Master Ocean Waves in Watercolor: 3 Easy to Intermediate Exercises

1. About The Class: To paint ocean waves in watercolor can be a challenge for most of us. But with the right techniques and understanding of the principles, you can paint this subject convincingly. Hi, I'm Bianca Rayala, and I'm a watercolor artist. My works revolve around the beauty of life in nature. Watercolor has tremendously changed the way I see things in life, and that's the reason why my purpose is to help people to discover and pursue their creative passion. Today we're going to talk about painting ocean waves in watercolor. What they love about painting in loose and expressive style is that it's focused on bringing out the essence of the picture rather than creating a duplicate. Ocean waves is a subject that can seem intimidating. But once you break it down into basic steps, painting principles, and techniques, you'll realize that it's actually easy and fun to paint. In this class, we're going to start with essential materials from the right paper, brushes, and colors in order to create a stunning picture. I'll share helpful tips to work with colors without having muddy mixtures. Then I will teach you how to plan your painting in order to have a clear and effective game plan before diving into watercolor. I will be taking you through three different exercises that you can do to practice all the techniques that I will be sharing in this class. We'll start with a simple exercise on painting waves on the shore. Next, we will explore painting soft and hard textures with sea foam in cliff rocks. Lastly, we will apply everything we've learned and create this picture of ocean waves crashing on rocks. By the end of the class, you will have a better understanding of the behavior of watercolor and you'll be able to take your paintings to a higher level. I can't wait to see what you can create through this course, so let's get started. 2. Materials: Now let's talk about the materials that they used to paint this three ocean wave landscapes. In watercolor painting, using the correct materials has a huge impact and brings a lot of difference in your artwork. Let me take you through the materials that I recommend using for painting seascapes. I always use and highly recommend 100 percent cotton watercolor paper in 300 GSM. This is Bao Han artist grade cold press paper. What I like about this brand is its ability to hold multiple layers of washes, the colors look vibrant after drying, and it responds well to masking fluid. Some watercolor papers don't cooperate well with masking fluid, causing the paper to break when removing the masking fluid. This paper brand is also not as costly as other brands, but the quality is really great. Now, for the paints, I'm using colors from Schmincke Haram Aquarell. I just use a handful of colors as I always practice color diet to prevent module mixtures. What is very unique, with Schmincke colors is that most of their paints are made of one pigment tones, which allows the colors to remain bright, even when mixed with other colors. We will be playing around nine colors. I will guide you in the color mixing as we paint each artwork, but feel free to use the colors that you have and I encourage you to select just a few colors and do color mixing to have a harmonious painting. The colors I'm using for the class are transparent ocher, naples yellow, cadmium orange deep, brown chana, and cobalt violet hue. This one is the limited edition ocean gray. I we'll use this as my main color for painting the water. It is made of three pigments, which are PB 29, PG 50, and PVK 6. It has a very beautiful granulation and gives that clean, soft wash and gradient on paper. If you want to create a similar shade to this using your own paints, try mixing PB 29, ultramarine finest, PG 50, cobalt turquoise, and PVK 6, lamp black. We will somehow create a gorgeous, painted bluish gray color for your seascapes using these three pigments. If you don't have this three colors, it is not a problem at all. You can use any blues and mix it with green that you have in your palette to create a torquoise color. You can try fatal blue plus fatal green or you can also try cerulean plus Veribean. I encourage you to try to mix and match your colors and you'll surely discover something new and beautiful. Always remember also that regardless of color, the painting will always look beautiful when proper tonal values is applied into it. Other colors in my palette are; ultramarine finest, paints green, deep sea black, and deep sea green. Now this two colors, the deep sea black and deep sea green, are from the limited edition super granulation colors of Schmincke. What is so special about these two colors are their super granulation characteristic. You might be thinking what is granulation for. Granulation is where uneven pigment becomes visible on the paper and is often used to add texture. I use this granulating paints for creating rough texture on stones, bricks, or even backgrounds. Let me show you how granulating paints look like when applied on cold pressed paper. You can see this rough texture from deep sea black paint. The texture will become more visible as it gets dry. This one is the deep sea green, it is like a torquoise color with a very beautiful granulation. This feature also creates an added interest on our painting, giving contrast between smooth and rough texture on fragments. The other materials that I'll be using are masking fluid, water sprayer for moistening the paper, and these two brushes. First is a natural red sable hair, and this one is a liner brush to lift tiny spots of colors on to sea fragment. Prepare also a toothbrush and a ruling pen for applying masking fluid. If you don't have a ruling pen, you can use an old synthetic brush for that purpose. You will also need pencil, eraser, two cups of water, and tissue paper. I included a special portion in the class where I will teach you how to plan for your painting. I encourage you to prepare a notebook, so you can try creating tonal value sketch, color swatching and composition studies. I print this small copy of my reference photo on a semi-transparent sticky paper using my Poooli L1 thermal printer. You can refer it to the project description section for the list of materials that we'll be using in this class. All the reference photo and picture of the final paintings are also downloadable in the resource section below this video. 