Oceans and Beaches with Watercolors

1. Welcome to the Class: Ocean and beaches are two of the magical places on the planet. I could spend the whole day watching the waves at the beach. But there is one thing that is more satisfying than that for me. That is painting them and seeing how my hands can create these magical places into a painting. Watercolor is one of the delicate mediums of painting and requires a lot of practice and patience. But with this beautifully uncontrollable medium, you can create wonders. Hello friends, I'm Gitu an aerospace engineer by profession and an artist and instructor from the heart. One of my favorite places to visit and attempt my travel sketching hobby is by the beach, watching the waves crashing onto the sand. Welcome to this class on oceans and beaches. First, I will take you through all the watercolor techniques that are needed for painting oceans and beaches and assure you the importance of different watercolor papers. Then there are five class exercises focusing on different ways to paint both the ocean and the beach during different times of the day, like sunset and moon, as well as using different materials. I know that many of you may not have masking fluid, which is why I have included a whole lesson on the alternative to using masking fluid. We will learn to paint a vibrant painting of the beach and the sky while the sun is setting and a gorgeous beach and sky in the summer. The class projects include putting into practice all the techniques and methods from the exercises and techniques lesson to paint three magnificent paintings that you would cherish forever. First of all, a gorgeous, vibrant sunset beach landscape where you will get to implement all the techniques learned in the exercises. This is followed by the magic beach, which captures the beauty of two different beaches into one and combines them into a single magical beach. Lastly, the green ocean covers a majestic ocean view, covering the Caribbean sea with its bold and vivid greens. These three, class projects would level up your water coloring skills for painting different beaches and oceans. It would leave you confident enough to try out more paintings of oceans and beaches from reference images. Can't you tell by now that I'm a beach person. This class is designed for all of you out there who love the cool ocean breeze, love the sound of the beach waves and the enormity of the ocean. Join me in this class and paint your hearts out. 2. Art Supplies You Will Need: Let us discuss all the art supplies that we will need for this class. These are the papers that I'm going to be using. The first one is this Arches 300 GSM 15 by 30 centimeters paper and it is 100% percent cotton paper. As you can see it's really long along the length wise and then another paper is the Saunders Waterford cold press paper. This is also 100% cotton paper. It's almost exactly same as artists. It's just that this is the size I had for the A4 one which is why I'm using this paper. Thirdly, Chitrapat paper. This is 440 GSM paper, it's really thick. It is also 100% cotton paper and it's rough surface. These are the papers that I will be using, but don't worry if you don't have the exact same papers that I'm using. You can join me with whatever paper that you have, but I will always recommend 100% cotton paper for this class because there are lots of techniques where you need the paper to stay wet for a longer duration and then the brushes. These are the brushes. The first one will be this Princeton hockey brush that I will be using for large washes for the wet-on-wet technique then this size 12 brush from silver black velvet, or you can use a flat brush for the large washes. This one is one Jackson's. Then apart from the size 12 brush from the silver black velvet series, for the bigger strokes we can have a medium-size brush like this size 8 eight a smaller size brush such as this size 4 brush and I will also be using a rigger brush. This rigger brush is a brush with this longer hairs as you can see and it's got a really nice pointed tip. But don't worry if you don't have a rigger brush, you can join me with the smallest brush you have such as this brass tube brush then we will need some palettes. I will be using various kinds of pallets such as this that I'll make one; this one with ceramic wells and also a plastic palette. I'm using these different ones because I already have some shades in it and I do not want to wash it off and base my things then we will need two jars of water. One clear water for applying for the wet-on-wet technique and the other to wash off your brushes. You can see how one has done dark, so we cannot be using this water when we are using wet-on-wet technique. Watercolor paints. I will be using watercolor paints from various brands such as Sennelier, White Nights, etc. I be be discussing the individual colors that we will be using for the various class projects in the respective lessons, so don't worry about whatever shades that we are going to be using. I prefer Sennelier and White Nights mostly then I also have this palette; the Currents palette from Art Philosophy. I will also be using this palette, but as I said don't worry if you don't have this palette because I will discuss the alternate shades that we can use. Additionally, I have put this shade. This is Sand Ridge shade from the Woodlands palette of Art Philosophy. I've added it to this. Most of the shades from the White Nights I have filled them into bands and I carry them as bands as it is easier for me to take the paint from them. So these are full bands where I have filled in the paints, so I will also be using these full bands. Next, you will need a ruler, eraser, a pencil masking tape to tape the edges of your paper. Then these whitewash, I will be using this color titanium white from Winsor & Newton. You can also use white gouache from other brands if you have or you can use your white watercolors. As you can see I have both of these from our design, so it doesn't matter which one you're using then we will also need masking fluid. This one is a masking fluid applicator. I will explain in the next lessons then you will need some old brushes for using with the masking fluid and then an old toothbrush. You can even use a new one if you want, it doesn't really matter. Apart from these we need tissues as well, but as I said don't worry if you don't have the exact colors. Without any further ado, let's jump in and move on to the next lesson. 