Prussian blue black. A bit of white, and I think there was a bit of red. But I've not added anything else. It just remains there. This is the color that I have. You could also add a bit of brown into the same mix, but very, very lightly. And I'm going to add that in and b***d it with the layer that I just laid out so that everything b***ds into one another. And you can see how the consistency of the paint is quite thin, right? It's not very thick. The way in which I'm b***ding is going along the flow of the wave. You want to keep that curve going and you want to make sure that it's not ending up looking flat. Next, I've mixed black and the Prussian blue together to get this really deep shade, which I'll be using in the bottommost section. Again, I'm going to go ahead and use this color and b***d it in with the previous layer. And you can also bring in some strokes of the darker color into the medium shade that we used so that it doesn't look like all the colors rest one after the other, but they look b***ded with one another. Right? And you want to keep that b***d in going and not make it look like it just next to each other. And then you can see how I'm using my flatter part of the brush and then sometimes the thinner part of my flat brush to create that b***d along the flow of the wave. This part that we're doing is very similar to the fourth exercise lesson. In case you've not done that, I would suggest that you go ahead and just look at it once. Try it out for yourself and see how you feel so that it's easier for you to follow this along. I felt like I wanted to lighten the color a little bit on the right side of the wave. So I added turquoise blue into the same darker mix that I had with a bit of white. So I'm just kind of using all the colors that I've used early and mixing them with one another to create different variations in tonal values of the color. So you don't have to end up mixing different shades each time. But into the same kind of, well, you're mixing a bunch of different shades of blue. I've just blocked in all the colors. You can see how some strokes are in the darker section and darker strokes are in the lighter section and some lighter strokes are in the darker section. You want to have that b***d? I've also added the same lighter blue that I use in the right more section and added that into the background wave that's crashed. I just felt like I wanted to add that in with a lot more white to brighten up that section a little bit more so that you can see a clear difference between the background wave and the wave that rests in front and is in focus in the front. I'm just going to go ahead and b***d all the edges out, make sure that the b***d looks nice and seamless. And once we're done with that, we're done blocking the colors. So we are going to let everything dry before we move on to the next layer. All right, so none of the section has dried. It's time for us to layer again. That is, add the second layer to make everything very nice and opaque. So I'm mixing my shade. I've added a bit of Prussian blue, the turquoise blue color, along with some brown and white to get a color that's very similar to the one that we applied earlier. Just the only thing here is that this one's slightly darker. So here's a swatch of the color that I have. You can see how this one is a bit darker. Right. And I'm adding that in the first lighter part of the ocean or where the curve is or where the crashing wave is. So I'm just going to add that in. Then we're also going to create a darker color, which is a mix of Prussian blue and the brown color together. This color I'll used and add a few little strokes in between them so that when I b***d these using my round brush, I can just create that sense of light and dark together. Because I told you like it will not rest next to one another but rather be like a b***d. You'll be seeing a bit of the darker color in the lighter color. A bit of the lighter color in the darker color. So you want to b***d it in that same manner. Over here, I'm using my round brush to add in some more of the strokes. And then using a clean brush, I can also load up a little bit of the lighter shade and b***d everything in together so that, you know, the lines are not that harsh. We're just repeating the process again and get everything to be nice and opaque. I've also added the lighter color into the darker bits as well. As you can see, I'm b***ding the darker strokes in with my round brush. Now I'm going back to adding some more strokes of the darker color in the lighter one just to create that effect. That curve in my ocean where it doesn't look like all the colors are just resting flat. Right, I've just added that in. You'll keep going back and forth until you're very happy with the b***d. I really like the b***d on this particular section, but I'm going to get the darker color in so that I can add that in the remaining bits, I'm using a mix of my Prussian blue and black, and that's going to be my darkest color. I'm going to go ahead and add that in the remaining bits where the darker color is going to be, even in the reference image, you can see how that section appears to be very dark, then the one on the right of the crashing wave appears to be very light. I'm just going to capture the colors in that same manner. Remember when I told you that the colors won't rest next to one another? Because if it does, then it ends up looking something like this, where it looks very flat. You have to b***d them together. You have to get the darker bits in, the lighter bits, and the lighter bits into the darker bits. You just have to b***d everything in together. I'm going to focus on that and I will constantly move in the curved manner. I'm flowing with the structure of the crashing wave, which is like going inward and it's going to crash. You're going to go ahead and just use flat brush or even your round brush for this to use a combination of it. Wherever you want thinner details like I'm adding here, I'm using my round brush because it gives me a more precise effect. But if you want to cover a larger area or if you want to b***d them together, you can use flat brush just to get everything to be nice and seamless. Again, you can see how I'm going back with my flat brush to b***d everything in. That's how you are going to work with this particular layer. You can clearly see how with the second layer, everything looks a lot more opaque. There are a lot of details left to add to this. This is just like the base of all the details that are yet to come on the crashing wave. But overall, you can see how this has made such a difference for us because it's going to be a lot easier for us to add the details and you can clearly tell the lighter and the darker parts of the crashing wave how it appears to be. I'm really happy with the way this is looking. I'm just going to make a few more finishing touches, and once I'm done with this, I'm going to let this dry completely. In the next lesson, we'll be adding all the details to our crashing wave. 26. Project 6 Part 2 : Crashing Waves: All right, so now that this layer has completely dried up, it's time for us to start adding details onto them. Trying to get in some more layers in and to bring out the colors a lot more. Here I'm mixing my Prussian blue with brown and a lot more of the white color, and you can see how the shade is a lot lighter. I've also added a bit of turquoise blue into the mix. But let me just watch the color out for you so that you can see what the shade exactly is. We're going to follow the same kind of rules that we've learned in our exercise lesson. Maybe I might be adding a bit more details into it. But the overall structure, the overall idea remains the same. Now the thing that I'm going to do here is I'm going to add in some strokes in that same curved manner. Because I want to add in some lighter bits into my painting. Right now, everything is like one single layer, right? But I want some lighter bits to stand out a lot more. So I'm going to create that effect first using my brush. I'm just going to go ahead and create a bunch of strokes. Some shorter, some a continuous one, but almost on a, create that same sort of effect, the same sort of wave effect that we can see. And adding this basically will ensure that you get the lighter colors in. Now if you look very carefully here, the stroke that I'm adding almost looks like it's resting on top of my previous layer, right. There is no b***d to it. And this might look weird because it's not sort, you know, mixed in b***ded. And it just looks like it's something on top of the previous layer. So don't worry about that right now. We are going to focus more on creating these strokes First, you can see have added a lot more concentrated version of these strokes. Obviously, I've left enough space in between through which you can see the previous layer. But still the strokes here are a lot more closer to one another, right? They are like close knit, lighter shades together. So I've added that in on the right side of my crashing wave. And I'm