3. Planning Your Painting: The first thing to do when planning for your painting is to understand the subject. When we say understand, it means to carefully observe the key elements in the picture, like the source of light, perspective, mood, and atmosphere. By doing so, we'll be able to capture the essence of the picture rather than focusing too much on the details. However, this very important step is the one that most of us always disregard. Happy accidents are really nice to have in one's painting, but the secret to a reputable and beautiful artwork is to have a well-thought game plan before jumping into the execution part. We have to have a clear plan written on paper. I make it a practice to keep a notebook where I document the planning phase of my artworks. I will show you the pages of my notebook as I try to explain how I do it. When I plan for my painting, I create tonal value sketch of my artwork, do composition studies, mix and match colors to identify my color palette, and also take down notes of the painting process that I have in mind. This notebook doesn't have to look neat and perfect since its primary purpose is to understand and break down the artwork. I used to make thumbnail sketch to study the tonal values of my reference but now that I have a Poooli Printer, this printer does the job for me. I don't have to sketch the picture anymore as I can instantly print a gray-scale image and stick it on my notebook. Let me walk you through the process of making a quick blueprint for the seascape painting. I already prepared the blueprints for the two other projects. Here you can see the tonal value analysis, composition study with important notes on the side, and some color swatches. The same thing I did on this artwork. It may look intimidating and tedious to do at first, but I tell you that once you develop the habit of doing this practice, your paintings will really improve. Let me show you the process of making a study plan for your artwork. Here, using my thermal printer, I print a copy of my reference photo so I can have an instant tonal value analysis of my reference photo. You can either do this step by sketching in gray-scale or print using a regular printer. I'll write a title on top of the page, stick the image on my notebook and try to analyze where is the lightest light and the darkest dark. Here in the picture, we can see that the lightest light is on this wave fragment, while the darkest tonal value is found on the sea fragment. We can also observe that the sky fragment is lighter in tonal value than the sea fragment. There is also a slight transition in tonal value from the horizon to the portion of the water near the waves. So these are just some of the observations that you can take note of as you observe the tonal values, which definitely would create a huge impact on your painting. Now let's do a study of the composition. It is not always necessary to draw everything in the reference. What I do is to pick a portion that I like to portray and find the right positioning. I do a thumbnail sketch, divide the space into three so I can position the focal points on correct spots. Now I decide where to place the horizon line. Next, I positioned the waves on the lower third part of the paper. Doing this gives me a guide when I start drawing the reference on a bigger paper. Sometimes it's also good to try sketching the same image in a different paper format just to see on which format does the picture look more interesting. So it's all about trying and experimenting until you find what looks best for you. Next, let's note down the colors that we'll be using for the painting. The purpose of this is to find the color mix that you need and also a helpful way to remember the color combinations the next time you would paint a similar project. As my last step, I list down my observations or key, like the colors that I will use on specific areas or techniques to be applied on different fragments. After doing this, you will have a better understanding of your reference photo and you will be ready to paint it with more confidence. 