Loose Watercolor Essentials: Busy Beach Landscape

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the Art of creating a loose yet accurate painting can feel overwhelming and daunting. Where do you start? What techniques do you use? How do you bring your vision to life on paper? In Loose Watercolor Essentials, Busy Beach, Landscape, you'll discover all the essential processes and techniques you need to turn any photograph into a stunning and impressionistic scene. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of light, shadows and the final addition of details and highlights. Together we'll go through how to paint water, sand, rocks, people, sky, and also some trees and shrubs. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create awe-inspiring beach landscapes with ease and precision. Whether you're an experienced artist or a curious beginner, this class will equip you with the tools and techniques to unlock your full creative potential. I'm excited to get started. So let's unleash your inner artist together 2. Materials Required: Before we get started, I want to go through some materials to help me decide what to purchase or if you've got materials at home, what to choose. So here I've, I'm actually using a piece of 100% cotton watercolor paper. And this isn't hot press, but I do recommend if you're starting out, use cold press medium textured paper. It's just a little bit easier than using hot press. You've use hot press pretty much similar techniques, but you have to work faster. And it's just a little bit more difficult to get in flat washes. Okay? So if you don't have 100% cotton watercolor paper, just use any other watercolor paper that you have available. Just can be a little bit tricky in terms of layering. Sometimes it picks up previous layers. So let's talk about Brushes and overhear some Watercolor mop brushes really important to have. I think there are a staple to get in large areas like the sky and the sand. And as you can see, they have a large bellies that they hold lots of paint, but they also have a sharp tip so you can cut around other objects in there as well. Okay, you can see here I'll even use a smaller mop brush to paint in some of those rocks. Now, if we look in at other bits and pieces here you see that there are some figures. You've got some boats, bits of foliage, shrubs and things and things on the ground, rocks and stuff like that. So smaller brushes like this, really important in order to detail. Over here, I've got myself a, a round brush, synthetic round brush, and I've got a synthetic flat brush. You also can get in highlights. So those are detailing brushes really important. In terms of paints. I've got a tube of white gouache here and this squash is great for getting in some more highlights. As you can see, boats on top of the rocks, on top of the figures as well. Just a finishing touch. But really for the rest of the scene, we've got here in the sky a bit of cerulean blue, you can also use it, kinda turquoise. See blue here in the ground. I've got some buff titanium and also a little bit of yellow ocher. Yellow ocher, more soil on that side to get in this sort of Sandy, nice sort of light sandy color. I've got some little bits and pieces of color here. So go to hansa, yellow, I've got a little bit of pyrrole, red, little bit of turquoise there as well for the umbrellas, just a little touch of color using that same power or red for some of the skin tones over there as well. The rest of it is really just some browns that I flipped into the sand here. I've got some grays that I've mixed up and you can you can mix it up yourself. You can get a pre-mixed gray like a neutral tint. Got some greens here out in the back as well for some of those shrubs and hills. And that's pretty much it for materials 3. Drawing: Let's go ahead and get started with the drawing. And probably the easiest thing to put in first as the horizon line. I'm going to put this a little bit further up from the center of the page. So round about here. And this is all the water that goes off into the distance there. Round about here. This is where you've got that headland. Kinda please. Overhanging cliffs, even that just come off all the way down to the distance. So you can see here all the way to the back there. I mean, there's a little bit of detail on there as well. You can see the bottom part of the cliff, so a little darker. Some segments here and there. This okay. Good. And what I'll do is also just drawing the general location of the water. And we know it comes all the way in here and exits around about here. Okay. Just below the center of the page. Rough indication of where it is, like that. Okay. Often the distance here you can see a little bit where it starts connecting up with the sand. Interestingly, there's a to almost two layers of sand, not layers but different colors here. There's more of like a yellowish sand. They'll just quickly mark that out. Nor on the back there is just sand that's got a darker yellow color, slightly wet, and is also footprints and things like that in there as well. Okay. And you've got, of course, got this headland at the back, which is