going to add in some more on the right side. But they're going to be a lot, a lot less in number as compared to the ones on the right side of my crashing wave. Because on the left side I want to just add a hint of the lighter color, just just tiny hints of the lighter color. And remember you have to flow with the direction in which the wave is crashing. So even if it was in the other way around, it looked different. Then also you'll be following the same kind of structure, where you want to flow with the wave, you want to flow with the direction in which it's going. So that effect that you're going to bring in of the lighter and the darker colors in looks beautiful and seamless. On the left, you can see how the strokes are a lot less on the right side, a lot more concentrated, a lot more closer obviously. You can see it looks a lot messy here because they're all just laying on top of the previous color and it does not look like it has had a good time b***ding in. But go ahead and add that in, because the next thing that we're going to do is create like a mix of the color. And we're going to b***d it with our flat brush. Now before we go ahead and do that, I just felt like I wanted to add in some more darker colors in between as well, before I went ahead and b***ded everything in. It's just a mix of my black color and my Prussian blue color. Just slightly. I'm adding a few strokes in just a few wherever I felt like it could use a little bit of the darker color. I've gone ahead and added that in very little amount as compared to the previous color or the lighter color that we have laid down. But overall, looks good. I feel like we are ready to b***d everything in using my flat brush and just a clean brush with a little bit of water. I'm just going to re, wet the surface and b***d it out. Now, over here, you have to be a little bit careful because you don't want to go back and forth, back and forth with the same brush. You want to b***d everything. Then you want to clean your brush, then dry off the extra water, and then go back again. You can go like maybe once or twice over the same thing to b***d it out nicely, but try to avoid going more than at least two or three times over the same section. Because if you do that, then you end up b***ding everything in. We still want to preserve that strokes that we've had. We just want the layers to kind of b***d into one another. And if you feel like you could add some more extra color, extra darker colors, go ahead and do that. But overall, I feel like I'm really happy with the way this looks. And in the next part, once it dries, we'll add in some whiter details. All right, so now that the section has dried up, you can see the reference image on the left. Obviously the colors are a bit different. I wanted to achieve this with a different kind of color palette without having a lot of that aqua green color. So that's why the colors look different. But the structure, we're going to try and keep it in that same manner, or get inspired from it and create our own. The color of white that I have is not entirely white, I would say it is white with a very, very tiny hint of blue in it. But of course, again, very close to white. And you're going to go ahead and create those white sea foam bits on the water as you're seeing on the left side. You're going to create it again in that same manner in which the wave flows. We've done this in the exercise lessons. If you've done that, it's going to be a lot easier for you to follow along. You're just looking at the reference image really and following the way in which the foam is flowing. So you want to look at it and see, okay, I've got some on the left then it goes up, so I'm going to add that in. On the right side, there's a lot, I mean, a lot more of the lighter bits which is under the wave. On the left side, we've got a lot more of the foam areas, right? We've got a lot more of the white color in. So you're going to place that very similar to what your reference image is and the way in which it's flowing. So you're going to look at the reference image and add that in. With short strokes, you can make some, you can make some dots as well and try to, trying to keep them connected. So the way in which it flows is very similar to the ones that you've learned in the past. The only thing that really changes is the way in which it's laid out and the way in which the structure is. So that's almost like the only thing that changes. So right now I'm just going to go ahead and add that in all over and then we'll add in some extra details next to it. Once I'm done with all the smaller bits on the right side, I'm focusing more on the bigger ones and a lot more concentrated ones on the center and the left side of the painting. And you can see how it's flowing, right? You can see how the sea foam kind of goes with the direction in which the crashing wave is going to come. There is really no different direction to it. You have to follow the direction in which the waves flow to bring in that natural kind of curve format that there is. And there's nothing changing here. And everything is kind of just, it's like a puzzle, it just fits together. And then you have your overall picture. You always have to make sure that you are going with the flow. Especially with water going with the flow in which the water is going. So the sea foam is also going to flow along with that. That is something that you have to keep in mind. It might be different for a lot of different types of landscapes, but with oceans and waves, I feel like the background that you create is like the direction in which you know the sea foam is going to go and the direction in which you know how everything flows. So I'm just going to go ahead and add all these whiter details. I'm going to skip some parts because it's a very repetitive process and by now I'm pretty sure that you are used to what you're supposed to do. I might just cut some clips off so that we can get over with this painting a bit quicker. You can pause here and just have a look at the way in which I've laid it out. I've created a lighter color because I want to add in some lighter strokes on along with the white that I've had. So I'm just going to go ahead and create these strokes in the same manner that I'm laying the white color. Remember the way in which I'm laying the white is going to be the same way in which I lay this lighter color as well. So that everything that all the other layers over here are going to be in the same format, They're going to be in the same layer. And it does not look awkward because we've got the whiter bits and then we've got the light colors in as well. And then over which we will lay some more extra white colors, Some more strokes, and then fit everything together. This light color that I have is going to be more concentrated on the right side of the wave, so you can see where the lighter bits are. As I'll move towards the darker colors, I will use a little bit more of the Prussian blue and black into the same mix that I get a color which is closer to the background of that particular site. On the left, you've got a darker shade, right? So I'm mixing a bit of Prussian Blue and Nike brown and black together into the same puddle so that I have a darker shade. And again, I'm going to use that same strokes to create those lines. And to create darker, or I would say slightly lighter bits on the darker width. But overall, here's what the entire section looks like. So you can just go ahead and pause right here and see what I've done and then follow me along for the next bits. I've gone ahead with the darker color, added some in the lighter side as well. I feel like I've had way too many light color, darker color that it might be a bit confusing. But I hope you're able to follow me along. I understand it can be a bit complicated with all these different shades, but overall, this pause, have a look, and then it'll be a lot easier to follow me along. Now that I'm done with all the lighter bits and darker bits that I was talking about, we are going to go ahead and start adding the white foam foam bits again. I'll put the reference image again on the painting on the video on the left. You can download it for yourself from the Reference and resources section on Skillshare. You'll have to use a laptop to download that. I think so. I hope you are downloading the reference images that you can see it for yourself and analyze the details on your own as well. I've gone ahead and added some more white. That is the foam color. You can see how it was a lot more concentrated on the left side. So you can see how all the white bits that I add on the left side are connected to one another and they are flowing with the wave. So you're just going to add the details on top. It might appear or sound a bit complicated right now, but I feel like if you have followed the practice lesson, it will be a lot more easier for you to make this. We're using the same format. If you want to remove some details from this, feel free to do that as well. There is no compulsion, I would say, to create it in this exact manner. Feel free to just switch things up a bit. I've also gone ahead with a lighter blue and I've added some strokes of the foam structure and the way in which the wave moves using that color. But overall, I feel like I'm done and I'm not going to overwork this section, so I'm going to stop right here, let this dry, and in the next lesson, we will be focusing on all the splatters and the whiter details. 