4. Practice Exercises: Before we dive into painting, let me walk you through some practical exercises to prepare you from doing the actual work. In these quick exercises, we will practice painting sea foam, water splashes, and rocks using different watercolor techniques. Let's start with the sea foam. I pre-wet my paper slightly. I use stained water so you could see how wet the surface is. It is not so wet, but just moist. Now I load my brush with creamier pigment and less water in it. I flattened my brush and create soft strokes. Here you can see a soft yet slightly define stroke. This effect is what we need to achieve in order to portray the sea foam through negative painting. If the paper is too wet, the paint will bloom uncontrollably. If the paper is running dry, the stroke will have hard edges. The secret is a moist paper and a brush with creamy pigment and almost no water in it. Let's do our second exercise, which is the water splashes. I take my masking fluid and ruling pen and apply the outline of the crashing wave with some masking fluid. I make my stroke very fluid and natural. Now I let this dry completely with the heat gun so my brush won't get ruined as I apply paint. Next, I get a clean brush and pre-wet the surface around the borderline. I will start applying paint from the outside going in. I get a very saturated mix of color and paint from the top going down. See how dry and thick my paint is. I need the thick color to create a contrast between the white splash. We let this layer dry and then we remove the masking fluid. So you can better appreciate, I will paint a small rock here below. I carefully scratch and remove the masking fluid to show the white spots that I reserve. Next, let's paint the shadows on the waves by using a cobalt violet hue. I pre-wet the surface slightly with clean water and then drop a thin mix of cobalt violet on some parts of the wave to show dimension. Another technique I want to show is to sprinkle clean water using a toothbrush. Right after doing this, get a tissue paper and dab a bit on the surface to lift the colors. Make sure that the fragment is thoroughly dry before doing this sprinkling technique. For our last exercise, I'll teach you a simple way to paint a rock and to bring out dimension in just one layer. First step is to identify where is the light coming from. You need to know where is the light to appropriately paint the shaded part of the rocks. For our picture, light is coming from the left, so the top part is lighted and the side on the right is in shadow. I use a light color mix using yellow and burnt sienna to paint the lighted part and dark browns to paint the shadowed part. Notice that I didn't have to outline the sides to separate one side from another. I just vary the tonal value to make the shift very visible. Also, another technique is to paint the shadowed portion with a thicker color mix. If you paint with a thick creamy mix, the paints will not flow too much and would create a semi-defined edge. Practice these exercises, and let's jump into our first class project. 5. Project 1: Ocean Waves On Shore: Welcome to our first project. You may get the copy of the reference photo and final painting on the resource section of this class. This project is fairly easy and simple, where we will paint the waves on the shore. If you do the planning phase of this project, it will be easier for you to position the horizon line and the waves. I made the horizon line with a ruler to make sure it's straight and crisp. For the outline of the waves, I just draw some loose shaky strokes trying to imitate the natural look of the wave. As much as possible, keep your sketch very light so it won't show after painting. Next, I splatter some masking fluid using this toothbrush. Hold the toothbrush in a way that the splatters will go to the appropriate direction. For this exercise, I will not put masking fluid on the outline of the wave since the form of the wave is fairly straight and simple. I am just drying the masking fluid with a heat gun to speed up the process. I'm also removing some big splatters that I don't like on my paper. Making sure that the masking fluid is completely dry is very crucial. This will prevent you from ruining your brush and also your painting. Now we are ready to start. I tilt my paper at a slight angle. I will use this deep sea green color for the water. It is a lovely turquoise color with beautiful granulation. I start painting from the sky going down. I will use a creamy mix of ultramarine blue for the sky. I slightly mix a bit of deep sea green on my ultramarine blue to give the sky a hint of the color that I'll be using for the water. I'll make the horizon line straight and crisp. Next, I'll get the creamy mix of deep sea green with a bit of indigo to have a deeper and darker tone. Notice that the color of the sky and the water didn't bleed because the consistency is really thick and almost dry. I spray a little water on the sea fragment to moisten the paper and to easily create a graded wash as I approach the waves fragment. I intentionally left some white spots on the horizon line to portray layer on water. I spray again some water on the borderline of the wave and with a very thick mix, I dab the tip of my brush to do negative painting. I tilt my paper on the opposite side so the paint will flow to the water fragment and not on the wave fragment. After dabbing color on the border of the wave, I continue filling in the color of the sea. Don't forget to create a transition from dark to mid-tone on the sea fragment to show distance in perspective. With a clean brush, I soften some of the edges on the border of the wave so I can have some sort of lost and found edges. Next, I spray water on the base area and paint the base with the same blue color. This time I just mix a little bit of ocean gray and cobalt violet to have a varying shade of blue. Since the lower third part of my paper got moist because of the water sprayer. I am able to create these self-defined strokes in the foreground. Keep the foreground interesting by changing the size, shape, and color of the strokes. There is also a play of soft and hard edges because of the random wetness the water sprayer has brought to the paper. Now for our last step let's paint dimension on the wave by adding shadows, I pre-wet the bottom surface with clean water and get a watery mix of the same blue color and cobalt violet. I gently dab the color of the wet surface, creating very light cool tones for the impression of shadow. The important thing in this step is not to overdo it and still preserve enough white on the paper so you won't lose the brightness of the wave. I darken some strokes on the base just to add contrast. For my final touches, I just add some more shadows on few areas and soften some edges to make it really loose and expressive. I also darken some portions in the foreground with few strokes. I will dry this painting with the heat gun and I will remove the masking fluid afterwards. This is our final painting. Let's start our second project on the next video. 