a bit darker. There's browns and more colors, even some greens up the top there as well. But this is all mostly just yellowish colors out the back. Okay. So don't need to mark it out too much, something like that. Okay, now the rest of this is really the figures and some of these rocks. Let's put in some of the rocks I'm going to work this one in first it comes in here, it's difficult to see, but section there, it comes to that, to the center of the scene. Just drawing that side of the rock down the base as well. Can see. And this is important because the, this part of the rock is going to help indicate the shadow, the light source coming from behind. Okay, and you've got another rock here, kind of triangular shaped. It's interesting, rocket doesn't have to be enough to make them look exactly as they are in the reference photo, but some resemblance is good. Okay, so again here, just a bit of shading and it's actually a lot darker this rock here. I can just shade it in a little darker. Okay, just keep it a bit more jagged and organic looking like that. And then other rock there, a few other rocks in here or just putting some details like this at an another bit of that darkness behind this rock like that, you've got another rock coming over the back like this and coming down another one just sort of darker behind, but this one has a darker spot around here. Helps to just make it look more three-dimensional. We do have a larger one in front as well, right about here. And you've got to make a judgment call as to whether you want to put all these Roxanne as well. I'm doing it because I just liked throwing rocks. But you don't have to have all these in. So you can change them around as well as you can see here. Just doesn't have to be exactly okay. Hold down the behind the rock like here, it's all just dark as well. This helps to create a bit of contrast as well for these other rocks. Interestingly so. Okay. And getting this outline of this one here a bit better there. And it's kinda like a lighter shadow. I don't need to call that one in too much. These ones on the right. We want to indicate bits and pieces of them, but they're not too important. I'm let me just get in that side of it there. It's kinda like a pointed rock. And it's be the shadow behind it. Then you've of course, now got a few more of these other rocks. One here that touches that shadow and now the rock here. But you've got these larger, these larger ones, as you can see. All these are just they have some shadows running through parts of the rock. Okay. But they're not really don't have all too much color me here. I can just put in a larger, more exaggerated shadow actually for the back of the rock. There. She comes down and out of the scene. Like this. This larger, jagged looking rock out the back there as well. Just get that one in. It's darker here. And on the top you've got just more of these bits sticking out over the top part of the rock. Is even one kinda coming up here near the water. Cracks showing through some of them. Larger shadow here as well just formed this rock. Another bit of a shadow forming here. Darker shadow. Rest of it is just quite light in the edge and the corners there. These are, I'd say they're pretty decent looking rocks are quite detailed in terms of the drawing and now you just have to think anyway, helped to lead the eye into the scene and you could even just stop it like goose and don't worry about the figures. But let's, I want to add in some of these figures and bid of interests going on down here. So interesting perspective is it's kinda like a bird's eye perspective. And you've got this blanket towel here on the ground, penciling it out roughly where it is here. Okay. Bunch of people just sitting closer by. There's a looks like there's a girl here just want to sit in. There is an umbrella, bunch of umbrellas. This one here. It's an umbrella. Here we go. One umbrella there. I'm just like you can see the top of it a little. This one here just cuts over the top of that umbrella. Gives you something like this. That might actually move it a bit further down here. This. So we've got a couple of umbrellas, couple of little umbrellas here. I'm putting the figures as the girls sitting here just with the head, kindness. A little bit forward, placed a little bit more forward here, running down the back. Get the body and the legs. Just sitting here on the beach. And She's got to just extend it out in front of her like that. They're running down the back. That's a figure that's a person need too much to indicate that. It is a person sitting there, which is also under shadow from this umbrella. So this umbrella that's casting a shadow and only that there's this one here casting little shadow as well. It's coming from the back. As you can see. Light coming from the back. Good. Another person here just sort of bent over I'm doing something or another could be just leaning over doing something. Just getting the shorts and legs like that here. Because of that back a bit more, make it look a bit more smaller. Okay. There you go. There's a person shorts on maybe like that. Is also someone just sort of be high, but