3. Watercolor Techniques Part I: The techniques that we will learn today are wet-on-wet, wet-on-dry, dry brush technique, wet-on-wet splattering, wet-on-dry splattering and painting watery boots using the wet-on-wet method. This lesson on techniques is really important if you are a beginner, because this will help you to understand all the different watercolor techniques and paint along with me in the class exercises and projects. But if you are an intermediate artist and already know these techniques, then you can skip these and go to the last exercises directly if you want. But I would still suggest that you attempt these techniques at least once before you move on so that you are familiar and know what to expect from the class exercises and the class project. I will be showing you most of these techniques on two types of paper. One on Arches 300 GSM cold press paper. You can see it's texture here. The other on chitrapat 440 GSM. See the thickness of this one, and it's also rough paper. This rough texture will come in handy for certain techniques such as the dry brush technique. You can see how both of these papers are entirely different. But don't worry if you don't have either of these papers. Join me in this lesson with whatever materials you have and familiarize yourself with these watercolor techniques thoroughly before we move on to the class exercises. The first technique that we will learn is the wet-on-wet technique. This one, as its name suggests, wet-on-wet. The first word wet, refers to the brush and the second word refers to the paper. It means applying wet paint on the brush to the wet paper. We need to wet the surface of the paper first. I'm going to load up my brush with water and applying on the paper in this square. We have to make sure that we apply the water evenly and not make any pools of water. Apply the water on the whole of the paper on this square or whichever surface you're practicing on. You can see from this angle here, the water consistency that I'm applying onto the paper. Because I'm painting this on a square, I'm just trying to cover the whole of this [inaudible] with water. Now I'm going to load my brush with some paint and going to dab the paper. You can see how the paint spreads because there is water on the paper. Now I'm going to cover this whole box with the paint. You can see that covering this large surface area becomes easy with this method. Just load up your brush and cover the surface that you have applied with the paint. In my case, it is this box over here. The paint will look more even and flat with this method. Now, my paper is still wet, so I can go ahead and apply a second sheet using the wet-on-wet method. I'm going to apply a darker shade on top of this one in some random strokes. You can see how the paint spreads on the top because the paper is still wet and creates these nice shapes in the form of clouds. One thing to make sure is that the water on your brush should be lesser than the water on the paper. Now, again, I will show you how we can achieve a perfect blend using the wet-on-wet method. I'm applying water in this square, which will help to make the surface wet for achieving the wet-on-wet method. Then, taking some yellow paint, apply in the swift left and right movement onto the paper. Next, taking some pink, I'll do the same left and right motion with the brush. As you reach the yellow, just keep doing it so that they mix well and blend together, but stop around midway. Then load your brush with yellow again and repeat the same from the top. This will mix both the colors evenly and create the perfect blend that we want. It is these swift left and right movement that creates the perfect blend. Now, let us have a look at the same techniques on the rough chitrapat paper. Applying water to make the paper wet. Apply the water evenly again on the whole of the surface. Have a closer look at this angle over here. Then, taking paint on my brush and dabbing it on the paper. See how it has spread. On this paper, the paint spreads more than on Arches. This is because, it is perfect for this method and this paper is handmade while the other is machine made paper. Now I'm taking a second color and applying on the top. See how it is spreading. We can actually paint clouds using this method. This technique is perfect when we want to mix two colors on the paper itself. But remember, all these have to be achieved while the paper is still wet. Moving on to the next square. Applying water again to show you the blending. In this one, I'm going to show you a perfect blend of yellow and green. Blending two colors evenly is one of the most important techniques in watercolors and needs a lot of practice to get it right. Keep practicing until you get the perfect blend. I'm using the same swift left and right movement to achieve the perfect blend. First, I'm starting with yellow, this time at the bottom. I'm stopping around midway to take the next color, which is green. Starting at the top, using the same swift left and right movements to join the yellow in the middle. Practice this blending method as much as you can because this is one of the very important techniques in watercolors. The third technique is the dry brush technique, and it is a very important for this whole class. As its name suggest, it means the brush is dry when we apply on the paper. We load the brush with paint, but we will dab it on a tissue and dry off all the water so that it is dry. Then, holding it at an angle like this, make these brushstrokes so that we get these texture on the paper. This is mainly because the paint doesn't get a chance to go into the pores of the paper and only gets covered on the top part. See how we have attained a very nice texture using the dry brush method. Now, I'll show you with a different color, yellow. On the top. Here, I have already made on the Arches paper first. It is because I actually forgot to click the record button while doing this one, but I will show you once more. Dabbing on the tissue to dry the brush. See how this paper also gives the nice dry brush stroke on the paper. Remember that this technique is very important for our class, and I usually prefer chitrapat paper for this method. 