6. Project 2: Waves and Cliff Rocks: On this lesson, we will level up a little bit by painting waves and sea cliff on bird's eye view. This class will help you master painting rocks in one layer, and also a good introduction to portraying sea foam using negative painting. I start by drawing the rock fragment here in the lower third of the paper. I simply draw the general outline of the cliff and not copy each rock that I see in the picture. Our aim is to get the essence of the photo, paint light, and not focus too much on the details. Next, I draw the general outline of the waves. I won't draw all the whites that I see in the photo, especially the small thin ones, as I will do it directly with the masking fluid. Using my ruling pen, I apply a thin layer of masking fluid on the edge of the rocks. I'll also do the same on the sea foam surface and on the wave fragment. I hold my ruling pen sideways so I can easily create thin, fine, wavy lines. The good thing about using a ruling pen is it's easier to create these fine lines unlike using a tiny brush. Notice that I vary the width of the lines and I try to keep the strokes very natural and not stiff. When your sketch is mostly filled with masking fluid, there is a tendency to feel lost. That is why it is important to have a blueprint. When you create a study of your painting, it will serve as your map that will guide you in the painting process. Despite having these confusing masking fluids around, you will still be able to identify which area is allocated for the waves, the sea foam, and the water. I will splatter some masking fluid using a toothbrush, and let this layer to dry completely before I start painting. The masking fluid is already dry and we're ready to paint. As an overview, we start by painting the base color of the sea foam and waves, then we paint the water fragment. Lastly, we bring the picture to life by adding the rocks. In our naked eyes, the waves and sea foams look white, but if we think of it, it is not really white. It is a very subtle reflection of the colors of the objects around it. Knowing this, I paint the base layer of the sea foam fragment with a very light watery wash of ocher. I also add some cool tone using cobalt violet hue to paint the shadows. Make this layer very light, almost not visible and obvious. Now we let the paper to absorb the wet layer a little bit. Once the paper is moist, we will paint the sea foam through negative painting. In this step, we will be painting the water using ocean gray mixed with burnt sienna and leave some gaps in between to portray the sea foam. Just a tip, make the mix warmer when painting the fragment near the rocks while colder away from it. Look how gently I create the strokes, and I vary the size and shape of each one. If you feel lost on your own painting, pause and go back to your blueprint and reference photo to see which area are needed to be painted while doing this negative painting. Now I am just adding some more darker strokes around the outline or border of the wave. You may notice that sometimes I spray the paper with water, to moisten the paper and to achieve soft strokes. It is important to be aware which fragment has to be kept white so you won't accidentally paint over the entire wave area. As we wait for this layer to dry, let's paint the water fragment. Since there is a transition from dark blue to a mid-tone blue in the water fragment, I will create a rich and deep blue color using ocean gray and ultramarine finest. I make my mix very thick and saturate then. So even if the paint fades after drying, it still remains dark. As I approach the wave fragment, I create a smooth gradient. I also add a bit of transparent ocher on my blue mix to create a greenish shade for this left portion of the water. Again, keep in mind that you should not go beyond the border of masking fluid so that we will not paint over the wave fragment. I stop adding colors and just soften the edges using a clean damp brush. This step is necessary to make the transition between the wave and water look more natural. However, don't soften all the edges that you see. Make it a play of soft and hard edges. Now I darken the spots around the masking fluid to intensify the contrast. I constantly referred to my reference photo, not the duplicate what I see, but to capture the essence and try to identify where the dark and light spots are to bring out the light in my work. Now that I'm done with the water fragment, I will go back to the sea foam fragment. I will use a heat gun to ensure that the layer is completely dry before I start painting the rocks. Using Naples yellow, burnt sienna, transparent ocher, and a bit of cadmium orange, I create a warm mix of color to paint the lighted part of the rock. For the portion in shadow, I mix Payne's gray and burnt