I think I'll just simplify her this figure down to just be looking, standing up, right? There's just a bit of a difference in how the figures are standing. So there's one person, you just sort of overlapping. Horse is gonna be a bit of a shadow for these two figures as well coming up around here. This is also going to help to create a negative shape for this rock. Just bring it out the light on this rock here. Okay. What else do we I've got another person. You just sit in a bit closer heads about here actually. Let me just see yeah. About their slanted forward a little bit in the shoulder. Here just doing something or another I think I think he's looking at is a phone or whatever there. And some shorts on and legs. Just sort of Scotland a bit here, I guess on the sand. Just and some shadows as well. In front. Like that. We haven't we've got a bit of a scene going on. It looks like there's a group of friends just enjoying a nice day on the beach. And of course we do need a few other things in here, or if you want them in here anyway. But I like these, these little boats that are running through here. I'm going to simplify these down as well, just to have some kind of resemblance. The boat there. There's also a couple more, this smaller ones here, just simplify the shapes of them down like that. Another one here as well. And have to be much just a little indication. Speed boats. Often the distance. Maybe like a small one here. Well, often the distance in the background. I could put another one there as well. Help build the scene up. I'm also some smaller fingers, like we might have someone just walking through there. Someone in the water. Some smaller figures often the distance. Look at that just tiny little figures. You can barely see what's, what's going on, but they're walking off, coupons, walking off in the distance. There's more stuff going on here as well. I mean, you can see some people just lying down on the beach. Just kinda lying down. Maybe reading law, Sunday thing, that kinda thing on a blanket. Not a blanket to tell the um, I don't want to detail the ones in the back too much, but they do have to make sense. This could be like a bag here as well. Okay. Up a little bit more. Okay. Something like that. Person just lying there on the beach. There's actually some more little umbrellas and things. You can just see him off in the distance. That not very detailed. But you just putting in some little bits and pieces of people potentially sit in there and doing their thing. I'd like to always reduce the complexity as we go in the distance. That helps me to focus in on these figures more. Yeah, the foreground to tell that story. Better. But yeah, I think some people just in-between to help connect the scene up. It really does help. Some smaller figures. Often the distance like this does help to create that sense of depth. But I want this to focus more on these figures here in the front. I'm okay. I think this is good. I think we can get started on the painting. 4. First Wash: First things first I want to get in a wash of color. The sky, light wash of color. I'm going to pick up a larger mop brush. And we're going to use some of this color. This is a turquoise blue color and we want it very, very light. So I'm talking about 90% water, ten per cent paint. Extremely light. And I'm just sliding the paper downwards a little bit as well. And bringing this all the way down page. Hey, nice smooth wash and near the water or just stop it off around about there. Okay. So that's basically sky. Let's work on have a look. Let's work on the colors of the headland. Smaller, smaller mop brushes can really help out here. And I'm gonna put in, start with some yellows, actually, bit of yellow ocher. And also got some buff titanium, mainly just yellow ocher. And I'm going to drop some of this stuff here into the background, that headland area. It is a bit vibrant, but you can mute it down again with some of this color, this buff titanium, or you've got some whites or something like that. Right? But the idea is I want to join it on to the sky touch. I mean, I want it to blend all the way through, but just I'm create a bit of a seamless looking blend here. And it looks same thing down here and this side, what about the top is actually a bit of green up there. I don't know if I want to bother with that. We can do what? We can just pick up a little bit of green, just drop that in. I'm just mixing a bit of yellow with tiny bit of yellow as well in there and yellow and green. To get myself in a lime green color. Too much, just a little bit like that. They'll do the trick. Come back to it later. And I want to also work on the water at the same time because we want this all to blend together nicely. It just mop off this touch of water there for a second. I'm gonna pick up some ultramarine blue here, mix it in with some of these turquoise blue to create a darker blue to dark, but dark enough to differentiate the sky. The sky Wash from the water. Just like this. It might bleed upwards a little bit, but don't worry. Just want it to be darker. This area of the water. Testing it as well just to see if it's too dark. More