4. Watercolor Techniques Part II: Moving on to the next technique which is wet on wet splattering. As the name suggests, again, we need to have a wet paper so I'm applying water all over my surface, which is the paper here. Wet splattering technique, it is always best to cover every other area where you don't want the water splatters, because the splatters where it falls is really uncontrollable. I'm covering all around the box with tissue, and then I'm going to use this size 4 brush and I will load paint onto it. I will hold the brush like this, so holding it using these two fingers while your index finger will be free to do the tapping. Tap on the brush and you can see the paint splatter onto the paper. You can see how the splatter has spread a little because the paper is wet, it is equivalent to touching the tip of the brush with paint, but this way using the splatter is more random as the paint falls in a way in which we have no control. Alternatively, you can also do the splattering method like this by using two brushes and tapping the brush loaded with paint on top of another so that the paint falls onto the paper. This method that we just learned is wet on wet splattering because my paper surface is wet. Now, I will show the same on the rough chitrapat paper. First, we have to apply the water evenly. See this arches paper tests spread because I kept it at an angle. On this one, I want to show you how we can achieve this wet-on-wet painted part. I will paint the whole box yellow to show how this method would come in handy. It needn't be just a wet paper, it can also have wet paint, that's what I mean. I have just applied paint on the wet surface, so it is now still a wet surface with wet paint. Covering the other areas with the tissue so that only the box is exposed. Then I will load my brush with paint, see red on the brush and then doing the splatters again. Watch how the splatters spread and also the tapping on the second brush method here. Now, the next technique is wet-on-dry splattering. This means that we will be doing the splatters on dry paper. Any dry surface can be used for this method. I'll cover the other areas with tissue again and do the splatters. You can see that the splatters do not spread now. You can do it with another color if you want. See how the splatters are turning out. Now, we will do the same on the chitrapat paper. See how the spatters we did earlier has spread in this direction. This is because I kept the paper at an angle while painting on the arches and the paint spread downwards. But you can actually see how this method can come in handy when you want to achieve these textures. Now, after covering the other areas to expose only the box, we will do the dry splatters. These platters are fairly the same on both the papers, you can see how it has turned out. Now, we will move on to the next one, which is wet on dry method. You must have wondered when I applied paint on this box earlier, but I wanted to show you how to do the wet-on-dry method as a top layer on an already existing paint. This has now completely dried and the surface is dry. We can take dry paint and apply on the top. Any stroke that we make will not spread because there is no water to make it spread. We can also learn some brush strokes here. Most brushes we see have a pointed tip shaped like this. Let us use it to its full potential. See the pointed tip on both these brushes. We will start with the tip pointed down like this, and then while you make the stroke, you can see how the shapes are formed. Press down the brush starting from the pointed tip. Keep practicing these strokes with the brushes and you will fully love how different shapes can be achieved with your pointed round brushes. On the chitrapat paper, I'm going to show a simple drawing with the brush. This is just to show you how the wet-on-dry brush technique has different uses and has no effect on how the surface of the paper is. I'm just making a simple house and a tree here. Next, we will learn wet on wet ripples for painting water. As its name suggest, because it's wet on wet, I'm applying the whole box with water again. Then I'm going to paint the whole box with the low turquoise. Now for painting the ripples, it's the same wet-on-wet method as we learned in the previous lesson, taking darker shade on the brush. First, I'm filling the box with lighter tone of the low turquoise, and then taking a darker shade on the brush to make these lines. To get the ripples effect, we will use the same brush stroke that we learned in the wet-on-dry section. That is, using the pointed tip and pressing the brush. See here, the paint spreads in this case, but creating a very light ripple effect. See how I'm doing the brush strokes. Now on the tetrapod paper, I'm going to cover the same whole box with turquoise blue. It's almost the same shade as the low turquoise. This is turquoise blue from white knights. I'm just adding wet paint to the whole of the box so that I have wet on wet box, as in a wet surface. Then using my thinner brush, I'm starting with thin lines at the top, and then making the brush stroke as I move downwards. You can join these strokes together to get the effect of ripples in water. Observe how I'm doing using the pointed tip and then pressing your brush downwards to create the ripples. Keep practicing this as much as you can. Next, I want to show you how we can make thin lines with this brush called rigor or liner brush. It has a really pointed tip and long hairs. But don't worry if you don't have this brush because you can use your smallest size brush, typically size 1 or 0, like this brush straw size 0 brush. See the smaller lines I'm going to make with this brush now. Again, I'm using the pointed tip and because it's a very thin liner brush, I get these smaller, thinner lines. This smaller size can also be achieved with the brush straw smaller size brush. Any smaller size brush would do, all you have to do is use the pointed tip. For example, I will show you with my size 4 silver-black velvet brush. Even though it's size 4, I can make really thin lines with it by using the pointed tip pointing downwards. It really doesn't matter, you just need a very smaller size brush. Lastly, we will learn a new splattering method using a toothbrush. We need an old or new toothbrush, whichever you have, to get very small splatters. First, dip the brush in water and then make sure to dab it off in a tissue to almost dry it, then dip it into the paint from the pan or two, so I've loaded it with paint and then holding the brush using your thumb, move the bristles and splatter it. You can see that tiny splatters can be formed with this method 5. Class Exercise 1 - Sunset Beach: Let us start with our first class exercise. I'm drawing the horizon line first, then I'm going to apply water to the whole of the paper. This means that this is going to be the wet on wet method so we need the whole surface to be wet. Starting with the top, I'm going to apply water all over the surface of the paper. Here, I'm going to be applying below the horizon line as well. That horizon line will be the line of our sea, towards the top of it will be the sky, and towards the bottom, the sea. I'm going to start with Indian yellow and slowly applying them over the wet surface forming these lines. From the right to the left, and from the