sienna and also a bit of cobalt violet. I tried to vary the [inaudible] that I used to give an added interest to the rock texture. Remember to apply what we've practiced in our previous exercise that we use a thick mix of pigment when painting the sides of the rock, so it will look really hard and will stand out from the background. I continue painting the other rocks on this side using the same mix of colors. Now I'm darkening some areas a little bit, just to better portray the dimension. Let's continue painting this big chunk of rocks by the cliff. The technique on painting of big chunk of rock like this one without getting confused with the complex reference is to identify first which parts are lightened by the sun. I start with a small portion here in the middle, then from here, I build up the dimension one rock at a time by painting its side. Again, I don't try to copy exactly what they see on the image. At this point, I don't even refer to the details on the reference. I create my own cliff by painting as how I desire but taking into consideration light and contrast. Here you can slowly see how the chunk of rocks are being formed in just one layer. Continue the same process until you cover the entire fragment. It is amazing how the picture comes to life by just adding light and shadow. For the rock fragment closest to me, I will make it lighter in tone just as how it looks like in the photo. I will take advantage of the granulation of the deep sea black to create the rough texture on the surface. I will mix this granulating paint to my Naples yellow and transparent ocher and let the paints create the texture on its own. I will just darken some spots to separate this portion from the chunk of rocks. When you're done with this fragment, let this layer dry completely. Now that it's dry, I will just add some dark strokes to enhance the rocks, and then I will start removing the masking fluid. Now we can see that the white portion of the paper is too bright and a bit distracting. We need to add shadows on some portions of the waves and also paint some blue spots to make it more natural. Using the same mix of ocean gray and burnt sienna, I start by painting the shadows of the other sides of the rocks. This is to diffuse also the brightness of the white unpainted portion. Next, I use a water sprayer the moisten the white portion of the wave and paint some bluish-green spots to imitate the look of the water. I paint some spots that are moistened by the sprayer, so I can create a soft stroke. Just be careful not to overdo the small strokes to avoid covering the entire white fragment. A tip I can share is to pause from time to time and see which areas need to be painted before adding a stroke. The last thing we want is to lose the white space we reserve for the wave. As a final step, I darken some spots around the white foam to increase the contrast and also soften some edges using a clean damp brush. This is our final painting. Let's do our final project on the next video. 7. Project 3: Crashing Waves: I'm so glad to still have you this far. Welcome to our third class project. Let's start with the pencil sketch. I'll place a rock a bit off-center in the lower third part of the paper. I make a basic sketch and I try to make it as loose yet natural in form as possible. I add a few more rocks here on the side for balance. Next, I draw the outline of the wave crashing on the rocks. I add some strokes that will serve as my guide when painting. Now let's apply masking fluid using my ruling pen. I place masking fluid on the outline of the wave and on the base of the rocks. I hold my ruling pen sideways and vary the thinness and the flow of the stroke. I tried to dance my hand as I do the stroke so they will look fluid and not stiff. I partly put masking fluid on some parts of the rocks that is covered by sea foam. Let's add masking fluid here on the main crashing wave. Notice the strokes that I do to portray the splash of water. I continue adding some masking fluid at the base of the rocks in some portions on the foreground too. For our last step, I use toothbrush to splatter some masking fluid on top of the crashing wave. We'll let this layer dry completely and then we will start painting on the next lesson. 8. Painting the Water: Now that our masking fluid is dry, we will be painting starting from the sea foam here in the foreground. We will do this step through negative painting. But before that, we have to set up first the base tone of the water surface. Using my natural sable brush, I get a thin mixture of transparent ocher and paint the foreground with a very light wash. I'm setting up the warm tone here. Next, I get a bit of cobalt violet to paint some cool tones for shadows. Notice how light my mixtures are. It is almost not visible. We let the paint to settle a bit and once the paper is moist, we can start doing the negative painting to portray the sea foam. Knowing the right timing is very crucial, so the strokes will be soft and blended. I get ocean gray and burnt sienna to create a greenish-gray and bluish remix. I start painting with light strokes, keeping in mind that the fragment near the rocks should appear warmer, there's more burnt sienna in the mix, while the fragment away from the rocks are colder, there's more ocean gray in the mix. I want you to note also that my mixture is creamy and contains very little amount of water. Make the strokes vary in size and shape so we create natural look of the seafoam. Even though we tinted the surface with ocher and cobalt violet earlier, since we have a very light base wash, the surface still