and more of that turquoise in there rather than the ultramarine blue. The ultramarine blue is just to help darken it a touch, okay. Still want it to be that turquoise color. There we are. Start to slowly come together. Renal reinforce that back edge. Make it a little darker in some areas like that. Okay. Come down. Yeah. Near where we've got the water. Whether the water is in the foreground, I'm going to just cut around the, these little umbrellas and figures as well. Remember to cut around the figures. The legs don't matter or too much like this. Bring that washed down. Good. So we've got the ordering. Now. We have to do is blend it in with the yellows. So some of these yellow ocher that I've got, again, the buff, titanium, and yellow ocher. We're going to get this all in one go. We're going to try here first near the the the water because I don't want the water to dry and for us to miss out Where I can create a nice soft blend. I think that's really important, especially for smooth ER, papers like the one I'm using. Good. That Buff Titanium. If you've noticed it run too much, just pick up your brush and lift off, dry off the brush and just lift off a bit of paint. You can lift off a tiny bit of paint without causing a fuss. Okay, Here we go. And of course I've got all these rocks and things and we can just go a bit nuts. And putting in different colors for the rocks. I'm using different yellows and some muted yellows as well. Okay. But we can drag this part down again, just, it's all the same buff titanium color mixed in with the touch of yellow ocher. There we go. Just cut around this town as well. I want to make it a different color. And also the figures closer by. We do need to cut around them so we can get into some different values and tones for their skin. Yeah, Good. Get some graininess and bits of funny mixing. Don't worry about it because this is kinda what we almost want. Some of these foreground stuff. Just to imply that there's some textures and bits and pieces in there. Yeah, look that pretty straightforward. Need to worry much about the colors of these rocks. Sort of a yellowish color you Fine. Okay. Good. While I'm at it, one-off, just pick up some little rounds of something, darker browns. And if I can just indicated believe this stuff, I don't know, just some some details and stuff in the sand. While I'm at it. I'll just pick up the brush and notice I just flip that brush. Brush there on the paper and you can get some little details and things. It's not much, but it does help, makes it easy as well. So you're not really having to paint all these little details anymore. So just imply them. And not only that, but on the rocks as well. I find it really helps just to get in some of these are the color. Create some textures and details. You might even have some more darker blues and running through in some sections. Because the paper isn't dried yet, so we don't have to really worry about it causing too much of a mess. This will blend through and Fine. Now let's look at the Wash for the figures and things like that in there as well. I have a small round brush somewhere. Small round brush is going to help. And we can do things like with the umbrella. I can pick up some really vibrant yellow and potentially just paint part of that umbrella Rin like that. It could be like a yellow umbrella with a bit of blue in it. Whereas a bit of ultramarine, I can pick up little bit of light ultramarine here. Okay? And then we can have a bit of red. The right-hand side like this, okay? With that, red. So we've got some interesting looking umbrella there. This umbrella here to the front. We can again just use some of our imagination and add some different colors. I can go a little bit of red here. Darker. Back to the yellow. Yellow back on this side as well. There'll be gathered, we've got some beach umbrellas with some bit of color and I've saved the, the, the most saturated colors for that section. Now this little tail is actually really, really light. Just going to mix in a light, wash up this yellow, yellowy towel and just Wash added a little bit of color over the top of it, but I'm going to also leave some bits of white in there. Okay? So we need Santa rounded is actually a bit darker. And the little umbrellas here in the back as well, you can just, again, just pick up some other colors. I've got some blue leftover on the palette. Blue, they're a bit of blue for that one there. Blue for that one. We can go back to that yellow and some bits and pieces and then they can have some orange, even some orange or some sort. Okay. So long as they look like umbrellas, the beach, the figures, I'm going to just get innovative, colorful their skin and I'm mixing up a bit of red, tiny bit of a spiral red, and some yellow ocher to create a general skin color. Warmer skin color. You can use some browns in there as well if you want. And I'm just going to go over, I'll just go over the top simplified down. Let's make them all like that. Just call them in. Put the clothes on later. This one here and sitting down, needs a bit. Laying down. These people potentially bid for the legs. Well, they're more