left towards the right. Then we will repeat it with Quinacridone Rose. Don't worry about the name you can use a new rose that you want, just it should be a pink or rose shade. Remember that this is the sky, a sunset sky. It doesn't really matter how the color spreads. I'm just randomly mixing rose and yellow to my sky to give it the sunset effect. Then using the quin rose, continue painting the quin rose all the way downwards on the whole surface of the paper. Wet on wet method is the easiest to apply paint to a large surface area. Make sure to apply the paint while the paper is too wet. I have applied the whole of the bottom part with the quin rose. You can apply darker tone on top of each other as long as the paper is wet. I'm going to darken the yellows here so that they become more prominent, and also the same with the pink in the sky region. Then towards the top of this sky, we will have to add more colors of the sunset. Adding in more quin rose. Then towards the top, I'm applying violet paint, on the top part of the sky to give it more vibrant and dramatic sunsets colors. You just need to apply it randomly on top of the pink to get the contrasting effect. Just remember that the whole thing is wet on wet and it doesn't matter how it spreads. All you need to look at is just apply those strokes and don't worry as to how it spreads. That is how we want the sky to be. You can see how I'm just mixing all of these colors together into the sky. Then here at the center, lift off some paint with your brush so that we get the effect of sun in the sky. To lift off paint, simply dry your brush in a tissue first and swipe it on the paper then dry it again and repeat. Try to form a circular shape in the sky for the sun. Now, let us take some violet and add towards the bottom area while the paper is still wet. Remember, if your paper is not wet and has started to dry, do not work on it again. To add the violet, re-wet the paper after it has fully dried using a very thin wash of water and then add in the paint, that's how you can work on multiple layers in case your paper has dried up. Right below the sun area, we will add some yellow paint to the beach to depict the reflection of the sun. You can see, I've added some yellow on top of the quin rose, and the mix has turned into a golden orange shade, but that's alright. Once your paper has fully dried, that is when your first layer has fully dried, we will work on the wet on dry layers. We will start with the sea using violet, so I'm painting along the horizon line. Towards the further end of the sea, it will be entirely violet and while we approach the beach area, we will start to see the waves. Make darker violet to the further end, and then we will start to make the strokes for the water as we're coming towards the near end. Darker at the top and then smaller lines and strokes as you move downwards. Now we will start to make the strokes for the water. Do the brushstrokes just like I showed you in the techniques lesson. These will be the water ripples that I showed you. Observe how I'm making these random strokes for the sea. It is entirely wet on dry method. Paint from the left side and the right side and leave most of the gaps towards the center. This is because the brightest parts of the painting are in the center due to the light from the sun, and all the darker tones will be seen on the left and the right side. You can see I'm starting to add the wave motion, so make these lines just like I'm doing in this angle. This is how a wave will look like. It is probably a wave that's going to crash onto the sand. Then add more darker lines to the top to increase the contrast between the further and the near end of the sea. You can see how I'm working on those thinner lines of the ocean, it's just random small lines and strokes. Towards the beach area, you will be adding smaller lines. Once it has all dried up, again, we will start to add the highlights with this white wash paint. This is titanium white gouache paint from Winsor and Newton. Towards the further end of the ocean we will add smaller lines to give the waves effect, that is the waves that are further away so they will be smaller lines. See how I'm doing very thin lines. I'm using my size four brush, which has got a really nice pointed tip. When near to the beach, I'm increasing the size of the strokes, make the brush strokes such that it looks as though the waves are crashing onto the water again. Observe here, I'm painting such that some part of the wave has crashed while the other is still going to splash into the water, so thin lines, some at some places and then the thicker lines at other places. This is what will make it look like the real waves in the sea. Now, we will paint the beach area. We will mark the line of the beach water on the sand with the whitewash. You can see, I'm just making some random line at the bottom here to depict the beach water on the sandy area of the beach. Then using my rigger brush, I will start to apply smaller lines and the dry brush technique. Use the smallest brush that you have and use the tip of the smallest brush to get the thinner lines that you want. We will apply some thinner lines and also use the dry brush technique to get the effect of water form. This is why the techniques lesson was very important. We will make the entire beach water on the sand using this method. Once the waves have crashed onto the beach, they will make form in the water so we're painting that right now. Add in dry brush strokes in an upward direction to get the effect of the form and the crushed waves. Observe my upward motion with my brush as I'm doing the dry brush technique. Keep adding as much as foam that you want on the water. The more white you add, the more foamy the water looks. That's as simple as how it is. Lastly, we need to add shadows to the water, so take violet again and apply to the bottom side of the border area of the beach water. This will be the shadow of the water on the sand. Once you have finished this step, the sunset beach painting is complete. Hope you all enjoyed this exercise. I really love this painting a lot. Obviously, sunset is one phenomenon preferred by everyone be it for painting, be it for observing, so I'm sure that you all must love the painting that you have just created. 