27. Project 6 Part 3 : Crashing Waves: All white. In this lesson, we are going to focus more on the details of the foam of the crashing wave. And along with that, all the platters and details that we need to add on my palette, I've made a b***d of white with a tiny amount of blue in it. And ensure that the consistency of my paint is nice and thick so that when I lay it, it's a lot more opaque and it does not get lighter. That's the basic idea that I'm going with when you're laying this. Now's the time to determine the shape of the way in which the crashing wave looks. I'm not entirely going with the shape of the, the foam on the top, just like the reference image, but instead I'm going with something that I felt like doing in the moment. But if you feel like you want to follow the reference image, then please feel free to do that as well. And the only thing that you'll have to keep in mind is the kind of technique or the way in which we're going to approach it. And then you can obviously use it in whatever way you want. I am just going with the basic structure first. I'm not going with the entire structure. Keep that in mind. Just the base structure for the section because we are yet to do that little right corner that has a lot of those flatter details. We are yet to do that, and that's why I'm not doing this wave entirely, but just determining the shape of F and the way in which it will flow. Once you have everything together, you're going to go ahead with your brush. Add that in. Determine the shape of fed, the way in which you want it to flow. Obviously, you can add in a lot more details later when the platters come into play and all those finer water droplets going everywhere. Like I said, it's something that you can determine later. But right now you focus more on the basic shape of your sea foam structure. I really like the way the swan's looking right now. Obviously it looks incomplete, so it looks funny. But give it time, it's going to look a lot better. Once we have all the details in, I'm going to let this dry. Once that's dry, I've placed three papers on the site, just focusing on the right corner where the light blue color is. We are going to go ahead with a bunch of white paint. I'm going to use my brush and just platter some in the background so that I get these thicker droplet details. But obviously that's not going to suffice for the entire section. I'm going to switch to my tooth brush technique to fill in that entire section. I've just added some droplets first just to give it a base for it to rest on. And I'm going ahead with my toothbrush again and I'm going to make a nice mix first on my pallet, because we need a good amount of paint to do this. I felt like my paint was over on my part, so I've added some more paint. But overall, I'm just going to go ahead and start creating these platters using my toothbrush everywhere. Concentrating on that particular section. Now over here, I'm not using a moving paper because it's only a very small area that I have to have. But I will again, move it slightly in my last toothbrush motion that I add, so that there are some splatters that go everywhere as well, and it does not look like it's entirely concentrated, that little trapezium shape that you're seeing. Make sure that you are keeping that in mind. Whatever splatters you have that have entered the crashing wave section, you can easily b***d it out. I felt like some of it entered that section. That's okay. You can completely b***d it out and fix it. Once you are done adding the splatters, I'm going to go ahead and remove all the paper because I'm done with the splatters and you can clearly see how we've got that trapezium shape. I went ahead and fixed that using my b***ding technique. That is just use of wet brush to b***d everything out. Just with my round brush, I'm going to go ahead and put everything in place because you can clearly see how the wave, the crashing wave b***ds in with the background. Right, I'm going to let it dry first. Now that the section has dried, I'm going to go ahead and add in some shadows into the wave so that you can clearly see the difference between the crashing wave and the color from the back. The middle section that you could see. I'm just going to add in some shadows. This shadow is going to be a almost on the bottom where the wave is. You can see me how I'm adding it at the bottom. Then obviously you can b***d it out. It doesn't have to look like a line to b***d it out. I'm using a bit of white paint and then pushing it upwards like that, it b***ds in slightly. Then again, this white color had a bit of blue in it. That's why it b***ds in a lot better. So you can see how I've added the shadows. Using the shadow effect really helps determine the crashing wave and it just does not look. Very flat because you've got a bunch of layers in and you can clearly tell, okay, this is where it ends. This is how it looks. This one is not resting or b***ding it with the background that you have. You just have to place it in that manner. So I'm just going to go ahead and add in some more shadows in between as well. Just to add in more details into it. And if you ever feel like you've added too many, you can always go ahead with just white and b***d everything out. You don't have to go overboard with the shadows. You're just going to add a few strokes and once you're done with that, you are going to let it completely dry. Then in the next part we will add in more whiter details. All right, so now that this section has right completely, it's time for us to go ahead and start adding more whiter details on it. This time being a little bit more careful with the brush strokes and ensuring that we are getting the shape in which we want this to flow, right? So I'm going to be very slow with the way in which I add this. Unlike the previous time I added it, because I just wanted to create the base over here. I'm going to be a little bit more careful. Add in some more dots, some taps. You can see how I'm holding my brush penco to the paper, which gives me more control over using just the tip of my brush for the details. So you're going to go ahead and add this entirely on your crashing wave. One thing to keep in mind is make sure that you are not going over the shadow that you have created. Because obviously if you add a layer over it, it will kind of, you know, cover that you want to make sure that you are keeping a bit of those shadows that you worked so hard for adding in there so that it does not get covered entirely. And you're just going to rest this in little taps over the previous layer. So you're not entirely covering the previous layer, you're just adding to it. So this is something that you should keep in mind so that you're not going over with this lighter color all over the place. Because these plates will end up covering, you know, a major portion of it with the brush. You don't have to really cover every single detail. So you can see how I've added some of those taps like really in the air as well as just little dots just to show like the bigger plates that will come in once we use the toothbrush to create those fine ones. Obviously, we can add in onto that kind of later as well when we are adding our final details and just like the final details into the painting. So we can do that then as well. But right now I'm just adding a few taps to kind of bring out the opaquity and add in a lighter color. You can see how I haven't covered the shadow bits that we added. Right. I have left them in there so that you have a b***d of both these colors together. I'm kind of almost done with this particular shade. And then we will add in some more extra details for the bottom portion, for the sea foam in the bottom because I felt like it could use some more white color. But right now I am focusing more on the plateaus that are on the top. All right. So I really like the way this looks. So what I'm going to do is I am going to leave it right here and not overwork this section and let it dry. And while that is drying and, you know, in the process, because it's a very nice and thick layer, it might take a few extra minutes. While that is happening, I'm going to go ahead and bring out the opacity of the foam on the bottom a little bit more. Like I mentioned earlier, when you add in two layers of white, that color pops up a lot more. Right, so that is exactly what I'm going for here as well. I am adding some extra sort of layer to the one that's already existing so that the white overpowers and becomes a little bit more opaque, stands out. And this is that pop of color that we could bring out into our sea foam. The