darkness, darker color in there, more the base. And you can see also with these people, there is a shadow that's formed underneath them. And from the from the umbrella, I'm going to use a bit of dark color, just a bit of neutral tint here, and a smaller round brush. I could use a flat brush as well. That doesn't matter. Same thing. Smaller flat brush. And pick up some of this darker color. The base of that. I'm really the stem of the umbrella. Like coming down like this. Okay. Good chance also to put in some of the little shadows potentially underneath the umbrella like that. You can't seem all too much, but can make them up as well. Emphasize it, but something like that. You can see that stem of the umbrella coming down and it forms a shadow on the ground. And I'm just going to put a bit of blue into this shadow to dose a little bit too dark. So I'm just lightening up a bit like this bluish gray shadow going around the legs and things of this, of these figures. Do it here as well. For this figure, this person sitting down here, you have that shadow by the Caspar, the umbrella that be a bit more neutral, darker color in there to just grayish color. What I mean, a shadow has a bit of a same shape as the umbrella as well. So just want to imply that not have to be perfect. Okay. Good. The figures also, they cast a shadow underneath them. You can see this one, he is a bit darker. Underneath that figure. There. The head we are detailing. These figures are just also casting a slightly darker shadow underneath. Yeah, difficult to see, but there is extra darkness under here. Just darkening that shadow on this side more. Like I said, it's car. It's helping me to create a bit of shadow around those rocks. While we're here. Why not? Let's just put on a bit of shadow for some of these rocks, I'm going to use a bit of more brownish color as well in here. But you can see, for example, this rock has got a really dark shadow. So I want to emphasize that more difficult, I've lost, lost touch with some of these other bits and pieces in here as well. Doesn't matter that this part has got a little bit of color in it as well. Bit of a shadow there. This rock. Join them up a touch. Okay, good. I might actually see if I can just darken this side of the rock a little bit so that it comes out more. The moment it's kinda difficult to see it the same color as the sand. But I might put on a highlight or something on on it later on. Okay, there we go. That's similar shadows. That's have a look that's work on these ones here, this shadow here of this rock behind it. Here anyway, It's quite dark. This one. The neutral tint, really brings out this color as well. Doesn't have to be perfect. Following the pencil marks that I put in there before. Very loosely. There we go. Even these rocks have a bit of shadow behind it there and we'll separation on some of these other rocks. This one here is just darker. In general, this rock is to get that in. And they all become sort of abstract looking shapes that need much work. And all more yellow. And a little bit of darkness underneath this rock. It's quite dark back here. The darkness under that rock. Some smaller areas of darkness on the top of that rock, and some of the ones in the distance as well. But it'll be due. But you want to make some of them light, little bit darker. Flick a bit of water in there as well to encourage some of it to just bloom and just create a bit of multiple effect, I guess for the rocks and the shadows. You can pick up paint and just spray some of it through. Okay. Dry brush, some of this dry brush on some areas of the rocks to just indicates some bits in pieces. Just a little trick I've figured out over time. This little flicking effect. As long as we got the only about the shadows in here for these rocks, we good stuff later we can bring out. We've lost any highlights or darker segments in here. No big deal. And always bring them back out again. A lot of segments. The darkness is what we want to put in some parts. In enough contrast in here is an important thing as well. And this is sense of joining all the shapes together, all the rocks together so that they're one larger mass rather than a big collection of a whole bunch of different objects joining them together that they this look more fluid and natural. Okay? We can also come back at some more darks in there if we, if we need to. Okay, so let's have a look at the figures. Again. I'm going to just put on a bit of other color for the The clothing that these have dried off, just a little bit of darkness for these persons, bike shorts that he's wearing their dark enough. Let me just double-check. Here we go. Someone like that, clothing on that person's sitting down. And you notice how how quick I'm doing this as well. I'm not really concerned with a huge amount of detail, just implying what's going on in here. That's a hair. Okay. This person here of hair as well. Looking down looking down at the phone or whatever. Here. I'm yellow, more yellow in there. And it's all done with the all done with this is just the same flat brush. How easy it is. Some little variations in the body as well like the, the turns