6. Class Exercise 2 - Summer Beach: Welcome to the summer beach exercise. For this, we will again start with the horizon line at around 1/3 position from the top of the paper. Then we will draw the shape of the beach towards the bottom. This is all there is for the pencil sketch of this exercise. Then first we will start painting the sky. Apply water evenly on the top area above the horizon line for the wet on wet method. Then, using bright blue, we paint the sky. To give the effect of small clouds, we will leave some spaces white. As you can see, I've left tiny gaps of white in between. To achieve this, you can also use the lifting-off method. Towards the top area, I'm adding some ultramarine blue on top of the bright blue. You can see, I'm trying to lift off some paint to create the effect of clouds. Then while the sky dries, we can paint the beach at the bottom. I'm going to be mixing burnt umber and yellow ocher together for the sand area. We can quickly paint the beach area using the wet-on-dry method. I'm using the wet-on-dry method but what we have to remember is that we have to apply the next stroke before the previous stroke dries up so that they blend together effectively. That is how we can achieve wet-on-wet itself but using the wet-on-dry method that is by applying the next stroke right before the previous stroke dries up so that they blend in perfectly. Make upward strokes using your brush. And then we will add a darker tone towards the bottom using burnt umber like this. We will apply it using upward strokes like this. Apply darker tone towards the bottom. I'm using burnt umber here, burned umber, or any darker brown. Now, to paint the sea and the beach, remember that both the sky and the sand region has to be dry otherwise the paint will seep in from both the sides. Once it is completely dry, we can apply water for the wet-on-wet method. Also, observe here how I'm applying the water slightly above the borderline of the beach and leaving a slight gap at the border. Always make sure that we applied water without any blobs of water at a certain place, or that we do not skip areas of the paper without water. Remember to leave that tiny space at the bottom. Then we will start with indigo at the top. Just like in the sunset beach towards the top, we will have a darker tone and towards the bottom we will have a lighter tone. Starting with indigo, we will apply right below the horizon line with indigo and make it as dark as possible because this is the further end of the ocean and it will be really dark. Right below the indigo, we will paint with turquoise blue. This means that the indigo and the turquoise blue is going to blend seamlessly together in the wet-on-wet method. Now, I'm applying turquoise blue all over the area where I have applied the water You can see here that because I'm painting in the same sheet that I did the sunset painting on, I have covered the sunset painting with the tissue so that I do not accidentally spill paint or water on it. But if you're painting on a different one, it's alright. Once you have applied turquoise paint all over the wet surface, we even start to add water ripples using a darker tone of indigo. Remember the wet-on-wet water ripples we learned? We will be using the same brush stroke to create these ripples. Using the pointed tip and then pressing your brush downwards. Make these small water ripples using the darker tone indigo. They are totally random and do not matter how you apply the water ripples. Just try to make them uneven and irregular totally as per your wish. You can see how I'm doing the water ripples. Next, of course, we will add the water form and highlights with white gouache paint. But also note that white gouache paint can also be used to correct any white areas like I'm doing here to rub off the indigo that seeped into the sky. We will add the beach border with this white gouache. Make sure to use concentrated white paint. As I said, if you do not have white gouache, you can use concentrated white watercolors. Titanium white would be the best choice for this, but you can also use Chinese white if you want. In case you're using watercolors, remember to load your brush fully with white gouache, and you might need to give multiple layers to get the brightest white. We will apply dry brush strokes on the beach area to form the water foam or the water ripples towards the end, towards the beach area. These will be bubbles and the foam in the water as you see on the beach. Haven't you seen when the waves crash onto the sand and they come towards the sand area, you have these white spots in them, so that is what we're painting right now. We will add thinner lines towards the top using the pointed tip of your brush. Towards the further end of the ocean, these depict the smaller and the far-off waves. We will add in the dry brush technique. The dry brush technique is the most important part of painting a beach scene, so we have to master that before we can paint a beach. The brush has to be really dry to get the dry brush effect. I'm not diluting the paint with water, hence there is no water in the paint leading to a dry brush when I pick up the paint. Keep adding the foam of the beach water to get the perfect summer beach. You can see I'm doing some upward strokes and the strokes from left to right. That is how it should be. Once that is done, I'm going to add some burnt umber to the foam because there needs to be some beach area within the foam. That is some sandy area within the foam. The whole of the white foam will not be turquoise blue. That is why we need some sand area as well. I'm adding it on top of the gouache so that it will mix with the white and create a nice blending effect. But we have to add more foam on top of this later on to give the effect of the beach. Which is why first I added the white, but you could also do this earlier on when you mix and paint the turquoise blue, but then you need that sheet where the gouache and the burnt umber has been mixed together which is why I'm doing it in this way. Once you have added in the burnt umber, now you can repeat the process of the dry brush technique. This process will make it look more like the sand area. Add as much as dry brush technique as you can. That is as much dry brush strokes as you can and this is totally dependent on how much you want the beach waves to be white. I prefer it to have as much foam as I can add onto it. Enjoy the music and keep painting along with me here adding the dry brush strokes. Once you have finished with the foam, you can move on to painting the thinner waves on the beach. I'm using my rigger brush, so use the thinnest pointed brush that you have. You can use the tip of the smallest brush that you have and make these small lines in the water. You can see I'm adding it in the shape of small tiny waves towards the near side and towards the furthest side, it would be thinner lines and very less foam than there is on the near side of the beach. Once this is done, our painting is complete. Now let us remove the masking tape for both the paintings. Remember to always peel off the tape away from the paper to avoid it tearing off the painted area. Here you go guys. The two paintings; the sunset one and the summer beach together. I just love both of these. 