strokes that I'm adding now, that is the brush strokes that are adding now are going to rest over the ones that you've already laid. So you're not adding entirely new brush strokes, you're just adding onto the ones that were existing. You could add a few more like on your own as well. You could add a couple of them around the ones that are already laying. If you feel like, okay, this could use a little bit more of a few more details, you can add that, but you want to focus entirely on the ones that are already existing in case you want to change certain things, you are free to do so as well. Right now we've got a lot of the wider details in the bottom as well. Just like how it does in the reference image as well. It has a lot of the foam details. Right, That's exactly what we're doing here as well. I really like the way this is turning out. Once I'm done with the details in this section, I am going to let this dry and make sure that everything is dried up before we go ahead and start adding the platters. All right, So I really like the way this looks. I'm going to leave it here, let it dry, and then we add the splatters. All right, so now what I'm going to do is take my toothbrush and start adding splatters. Make sure that you have a good amount of paint on your palette so that you can keep loading it up. I've added a paper on top and then I have a moving paper just like how we've done in the past. And you're going to concentrate most of the splatters on the whiter bits, on the sea foam bits. And you are going to move your paper in a way so that you're not getting these splatters everywhere. And that's why this moving paper plays a very important role, especially when you're creating something like this. Because you have a lot more control over how you want them to flow. Then again, it does not always mean that it's concentrated in that particular section itself, but it flows along with the way in which the shape is. Make sure that you have one paper on the ground so that you're not getting the splatters everywhere on the things that are in the back. Then again, one that moves so that you're not getting everything on the bottom sections as well. You're trying to concentrate everything in the way the waves flow. So I'm going to go ahead and just add these splatters everywhere. So the first thing that we'll do is add the splatters. So these are very fine splatters, right? You can see how they are very fine, very minute. Again, they are not going everywhere. After once we're done with that, we will add in some extra ones just to add in some bigger droplets or bigger water bits using a round brush. That will give us a lot more detail and a lot more structure to it. And it just does not look like all fine water droplets and water foam in the air. So I'm going to use my round brush here and start adding a few extra dots. And you can clearly see how there is a difference in the dots, right? The ones with the toothbrush are very fine and the one with the round brush are going to be a bit more bigger. And you're kind of adding a few extra structure and you're kind of adding a bit of flu in it. So you're just adding a few extra dots. Remember it is taps, it is dots. And you can also change the structure very slightly here with your brush, you can add a lot more of the obesity using just white. So that section stands out a little bit more. But overall, you know, adding your white with the round brush is just going to add in some extra details. Before you are kind of done with it, just take a look if you feel like you want to add in some extra details you are going to do. But I am happy with this. So I'm just going to let everything dry now that everything has dried up. I'm going to peel the tape off. Make sure that you're peeling the tape away from the paper so that you're not tearing a beautiful painting. A lot of times students have this problem that the tape of tears off the paper. So be very gentle and slow with the process and make sure that you are peeling away from the paper. This is your final painting. I really love how the colors are, the splatters, the details, everything is just spectacular. I really love the whole technique that is involved in creating something like this. It's almost like a puzzle coming together. I hope you enjoyed painting this. Here is a sneak peek of what's your last project going to be. 28. Project 7 Part 1 : By the Beach: Hello and welcome to your last and final class project of this class. Here's what we're painting today. Let us talk about the colors. I will keep Prussian blue, cobalt turquoise, light. I will also keep yellow occur, **** brown. Next I'll have jet black. And lastly on my palette I'll keep titanium white. So these are going to be the colors that I'll keep with me and have different tonal values as we start painting. I've taped on my paper on all four sides here, as you can see, using my masking tape. And I've caught all the colors on my palette. I've caught white, cobalt, turquoise, Prussian blue, black, and the browns separately, so that everyone has their designated location and they don't end up getting mixed together. So the first thing that we're going to do here is sketch everything out based on our reference image. If you closely analyze the reference image, you can see how we've got three different sections to work with. We've got this very evident turquoise or a light turquoise color, right? So we're going to sketch that exact line out where there is that difference, right? So I'm going to sketch that out as I see, so it doesn't have to be entirely perfect, but you're kind of going to capture it in that same way, leaving that same space on top. In the background where you see that deep blue color, you can clearly see one set of wave that's kind of building on. So you've cut the whiter details on top, so I'm sketching that out. And then all those bigger waves or wherever you're seeing that great depth, the greater darker color, I'm just going to roughly sketch that out. It does not make a lot of difference because we'll be adding them as we go. But overall, that's the basic idea. Now at the bottom we've got this clear partition where you're able to see the sand, right? So this is probably like a very, very close up of the crashing wave that's coming at the shore. And that's why you're seeing a lot more larger details, right? Like the sea foam looks really huge and it's covering up a lot of space. And clearly you're seeing a great separation between the sand, the turquoise color, and also the background, which is the darker blue color. So you basically have three different sections to work with. And I'm not going to sketch out all the details for the foam because you end up covering everything up when you have the background. But clearly you need to have three different sections to work with. The first section that we're going to work with is the background, which is the darker blue color. For that, I'm going to mix my Prussian blue color along with a bit of white color. So you can see how this is the color that I get. The consistency is not too thick. I would say it's quite towards the lighter consistency or a thinner consistency to this color. I'll also add a bit of black to get that indigo looking shade. And obviously, I'm going to keep it lighter because I want to add a darker shade on top for the darker details in my painting. This is the color that I have mixed using this color. I'm basically going to cover this entire section using my flat brush. I'm using ten flat brush here. You could also use a size 18 flat brush or a bigger size flat brush, whatever you have. The basic idea is to cover the entire section using this particular color. You have to be careful around the sketch that you've made because you don't want to enter that particular area. So make sure that you are very careful around that section and just ensuring that you're not going beyond your sketch. That's the only thing that keep in mind. But other than that, you also don't have to keep into account that you want your layer or the background layer to be very flat. It has to be uneven like we've done in the past. We haven't made everything very flat, right? We have left a little bit of lights and darks in there. Next, I'm mixing a little bit of Prussian blue and black together using my round brush. And I'm not letting my background dry entirely because I don't want it to dry entirely. I want to add the darker bits or the depths of my ocean using the wet surface itself, using my round brush. I'm going to go ahead and just clearly mark that one wave that was still forming. First you can see how my paint or the background is not very wet. I wouldn't call it very wet. So the colors are not kind of b***ding all over the place and they kind of just stay there. But you want to make sure that you're doing this while the paint is still wet so that still, whatever you're able to b***d out, it's still there. And you are able to get the colors to kind of b***d into one another. And if you feel like your surface is drying, you can always add a