in the body. Like you can go in and just add a bit more darkness back into the skin. And what you wanna do is implied sense of light that's hitting the shoulders and the back. Okay, so too dark and the rest of the body will achieve that. Okay? Like this, It's quite subtle and you've got to really be careful. Once a startup starts actually looking like a person, I don't bother too much, I just leave it. Leave it as is. Okay. Right. Let's have a look at this background section where we've got the headland and things as well. I'm going to put in some brown bit of darker brown. This is brown ocher. You can also use other types of Brown's doesn't matter even though the lighter brown mixing with a darker color. Because I can see here there are some segments of darkness we need to get in. And the easiest way I think is to use the brush that I have here, but remembering to keep the light on the background, some of the background sections here like on the beach, you can see it's just a just a few little strokes running down like that. Even these ones often the distance. So I'm just going to maybe make them a little bluish as well. Bluish-gray disappear, recede off into the distance. Can't really see what's going on there. And it doesn't matter. At the end of the day. It's just so far back. I'm going to pick up some more of this yellowy color, this yellow ocher. And I'm going to join it up, join some of this up here with the darkness of those rocks below. Like that. Because one thing we need to make sure is that these hills and bits and pieces of the back really do stand out against the sky. The need to be painted on. Let's continue on. We're going to put some more in here. I really like how this is so sharp and all these areas. I'm just softening off some segments that I don't like like here. Yeah. Okay. He's do I mean, it's still a nice contrast, but it's not completely sharp. That looks better. Okay, so I'm just adding a little bit of water and and just removing some paints, scratching out a bit of paint there. You can even do that for like areas where you see some white in water or you can wait till later for the year to use some gouache as well. Some white gouache. But suddenly softer. Looking effects can actually be very, very effective because they're more subtle than the Wash This is like a little wave or something? Yeah. Running through. Just scratching out with the brush. Scrubbing a little bit. And the Brushes like it's a little bit damp as well. Just some parts. It also helps, this technique helps to join up and make the background look more misty in some areas. This in a way joins things up, that joins the scene up, makes it look more together. Area. Some more of this stuff, need to separate it out from the sand. There's also some trees out on top and I'm wanting to simplify them down a little just to just to put something. He used some little trees maybe on top, but it's not really necessary, just indications more than anything. Great. Back to some of these darker parts. I'm just going to drop in some darker paint to indicate these kind of cliff areas and in some spots like this in trees and things. Often the distance. And what I'll do as well as start working a bit on the other figures. So I don't need much. But just a little darker paint. The legs in for say, this figure here. The distance in a bit of a shadow on the ground. Maybe have it to figure there the water. These two here. No legs. I'm this figure here. The darkness with the legs and join up the shadow on the ground. The figure there. The figure here. They all just further on the back, you're just almost can't see what's happening. People sitting down here on the beach looking out. Stems of the umbrella is just getting some resemblance of that. Shadow. Would be do tempted to put in a person here. Maybe walking like another figure, just walking here as well. Just let me just try something. Someone in here. Quick, lighter, just see what it looks like. There we go. I think that looks better because then yeah, just feel that there was a bit of detail missing off there and in the back bit of color for the hair that I'm whoops, speed like that. And shadows with a shadow on the ground as well. Front, of course, the figure. Join it all. Challenges. Join it all up a bit. Let this person that is dry off a touch and I'll put some clothing on that figure. This one I can already just work on touch the clothing. I'm maybe some hair as well, like that. Little containers and then darkness and the base of it. A little bit of darkness underneath the figure you use well, some shorts on this person. This person is well behind. Clothing. Tiny bit more darkness at the base underneath the figures too. Might shadows underneath this. Some close with this person as well. This other one that I just invented and put an added in there. You can put some moms moms in or something like that. I can look a bit more realistic. I'm still think a bit of darkness for the hair would be good. Good. Okay. Time for some finishing touches. 