7. Class Exercise 3 - Beach Top View: Welcome to the beach painting exercise. For this exercise, I'm using tetrapod paper. I have taped paper onto my board on all the four sites. We will start with a quick pencil sketch. Make two lines shape like this at the top and also at the bottom area like this. This is a very quick pencil sketch. That's all that is. We will start to apply water on the top area first. Make sure to keep the area between the two pencil lines clear because we want that area to be white. Apply the water carefully along the lines of the pencil sketch on the top line. We will be leaving the gap in the middle, white as it is because that will form as the form the ocean or the waves. You can see I'm applying clear water evenly across my surface. Then we will start painting wet-on-wet with bright blue. As you can see, I'm being very careful not to apply paint in the area between the two lines. Apply bright blue on the whole area. Then we will add some tiny strokes of turquoise blue, to give it a mix of green and blue. This would be at random places. If you don't have turquoise blue, you can give it a mix of a tiny tint of green and blue. Always remember to paint in one direction. You can see I've applied the whole of the area with bright blue. Now, we want to give it a darker shade and the effect of depth into our ocean. I'm taking indigo and adding the darker contrast on the sea to the top area, as well as adding some smaller strokes at random places. Eventually, they will mix but try to keep it as random as possible. Next, we will apply water again to the second area, leaving the two spaces between the pencil sketch as white. Here, remember there are two areas that we need to be careful about. One is the top area, and the other is the second pencil sketch at the bottom area where we have to keep it white. These two white areas will be the waves in the beach. So it is now easier if it is left white at first, than painting with gouache later on. I am doing this exercise because you will understand the different methods that we can achieve, the waves in the ocean or the foam. It can be either using the masking fluid or by using the leaving blank method. That is the one that we're using here right now. There's one thing I want to tell you, masking fluid does not work well with tetrapod paper, it would tear off. That's also another reason why I'm not using masking fluid with this one, because this is tetrapod paper. Starting with bright blue, again, we will apply the color all over the wet surface. I'm using my larger brush, the Size 12 brush from silver black velvet to cover the larger area. The whole of the area with bright blue or any other blue that you have and you can add in a tint of turquoise blue here and there to give it a mix of green if you want. Again here, I'm being careful to leave that space white as it is. Once I have applied all the areas with bright blue, the next step would be to add the darker tones. Here I'm adding the darker tone with indigo. We will apply indigo just next to the wave area for the shadows. If it is a wave, obviously underneath the wave, it will have shadows because it is splashing onto the water, that area is where we're painting with indigo. We will also add the darker indigo shade to other random places to depict the darker spots in the ocean that we see. All of these has to be done while the paper is still wet. This is why I speak about the importance of 100 percent cotton paper. 100 percent cotton paper will make the paper remain wet for a longer duration of time, giving us ambient time to paint with the wet-on-wet technique. But don't worry if you don't have 100 percent cotton paper, you can still join me with the existing paper that you have. Just remember to work a bit faster. Now, we will paint the beach area. This is also the wet-on-wet method, so apply the water whole area again, leaving white-space for the wave. Once you have applied the water, we will be using yellow ocher for the beach area. I'm painting the whole area with yellow ocher. If you have a really basic set and you do not have yellow ocher, you can also get yellow ocher by mixing a little bit of brown with yellow. Now, we need to add depth into the sand area. I'm taking burnt umber or any brown and we will apply it towards the bottom part of the sand, that is the yellow ocher area. We will also add it, towards the waves to give it the sense of depth, that is the shadows. You can see how I'm giving it a darker tone. Once we've finished with this and all these layers has completely dried, we can give the highlights and complete our painting using our white gouache. I'm going to use the white gouache paint to remove the pencil marks here at the wave area. Then using the rigger brush or thinner brush, make smaller and thinner lines like these to give the effect of form in water. The beach when looked from the top, will have these lines. These are formed in the water, that is when the waves are crashing the shape of form or bubbles. That's what we need to do. We will be using the dry brush technique to depict this. Make smaller and thinner strokes like this at an inclined brushstroke like this, where the brush is moving upwards away from the waves so that it seems like the form is coming away from the crashing wave. You can observe the dry brush technique at a closer angle here. See how my brush is sliding across the paper applying the dry brush stroke. This is what we want to achieve. We are applying the dry brush strokes away from the waves area and we want to apply it all over the area where we left white, because otherwise it would have a hard edge and it would look really odd. You can also add some random dry brush strokes to other places as well, just like I'm doing right now. Always remember that there shouldn't be any water in the brush for this technique. You can go back to the techniques lesson if you need to understand this method better. But the key thing is to dry the brush on your tissue after picking up paint and swiping it onto the paper. Or you can use dry paint completely and pick up the dry paint on your brush rather than dabbing your brush onto the tissue. That's what I'm doing. I'm not using any water, but rather I'm dipping my brush into the dry paint and picking it up so that I get both dry paint and dry brush. We will do the same with the wave on the top. I'm going to remove the pencil marks and add dry brush strokes. Make sure the strokes