little bit of water and spread it out so that it's easier for you to add the darker colors. Now you're going to look at the reference image and add the darker bits wherever you feel like it. The most evident one is that long one which goes. Really across from one side to the other. And the other ones that you add are really just smaller bits. And this is just the first layer, right? So even if you are not perfecting the section, and you don't have to perfect it, but if you're not happy with it entirely, you can always add some more when you do the second layer. So we will be doing two layers for this section to really capture the deeper parts of the water that we're seeing in the background. Along with the larger strokes or the larger brush strokes that I've made in the background. As you approach the bottom sketch where you have that clear partition, you want to make smaller strokes and a little bit of a thinner stroke so that you are also adding a combination of different strokes. It's not just big strokes, you've got smaller strokes, you've got some larger ones, some broken ones. And again, make sure that you're not making it entirely flat, but rather you're pressing on your brush and then releasing it very lightly to create that b***d out effect. Now you're going to let this dry first. This is what it looks once it has dried completely. But remember how I told you we will be working in two layers and that's exactly what we're going to do. I'm going to re wet the surface using a bigger flat brush. The idea behind using a bigger flat brush here is that you're able to cover a larger surface, you know, with a single brush without having to go back and forth many times. You don't want to go many times over the same layer because it might move the colors around. Since it is very similar to water colors. Right? You can easily reactivate with water. You don't want to go over the same section again. And again, I'm mixing a little bit more of my Prussian blue and indigo color. This time a slightly thicker consistency. It's not entirely thick, but it's just slightly thicker. And I'm going to go ahead and again add the darker colors in this time, you can add in some few extra strokes than you did last time. Go over some areas that you left last time and those areas that you're going to go over which are empty in between the ones that you have, try and make very thin strokes. It just adds into it without having very prominent brush strokes. And it just adds that depth effect which will really help you guide as you go over in the next layer where you're adding the lighter color over it or adding more highlights over it. I'm going to go ahead and add in some waves, really just looking at the reference image and adding some of them from the reference image. That is some I'm just going with the flow and adding however I feel like it. At the end of the day, you want to have some depth into your ocean and that's exactly what we are capturing. It doesn't have to always look entirely like the reference image itself. Here's what this second layer looks like, So I'm going to let this completely dry first. Now that this layer has tried completely, it's time for us to add in some lighter bits, and if needed, add in some extra darker bits. So I'm going to create a mix of Prussian blue, white, and black. It's basically the same mix that we've used earlier. The only thing that's going to change is the quantity of white and obviously a very tiny amount of black. Here's the color, the swatch of the shade. And we're going to go ahead and use a round brush for it. The consistency is towards the thicker side, I would say, I wouldn't say entirely thicker, but again, the creamier side where if I were to lay the stroke on top, it will be and it will appear nice and creamy. The basic idea that I'm going with now is whatever space you see that is in between your darker color that you've added in your ocean. You want to add a bunch of strokes in between as lighter colors. And you're not entirely supposed to cover all the space. You want to leave a little bit of the background color peeping through, but you're going to follow the path in which you are seeing the background layers and you want to preserve the darker colors. The basic idea is to proceed in multiple layers, especially for the section because if you look at the reference image as well, you will notice how there are so many colors interplay. And by so many colors I mean they're not entirely different shape, they're just different tonal values of the same color, right? So you want to proceed in a similar manner in which you're creating that sort of effect where you're slowly moving up the ladder in terms of the tonal value. And by up, I mean you're making the color lighter as you go. So this one is going to be the first lighter shade that we'll add after the background color. Another thing that you will notice here is that as I apply this, the color appear to be darker once it's dry. So when I apply it a lighter and once it dries, it's darker. Another thing that you have to keep in mind is the way in which you proceed with it. So what is the brush stroke that you're adding, right? The brush stroke here is short. Continuous motions. And it's almost like creating a bunch of swiggy lines together and following a path. And it doesn't have to be all interconnected. You can break some of them and you can create some in whatever way you like. Honestly, there's no perfect manner to do this. But it has to be uneven, short, and very flowy. So you're going to flow with the way in which you have added the background layer. And that is why adding that depth is important. That darker color in the background layer is important because it gives you an idea of the way in which you're supposed to approach it and an idea of the way in which the areas that you're supposed to cover. So right now, you clearly knew, okay, whatever space I see in between the darker colors that I've added, it needs to have this type of brush drop. So this is what it looks like right now. Now, the next thing that I'm going to do is I need to work on the darker bits. Okay, I need to rework on the darker bits, I would say. Because right now, if you look at it very carefully, it looks like the lighter color just rests on top of the background layer. There is no kind of connection between the darker color and the lighter color. Right? So I'm just mixing the same dark color that I've used earlier and I'm going to redo those ****** along with those ****** entirely, which had the darker bits. I am going to also cover some smaller sections where I could add in a little bit of this darker color. Right now, there might be a lot of ****** that look like they don't have a shadow of the water. And that's why it's not creating that movement in the water that we actually want. That's why in certain places, in those places in between those lighter swiggy brush strokes that we just added, I can add in some small tiny finos strokes just below it so that it creates that effect of shadow in that section as well. And there is that beautiful movement in the water. Right now, I'm focusing very much in the sections that have already already had the darker color. I'm also slowly adding a few tinier, thinner strokes in between. But you can clearly see, right? You can clearly tell where those tiny strokes have come from. And you can see how they're not very flat or very horizontal. There is, like I would say, slight movements in them as I go. I don't want them to be really entirely flat. That's why as I create those brush strokes, I follow the movement and the path of the water that I am on, Which is a very important thing to keep in mind when you're painting water and you're painting oceans and things like that or that subject entirely that every brush stroke that you add has to follow the direction in which the flow is. For your final painting, obviously to look a lot original or a lot realistic, you want to follow that kind of motion. And it doesn't have to be entirely very similar to the reference image. Obviously, as you go and as you paint, a lot of things change. And you'll have to approach it based on the painting that you are doing and you are on and what your brushstrokes look like. But I'm just here to tell you the exact process and the technique in which you'll achieve it. This is what it looks like. For now, we're going to let this dry, and then the next lesson we'll add some extra details and create the background. 