appears almost white after applying the negative painting. I will be adding some darker strokes here in the foreground to show depth. Next, I slowly move on to the waves in the middle part and keeping an eye to my reference photo in tonal value sketch so I won't get lost in the process and accidentally paint over the areas that should remain white. I suggest that you do the same habit of referring not just in your reference, but also in your study sketch in order to avoid unnecessary strokes. I'm almost done with setting up the sea foam through negative painting. Let this layer to dry completely before starting on the ocean fragment. We don't want the colors to mix up uncontrollably. Now let's do the technique I shared in our previous exercise. I use a clean brush and pre-wet the area around the border of the crashing wave. In this way, we create a lost and found edge upon painting the area around the wave. I will get a thick and saturated mix of ocean gray and burnt sienna. I'll load my brush fully with pigment and dab it on the moist surface. I let the paint to spread on its own. I continue this step until I cover the entire wave. Next, I paint the ocean fragment with the same thick paint but this time I will add the ultramarine finest to have a darker and richer color. It is important to give this area really dark amount of paint, so the whiteness of the crashing wave will stand out. Here in the left side, I slightly soften the tone and create a smooth transition between the two areas. I will add some dark strokes in the sea fragment to add texture and a bit of movement on water surface. When you do this, make sure that the brush doesn't have too much water in it to avoid watercolor blooms. I will use my heat gun to speed up the drying process and you don't have to use a heat gun when you're not in a hurry though. It is still best to let the paints dry naturally. Now let's remove the masking fluid to reveal all the white spots on the wave fragment that we preserved. Let's continue painting on the next lesson. 9. Painting the Rocks: We are halfway through the project. On this lesson, we will be setting up the shadows in the wave, and we will also paint the rocks and add final touches to complete the painting. Let's start. Using this toothbrush, I will sprinkle a few amount of clean water here on top to further enhance the wave. With a clean dry tissue, I dab the wet portion of the paper and you would see a lifted color on some parts. I do the same thing around the other portions of the waves. Next, I get ocean gray and mixed with ultramarine and go over some spots that lighten too much because of the lifting I did previously. Now let's enhance this fragment on the left, I moisten the paper and paint light tone of ocean gray to build the dimension of this wave on the left. I do this with very light wash and light strokes. I also somehow darken the points near the white space for contrast. I add a greenish tone, just to vary the use and to make it more interesting. Now let's move on to the main wave, I spray some water to moisten this space then I make my mix for the shadow, I use cobalt violet hue and a bit of ocean green. The mix is very light. I don't paint over the entire surface and I refer to the reference and look for the shadows that I see. I soften some edges with a clean, damp brush. Next, let's paint the rocks. I first paint the lighted parts using Naples yellow, orange, burnt sienna, and a bit of transparent ocher. I want it a little bit opaque, that's why I use Naples yellow. I also add a deep sea black for granulation. I paint on the dry surface since I want to have a hard edge for the rocks. Since we will paint it in one layer, just paint over the lighted portion, and then using a darker shade, I will paint the mid-tone. I will create an even darker and thicker color to paint the side that is in shadow. I do the same thing with the other rocks. Remember to identify the lighted portion first so you can create dimension on your rocks. You can also scratch some portions with your nail to give it more texture. Another thing that I also want you to note is to use saturated and thick paints so this fragment will really stand out. As the paint gets dry, you can add some more dark strokes to further highlight the dark portions. Let's repeat the same step on the rocks on the left. I will add a hint of small rocks partly covered by the wave here in the upper portion, and also another one beside the wave. I will dry this layer completely, then I will remove all the remaining masking fluid. Now that the masking fluid are all gone, we see some striking and distracting bright whites on the paper. Our next step is to diffuse some of those white spots by tinting them with a bit of color. I use a thin mix of my leftover paints to slightly increase the tone of these white spots. Next, I will also darken some areas here in the foreground. I still moisten the paper with few water so my stroke will be soft. Let's dry it once more and let's add some dark spots as necessary. This is our final painting. 10. Final Thoughts: Thank you so much for joining this class. I love painting seascapes because it has a special way of making me feel relaxed, and I hope that it did the same thing to you. I listed down all the materials that I use in the project description below this video. You can also download the reference photo and final painting in the resource section. Don't forget to upload your work and leave a review if this class has helped you in any way. Thank you so much again for joining me in this class, and I hope to see you in my other classes.