are in such a way that they are always facing away from the wave. We will repeat the dry brush stroke for the whole of the wave area until you're satisfied with the form in the water. This part requires a lot of patience, as it is the most time-consuming. But honestly, I enjoyed a lot as these strokes are what makes the beach into a beach and what makes the painting come alive. You can see it already, can't you? When we're applying those strokes and the dry brush. It is starting to look like a beach and the form in the beach. Isn't it? We will add some dry brush strokes towards the beach area as well. That is towards the sand area because there would have been some form leftover on the sand even when the beach water has gone back into the sea. Have you seen this effect when you go into the beaches and the seawater has resided back and yet you can see some foam on the sand? That is what we're trying to do with the dry brush technique. Once you have finished with the dry brush technique and all the form area, take a very light tone of turquoise blue or any blue and apply on top of the gouache, slightly mixing with it so that it really appears as if the wave is intertwined with the seawater. You see what I mean? If you leave it as entirely white, it may not look realistic. So to get a realistic effect, we are adding a very lighter tone of blue and mixing it with the gouache. That was the last step. Now the painting is done and after removing the tapes, see how it has stand out. 8. Class Exercise 4 - Ocean with Masking Fluid: We've been painting two ocean scapes in this and the next exercise. I have taped down the paper and split it into two as you can see here. One, we'll be using masking fluid, and the other without masking fluid. If you don't have masking fluid, you can follow the next exercise. I will be using this masking fluid from Winsor and Newton. I also have this masking fluid applicator that I bought from Jacksons. This is just an applicator, so you can see it has a pointed tip and the dispensing is easy, which enables you to apply the masking fluid easily onto the paper. But today for this exercise, I will not be using this masking fluid applicator, but rather I will be using this masking fluid and applying it using these brushes. These are some of my old brushes which I don't use anymore. We can dip the brush into the masking fluid and apply it onto the paper, just like we apply paint using a brush. Remember, masking fluid is a brush killer. That is, it will destroy your brushes. Never use your main brushes only unused old ones. As you can see, I've taken the masking fluid in the cap of the bottle and then I'm using my small old brush to apply on the paper. We will be making small random lines with the brush in the shape of the form in the ocean. It is totally random, so don't be bothered how you should do it. It's just in some baby-random, irregular manner. Some random shapes and lines using the brush. Dip your brush into the masking fluid and make very random, irregular lines and small strokes. This is a very time-consuming process, but don't worry about it. Take it slow. You can see closely here at this angle. Once you've finished applying the masking fluid, you have to wait for the masking fluid to completely dry before we can start painting. It has completely dried and I will be using this Taylor turquoise shade from Sennelier for this ocean. First, we need to apply water all over the surface, that is, the entire area of the paper. This is why we applied the masking fluid so that the areas that we need white will remain white. That is, will be masked off from the paint. Once you have applied the water, we will start applying a lighter tone of the Taylor turquoise all over the wet surface using the wet-on-wet method. Slowly. After that, we will start to add darker shade. One thing we have to remember is that we always start from the lighter tone and move towards the darker shade in case we do any mistake. I'm adding a darker tone of Taylor turquoise. Darker as it is still a medium tone, but we will work on it more and more and add to the whole of our paper. Wet-on-wet technique is one of the most satisfying techniques. You can see how our paint seamlessly blend in the paper. It is really satisfying to work with the wet-on-wet technique and see the magic of watercolors. I fill the whole area with Taylor turquoise. Once you have applied the shade all over the paper, you can start by applying the darkest tone of the tailored turquoise at random places. These will be the darker shadows in the ocean and will act as the darker spots that we see when we're looking at ocean paintings and ocean photographs. Applying these at random places will be the best way to do it. It is again, totally random. I'm just making it at any place that I want the darker strokes to be. You can add this totally as per your wish. You can add darker and darker tones until you're satisfied. Keep adding darker and darker tones on top of each other until you get the darkest tone of the Taylor turquoise. As you can see for this painting, I have used only a single color, which is the Taylor turquoise. But don't worry if you don't have Taylor turquoise, you can also use a mix of green and blue to get this color. If you are a beginner, it is a very good exercise for you because this completely teaches you the wet-on-wet method and how you can work on multiple layers on top of each other. While I'm doing these darkest tones and adding on top of the wet paper, the most important factor is that my paper is still wet. Once you have finished it, and after waiting for the layer to completely dry, we can remove the masking fluid that we applied. I'm removing it by rubbing it slowly. I love the process of removing the masking fluid. Now, after you have removed all of the masking fluid from the paper, we can add highlights using the white gouache paint. As I said before, white paint is a key thing when painting the ocean because there is a lot of form in the water that we need to depict. I'm using my rigger brush here. You can use your smallest brush to make these thinner lines in an irregular or random manner. Make these lines such that they seem to be branching out of the bigger areas. This part of the painting is what takes the longest time and needs our full attention. You can add these thinner lines by using a mix of the dry brush technique and the wet-on-dry method. Dip your brush into the wet paint and apply thinner lines. When the brush is devoid of water, you can add the dry brush strokes. This is how you can achieve the wet-on-dry and the dry brush technique together. Keep painting along with me and add the dry brush strokes to