29. Project 7 Part 2 : By the Beach: All right, so now we're going to go ahead and add in some more color and layer over our ocean that is in the background. So I'm going to mix my Prussian blue with a little bit of white and black and very little black and a lot more of the Prussian blue. So you can see how this color looks a lot more towards the bluer side. Right along with that, it has a good amount of white as well. Here's a swatch of the color that I'm using. I'll be using this shade to add in the color in the lighter sections that you were saying, just like how we did in the past. We are going to do that here as well. We're just adding on to the layer that we already have, that is the existing layer. We're just adding another set of color over it to add in a lot more details. You're going to go ahead and use the same method like we have done in the past as well. You're leaving a little bit of the background, a little bit of the previous lighter color that we added. And you're just adding over that section slightly, not covering everything using this particular section. So go ahead and fill that entire section with this color S All right, I'm really liking the way this looks right now. This blue is going really well with the darker color that we had from before. And it's creating that beautiful b***d between the two. But we are not done yet because we've got a little bit more of the lighter colors to add over this. While this is drying, what I'm going to do is mix the next shade that I'll be using that is going to be a similar mix. It will just have a lot more of the white color. I'm going to make sure that I'm cleaning my brush properly to the same mix that I've used now that is just now the strokes that I was making with the color, the same mix. I've added a lot more white. And here's a swatch of the color that I'll be using. And we're going to use this color to add in some highlights. So I'm going to focus on adding highlights in very certain places, some in the middle. And the strokes that I'm also making are very short strokes. We don't have to cover all the areas and they're very random. And they're over this particular color that I just laid out. You can see how I'm not going into the deeper color. And I'm going to go ahead and add these highlights in certain places, focusing majorly in the center part of the ocean bit. And then some towards the side as well. Now this color might look like it's a little bit darker when I apply it because it has white. But once it dries, it will dry down to be a slightly lighter than it looks right. Now, I feel like this is one confusing thing about guage, but the more you paint with the medium, you get familiar with how the colors are going to dry down. You can see how I'm not covering this in all places, right? I've just picked certain spots and I'm adding the highlights using this lighter color in just those certain spots. With very short strokes, very random strokes, and very free flowing strokes, I would say. They're not entirely like flat or horizontal, or just lines. They're also a combination of dots and tabs. And also my brush is completely perpendicular to the paper so that I have more control over the way in which my brush strokes are going to be. So this is the lighter color that I've added over the layers that I've had before. We're going to let this try and then focus on the lighter bits, which is the extreme highlights. All right, so now that this section has tried, it's time for us to mix white paint on the side and it has a hint of blue, so I think it's perfect. I don't want it to be fully white, so a hint of Blue is really good. And I'm going to go ahead and add the white over the waves that went from left to right all the way. I'm going to go ahead and add in some white dots and taps over it just to show that, yes, this is a wave that's going to crash and come towards the shore. And it's in the background, it's still foaming. And there's movement in the water and the speed with which it's coming. It's creating this disturbance, which in turn is creating that beautiful sea foam detail along with the main wave that we wanted to show that it's going to crash. We're also going to tap in some more whiter details and highlights in waves in the background as well. Maybe you have a bunch of other bigger waves, waves in the background. You can add in those taps on those as well. On the top, I feel like there are a few that could use some taps. I'm going to add that very few details for those. You don't have to tap in a lot. Just a few dots here and there would suffice. You don't have to really get into the details of it. Once you're done with this, you are done with the detailing and the painting bit for the background. I'm really happy with the way this looks right now. I'm going to let this try and then we'll paint the background for the other parts. All right, so now we're going to start painting the background for all the details and the wave that we have in the foton for which I'm mixing my cobalt turquoise with a little bit of white and a bit of the blue color that is the Prussian blue as well. So here's the lighter shade that I have. So I'm going to be using a combination of two colors, so the first one needs to be really light, so I'm using that lighter color on the top. The consistency is very thin because this is just the first layer, the first background. We can always build on this in the second layer and we just want to block in our colors before we go ahead and start adding any details to it. This is going to be the lighter color that I add, even in the reference image. You can see how light blue this particular section is. Next, I'm mixing a little bit of the cobalt turquoise color with a bit of the blue shade, the lighter blue that I used for the highlights in the previous layer. I'm going to go ahead and add that right below it. I want to create like a sandwich between the two colors, where the top is going to be very light, the middle section is going to be a bit darker. And then we want to move again to a lighter bit in the bottom. Then we have the browner details. I'm b***ding this in a way that I'm going in that curved manner to show the movement of the water that we have. So it's not all flat. For the bottom portion, it can be flat because this section needs to b***d in with the brown which almost lays flat, right? The sand section is flat. I am b***ding that in a flat manner. As you can see, this color is very light. Remember, you want the color to be very nice and light. It's not flat again. I've got a little bit of this crooked bottom right. It has some dense in which the brown can go in. The color for the sand I'm mixing is a mix of Dak, brown and yellow occurred together. And here's a mix or b***d of color that I'll be using. And then again, with my flat brush, I'm going to go ahead and just add this color all over in the area right below the light of blue that I just laid out. So the basic idea is to block in our colors. So I'm just going to go ahead and make sure that I mix a lot of the browns because I've just finished the entire mix that I just made. And again, the consistency is very nice and thin. It doesn't have to be thick because it's just the base layer. And you can see how there is a mix of two colors here, right? I've got a mix of **** brown and yellow occur. And then at the bottom, I'm just using a lot more of the Vandyke brown because I want a deeper shade of brown in that particular section. Again, I'm making sure that the consistency of the paint is really nice and thin. Because this is the base layer, I just want to block in the color and make sure that I'm covering that entire section properly before I go ahead and do the second layer. Now, along with just laying everything flat with my flat brush, I'm adding a few strokes just here and there to add in an unevenness in the sand. Now, if you look at the reference image very carefully, you'll see that right below the sea foam, it's casting a bit of shadow play. Right? And that's exactly what I'm trying to capture. It doesn't have to be perfect. You're just going to add in some strokes to show that. And you can always fix it as you go. You can lay white over it and completely block this out and add the shadows later. But adding the shadows in this layer kind of gives you an idea of, okay, where it's supposed to be and how it's supposed to go. Just to kind of understand that a little bit better. And that'll help you add in the foam a lot better. So I'm going to go ahead with my round brush and add a bunch of strokes, very random strokes, some thick, some thin, they're just flowing in. And you're going to go ahead and add that in. And then you let it dry. The round brush, you could do it with a round brush or a flat brush, whatever was more comfortable for you. I switched between the flat brush and the round brush because I wanted thinner strokes in that section. I'm also using my wet brush to b***d out any harsh edges of this darker color out because I just didn't want it to stand out so much. Here's the layer, we're going to let this dry first. Now that this section has dried, you can see how the colors have gotten a little bit lighter, I would say, in terms of its vibrancy. So now we're going to go ahead and do a second coat of the color. We're going to repeat the entire process again. I'm going to mix my brown paint with my turquoise color, with a bit of Prussian blue in it. Very, very tiny amount of Prussian blue in it. And this color you can see is very light. That's exactly the color that we want it to be, very light. I'm going to carefully add that on top. And now is a chance to