5. Second Wash: Okay, finished this often gonna be using some white gouache. I'm just squeezed a bit, added the tube, and I'm using a flat brush as well and dry it off a touch. Let's have a look. For example, we've got to things like this umbrella of at the top of the umbrella that might be bit of light just hit, hitting the top of it here and there. For example, their edges of it, this top of this person's head and the back, and also this person head and part of the arm. Years. Well, just connecting on getting a bit of light. Let's have a look. This person is a bit of maybe better light and the back of the head here and the back here. Shoulder. Again, just the head. Maybe getting a bit of light. Okay. You've got figures off in the back, so just emphasizing a bit of that as well, just the heads and the shoulders marking out where they are. Okay. You do have a bit of this, like I said before, this wavy, it's water. I'm going to get in a bit of that. Not too much. Dry brush, a little bit of this on but doesn't matter too much to me. Just helps to outline the water where the water comes in. And this some of these boats I do like that. I've left them white as well. I'm going to just emphasize some of them more like this. The mast here as well. You can even just turn the whole thing into of the micelles up for ones, that one out in the back there. Bring back a bit of color for that one bit of the white sail in. This could be just a normal boat here. This one could have a mast. Also like to mix in a bit of yellow, tiny bit of yellow into the gouache to create myself some warmer values and the warm of values are gonna be excellent for just getting in some of the bits of light or whatever that I've missed out previously here in the background. So I can actually do you see that just sort of get it in quickly, dry brush it in. And the trick to doing it is really not, don't want to make it look too obvious just enough in there as to nothing there to imply potentially bit of light running through. Okay. But you don't want it to overwhelm. Start looking like a gouache painting. Finishing Technique. If bit more bit of light on this figure, the head of this figure, just pick up some white, yeah. Shoulders. This figure here, back as well in this little thing in front. Good. Even some of these umbrellas and things out in the back. You can just bring out a bit of the highlight on top of them as well, like that. And just little sparkles here and there can be nice. It just kind of evens things out a bit so that it's not all sections of highlights or white that are too obvious. That figure there. Now, here we go, this stuff here in the foreground. I really want to work on this a bit more. So this here just going to bring out some gouache and some yellow, some lighter areas of this rock that we'd lost out before. See that we can just bring it back. And it's contrasts a little bit more with the sand And at the same time keeps the rock a bit more character. Maybe some more yellow in there as well to darkening off a bit. Go over the whole thing just in some parts where you might have lost some light, where you want to emphasize light on parts of the rock layer here. This is a great way to do it. Here. I need to do it and all we areas, just some parts like this. I find the combination of gouache and watercolor in this sort of style really create something special. And it's worthwhile incorporating where you see a bit of sharpness and you want to get rid of it, just pick up water, dry your brush off, and just do this thing you just in a bit more color if you need to get more darkness and areas. Even you can flick in a bit of something there for like the textures of the rock while, while the gouache is still slightly dropped, slightly wet. See, we got that just a little bit of texture for that rock. Maybe. Darkness with this one still. In, read more darkness there. Darken this one down a little bit more as well. That rock. Just being mindful not to overdo it as well. And perhaps a few little bits and pieces here. Darker bits for the ground. Some little dry brush strokes. Who knows like footprints and things, inconsistencies and that sort of thing. Running through there. Just a bit of brown paint, nothing special. You do notice also here there's like a it's actually got some darker brown and stuff running through. Just rejig this a bit bit of that brown paint, go over the top and bring that through. Kinda goes all the way to the back. Even some here at the front view, this brown paint San the wet sand or whatever. Here, even over here. Patch, a patch there and inconsistencies. It makes it look more realistic. If you do this. I'm around this one a bit more. So we've got a fair bit of a fair few colors and tones as well running through here. So it looks quite varied and interesting. Darken the shadow a bit more of this figure. The foreground. In some really light, really white gouache just remaining of the palette. I'll just pick this up final bit to add in a few little sparkles on these rocks, like the top of tip of the rocks and things here. You can see little, little sparkles. Can even do it in the water and sort of parts in here. And this will help to separate the rocks out a bit from the the sand. I believe I looked too obvious. We're finished.