change the shape a little bit if you'd like. Make certain sections a bit more sharp if you'd like. Now is the time to just add in any more details. If you feel like it, I'm adding this color at the top and at the bottom where the lighter colors are. And you can say, I'm just carefully b***ding it around the brown color that we just laid out. Then eventually, just to create that b***d, you can just use your clean brush. You really don't have to use any particular color also, but over here just to make it nice and opaque. In the middle section as well, I've added the darker blue and then I'm b***ding it out in this diagonal manner. I would say it's kind of going with the flow of the water. Just to b***d everything out with one another. Again, if you are not very comfortable with your flat brush itself, you can also switch to your round brush and make sure that you are adding the strokes according to that. And you can always add some more color, some more of the darker color if you feel like that darker color is gone or some more of the lighter color. If you feel like you added too much of the darker color, make sure that you are flowing along with the way in which the water is going. Because this water is kind of upwards, right there is a bit of height to it. So I'm going to create my brush strokes in that same manner. Now I'm using my flat brush and that light turquoise color that we used to kind of add in the lighter bits because there was a lot of dark. And I'm going to perfect the shape and kind of bring it down and create a sort of texture over the paint. Just so that when the white rests on top of it, it's not very flat. It has that little base for it to rest on. Just a few details you don't have to add in a lot. Once you're done and happy with your turquoise color like I am right now, I'm going to go ahead and start doing the sand bet again, just to make everything nice and opaque. So you're going to repeat that entire process in which you first lay the background color and then you lay those little strokes for the darker color to act as the shadow for which the white foam is going to rest on. I hope this is making sense. You have done five or six different paintings by now with four different exercise lessons. So I know that by now you've almost figured it out. You know how you're going to approach different paintings, and even if you don't entirely know how to approach it, at least you are thinking about the techniques that you've learned in the past. And the combination of techniques, the composition, the painting principles, how to use different wash techniques, and how you can you just combine them to create a painting that is related to water, related to seascapes. So I have full faith in you guys and I'm sure that this is all making sense and is not just gibberish that I'm talking right now. So now that I'm done with the background layer, I'm going to go ahead and start adding a bunch of strokes just to act as a shadow for the next bit. But I'm just going to go over the same sections that I laid out the strokes in earlier. But if you feel like there are a few more that you could add and you want to add, and it's never too many of the shadows because our entire section is covered with foam. As many as you can, just add that in, creates that beautiful contrast between the lighter and the darker shades of brown as well. But overall, I'm really happy with the way this looks, so we're going to let this dry. In the next lesson, we will add our C foam and all the details. 30. Project 7 Part 3 : By the Beach: Right now it's time for us to add in all the details with white that you're seeing in the reference image. Starting off with my round brush, which is a slice four round brush, I'm going to go ahead and start tapping some details in majorly focusing on outlining the top layer first. And then slowly we'll bring it down and add in those extra layers. Now over here I'm going to be and holding my brush really perpendicular to the paper. And you know that this should give you a really nice control over your brush strokes and how you're applying it. If you look, pay closer attention to the way in which I'm tapping. The small taps and a few or very minute movement in the brush will give you that uneven effect that you want. It's not entirely dragging my brush and it's not entirely just tapping my brush as well. It's like drag and tapping my brush simultaneously in very little amounts to create that effect. Now that I've outlined the basic structure here, I'm going to start bringing the waves in, start making those strokes in as you're seeing in the reference image. I'm going to place the reference image on the left so that you can really tell how I'm bringing the strokes in, how the basic idea is going to be, and how I'm going to create that foam effect. Now if you look at the reference image on the left, you can clearly see how the lighter bits, there's a lot of light bits on the top right. And that's exactly why we added a lot of those lighter colors. And then there is white that is resting on top of it. That's exactly what we're trying to capture here as well. Other than that, honestly, you're going to look at the reference image and create the white foam details in that similar manner. You can see how the flow there is a flow coming down as well. That is from almost the center, there is like a connected sea foam detail that comes down. And then you've got a lot more coming and sliding in towards the left curved section. I hope that's making sense. So you're going to capture those major sections first. All those very prominent ones that you're seeing. A lot more of the opaque whites that you're seeing, you'll capture those first. And then you can always add in those fellow strokes to connect things here and there and how you want them to flow and how you want them to look. There are endless possibilities for you to play around with the direction of the foam. The basic idea is it shouldn't come down vertically. Do you want to try and give it a bit of direction and then bring it down slowly? You have the reference image on the left. I've put it there for you to look and analyze how you're going to put that in your particular painting. I am looking at the reference image, but I'm also changing a few things here and there. If I feel like it, it might not look exactly like the reference image. And like I've always mentioned, it doesn't have to look exactly like it. So you're going to create small dots, small taps, drag your brush, and try and make it as irregular as you can. The more irregular your strokes are, the more natural it's going to look. So be very patient with it, be very slow with it, and just take breaks in between. There's no rush to complete your entire painting in one setting. You can always stop for now, come back to it tomorrow after a while so that you are really looking at it with a fresh pair of eyes. That's what they say. So you're just like looking at it completely with a different perspective and you're not going to miss out on all the details. And you have the energy to add in details, I feel like with quash and escapes. In general, you have to add details and the detail is going to make your entire painting turn out so beautiful. Like when I started painting, I would be so lazy to add details and I wanted to finish one painting and one sitting. And I was like, no, I need to get it done in like 14 minutes because there was this need to paint every day. And again, I was just too lazy to add details. And then slowly as I kept practicing with quash and started creating more paintings, I realized that the more slow I am with it, the more gentle I am with it, the more patient I am with it, the more beautiful the painting is turning out. And the whole magic lies in layers, right? Like even for this particular painting, if I stopped at the first layer and just added white on top, would it look this beautiful and realistic? No, it would not. So the more effort and time you give to your painting, the more beautiful it's going to look. If that's the goal that you have, you want to create beautiful artworks. You want to create artworks that are not just, you know, appealing to the eyes as the final product. But also the whole process of painting it, the process of analyzing things that you're seeing around you and putting it on paper. If you find that process beautiful and that is something that you want to achieve, then being very slow. And being very mindful about the painting is very important. That's something to keep in mind whenever you're painting anything using specifically. Because I paint a lot with gash, so I know I feel like it's the same with acrylics as well, and even watercolors, Even though they're different, you have to and you need to enjoy the process of creating rather than just finishing it off in a particular amount of time. Obviously, the more you practice, the more you do, you build up speed. If doing one painting might take you 2 hours, it's not going to take the other person the same amount of time. If they have a lot of practice, they can do it in 2 hours. I mean, 1 hour less time, basically. That's something to keep in mind. So just enjoy the process right now. Over here, I am almost done with, you know, adding the strokes on the turquoise section, you can see how I've kind of outlined where that partition is between the brown and the turquoise color, right? And now I'm going to start slowly bringing it down into the browns. Now over here in the brown section, you can see how the strokes are almost laying flat, right? They don't have a, I would say a direction in which they're moving up or moving left or right. No, they are almost horizontal and flat. They are going up and down, but they are not moving in a particular direction. So you're going to capture that in a similar manner for your reference. You have the left image that is the reference image for you to look at it. The form that I add on top in this particular section might be a little bit different than it looks in the reference image itself. Another thing that I'm doing here is remember how I told you we added the shadows in the sand part, in the first layer itself, and I am going to preserve that. I am going to create the sea foam that I'm adding is going to be on top of that particular section so that when you add it, you're still able to see that darker brown below it. I hope that's making sense. So we're going to rest the sea foam on top. So you're going to look at the reference image and just follow me along and you complete this entire section. And then together we will go ahead and add in the further details to it later s. All right, so now that I'm done adding the sea foam at the brown section, I'm just going to go ahead and add in some extra details, extra bushes in the turquoise section, even in the sand section that I could see. And basically, now's the time to have a look at it and see where else can you add in details. And we do that honestly because once you have the base and all those major strokes that I was talking about set in, you can really flow things in different directions and add in some extra touches to it. Are we done with it yet? No, we're not. There are a few things that we are yet to add into our painting. But right now, I'm just going to take the time to add in some more strokes, some more taps around the ones that I've already added. Because the water does not only have those most prominent sea foams. Right. It has those. Extra sea foams as well, and just some of them appear as tiny dots on the water too. So you've got a lot of those details to capture. So now is the time to really take a break, honestly, and come back and add in those extra details wherever you feel like it. Wherever you feel like. Okay, No, there is a connectivity that I could put in and really just use your imagination and see where you could add them and you can go ahead and add those. There is no right or wrong here. You're not going to mess it up, so don't be scared about that. Trust yourself. Trust your instincts. And go ahead and add in that extra dot and extra brush stroke, if that's what you feel like it's going to make your painting look spectacular. Go ahead and add that in. I am honestly, really happy with the way I've done this particular section. I'm just going to add in some extra dots here and there, But overall really happy with this. Now the next thing that we are going to do is after it dries, is to add in some extra shadows. In some sections, I feel like there are some sections that could be used in shadows where I haven't added them. I'm going to go ahead with a mix of mendik brown and the yellow ocher color and add that in. Again, there is no wrong here because if you feel like you added too much white in a particular area and you want to break that white off, then that's the section on which you'll add in your brown color and create that separation between those two white details that you've added. If you feel like you need to add some shadows in those areas, then using this color, you can add in the shadows as well. We are almost done with our entire painting. Now is just our time to add in some extra details to it and really just go back and look at it for the changes that we can make. Maybe, you know, sometimes when we are painting and we just go with the floor, we end up creating a few extra strokes that were not really necessary. So it's time for us to cover those in. If you've made those, that is, once you're done with that, you could also go ahead and add in some extra brush strokes with the white as well. So I'm going to mix my white paint here and make sure that it's that nice, beautiful, creamy consistency of the paint. And then using that, I'm going to just add that over the white foam that I've already laid along with those big, prominent strokes. You can add in some smaller strokes as well, just some pino strokes, just to add in some more details to it. And for it to not look that flat, you could go ahead and do that as well. Now adding the second coat of white, it's just going to make sure that those sections appear a lot more prominent and opaque and things like that. So that second layer is very helpful for that particular thing. Then again, it's also very helpful to add in some extra details. Now is the time for you to go ahead and do that. I'm just going to go ahead and add in some extra details wherever I feel like it. I added a few details with the brown. What happens is when you lay brown on top of the whites, it will look very awkward once it dries because you can clearly see that the brown is resting on top of the white. To just cover that around the edges, I add in a little bit of white so that you know that yellow is pushed back into that layer, which is in the back, and then the white rests on top of it. That's the basic concept with which I'm working. I'm adding a few details wherever I've added the browns to separate them and then add the white on top of it so that the brown goes back. I hope that's making sense. But if you haven't done that, then you're just going to go ahead and add in some extra details if you feel like it, wherever it's necessary. A few connecting strokes. If you feel like adding them, please feel free to add those there as well. 0. I'm really happy with the way in which this entire painting has turned out. Honestly, when I was making the background layer, you wouldn't expect it to look like this, right? So I feel like the entire magic of this painting lies in the sea foam details that we add. And it really makes that painting up so well, and I loved adding these details for the white sea foam in my painting. Now I'm going to let my painting dry completely and now that it has the one last thing that we are going to do to this painting is add some splatters. I'm taking my round brush and into the same white mix, I'm going to add in a bit of extra water to make it nice and flowy, not as creamy as before. And then I'm going to tap it against another brush like this, just to create a few splatters. You're not going to overdo this, we're just going to add in few splatters here and there. And once you're done with that, you are done with your final painting. Let it dry, and now that it has, let's peel the tape off carefully. Remember, you're peeling away from the paper so that you're not tearing your paper. And sometimes this staple to depends on the type of paper you're using. So if you're using a handmade or hand pressed paper, it ends up peeling the paper along with it. So that's something to keep in mind. But overall, if you're using a cold pressed paper, it should be fine. Here's a final painting, let's have a closer look at it. I love this painting so much. It has to be in my top three paintings from this class. I mean, everything about this painting is spectacular. The beautiful background, the turquoise, the b***d with the sand, the sea foam, it's all so beautiful. This is it for this project. I will give you my final thoughts in the next one. 31. Final Thoughts: And this is it. You guys, thank you so much for joining me in the class. I hope you enjoyed painting along with me. And learn something new about the medium quash and how to approach this sort of subject. You can download all the images from the project and resources section if you'd like to view them and try them for yourself again to understand how you would like to approach that particular painting if you enjoyed painting with me. Don't forget to leave a review down under this class because that really motivates me to do more and also helps this class reach a wider audience. If you've painted the projects, do upload them under the project section so I can view them. And it will also create a little mini community under this class and you can watch what others are doing as well. If you're sharing the artworks on Instagram, don't forget to tag me at the simply aesthetic. I would love to see your projects on there as well. And share it with my followers to inspire them to create too. I guess this is pretty much it from me from this class. I will see you soon in the next class. Bye bye.