the white foamy areas. You can also add splatters, lines, and any stroke you want. There is absolutely no rule. Just experiment with you to yourself and add randomly at wherever places you wish. Trust me, this is a really small sheet, so looks odd with these white areas. But when you start painting this on a larger sheet, it will totally understand the difference. I will be showing you exactly what I mean in the class projects section, where you have a very beautiful green ocean waiting for you. But for now, just to learn the techniques we are painting on a smaller paper. Don't worry about how it turns out, just keep on painting and enjoy the process rather than being worried about how the outcome would be. I've added thinner lines everywhere, smaller, thinner lines, and also the dry brush strokes. Lastly, you can add some splatters. Like I said, if you know me, you know how much I love splatters. Add in the final dry brush strokes and your ocean scape with the masking fluid would be complete. There you go friends, our painting is almost complete. This class exercise. I will not be removing the masking tapes in this exercise, but rather in the next one because I'm using one single paper to show you the exercise. After the next one, we will remove the tape and you can see how it has turned out. 9. Class Exercise 5 - Ocean Without Masking Fluid: This class exercise is the same as the ocean scape with the masking fluid. But this one is for all of you out there who don't have a masking fluid and yet wants to paint an ocean. We start by applying water all over the surface of the paper because we will be starting with the wet-on-wet technique. Make sure that we cover all the edges and apply the water evenly on the surface of the paper. Then we will start by using the Prussian blue here. Start with the lighter tone of Prussian blue and move on to applying a slightly darker tone. Because this is the wet-on-wet technique, the paint will blend smoothly in the paper and form the base layer. Once you have covered the whole of the paper with the lighter tone, we will move on to the medium tone. It is always better to start with lighter tones and move on to the medium tones or the darkest tones. As you can see, I've picked up the medium tone of Prussian blue and I'm applying all over the paper. This one is fairly easy because we are covering the whole of the paper with the same exact colors so there is no blending or no big drama here between the colors. It's just one single color all over the painting where you have applied the water. Applying the water evenly is what is most important here. Once you have applied water evenly, we will start applying this single Prussian blue color all over the water area. You can see how I'm trying to achieve an even tone throughout my paper using the Prussian blue. Once you have covered the whole of the paper with the Prussian blue, then slowly you can add the darkest tone of the Prussian blue on top of it so you can use indigo also. You can use a mix of indigo and the Prussian blue on top of it. These will form the darkest spots on the ocean as seen from above, and the shadow areas. Adding the contrast will give it a feeling of depth and make it become more real. You can see how I'm applying the darkest tone at random places to get this effect of depth in my painting. If your Prussian blue or indigo is not giving the darkest shade, you want to get, you can mix a very little black with it to get the darker shade. That is, mix a little bit of black with the darkest shade of the brush in blue or indigo to get the darker shade that you want. Remember, I'm applying it totally random and it's your choice as to how you want to apply it. Don't be worried in this step that you have to apply the paint at exactly at those places where I am doing it. Once you have finished with this, we have to wait for this whole thing to dry to add the highlights and the form in the water remember that. While the paper is wet, add in as much darker tones as you can at random places. Now, it has all dried up and I'm going to use white gouache paint to add the highlights and the foam. Using a small brush, I'm using my size 4 brush from silver black velvet. I'm going to add thinner lines like these, and small shapes, like in an irregular random manner. These will be the water foam in the ocean, the foam or the bubbles in the water. Have you seen the ocean pictures from the top when you can see it has a spray look or a foamy look? That's what we're trying to paint into our ocean now. They are simply irregular strokes that will make the ocean come alive and look like a foamy mass of water. For those of you who watched the masking fluid lesson, this part is exactly the same where we apply the masking fluid and masked the whole areas to get the foamy effect. Here, it's the entire opposite method where we are adding the foam and the highlights at the end. This exercise is of utmost importance if you do not have masking fluid. Because for the class project that we will be doing later on, there is the need for masking fluid. Remember that if you don't have masking fluid, you can still go through with that class project because the areas where we applied the masking fluid will be the areas that you will be adding in using your white wash. Go through this exercise and you will understand how we can add those white highlights and foam using your white paint. If you ask me, I prefer both ways, and not any one method is actually not better than the other. Because both the process of applying the masking fluid and adding these highlights are fairly similar. The masking fluid just makes it easier because you would be applying the masking fluid and then peeling it off and you already have a white area. Whereas with white gouache, you're applying the same thing on top of an existing paint and because of the pigment, you might have to add in multiple layers. That's the only thing difference between these two methods. Like I said, sometimes you might need to add in multiple layers of white on top of each other to get the color at the consistency that you want. This is especially needed when you don't have white wash paint and are using white watercolors, gouache is more opaque and would stand out more than watercolor paint. But even with gouache, I'm having to add multiple layers to get the white that I want it to be. This is because the Prussian blue that we applied underneath is a very darker shade and a highly pigmented color. Applying white on top of this dark pink-bended color is really a harder task and we might need to apply multiple layers. I'm adding some splatters now. You can see I've added in some splatters and then I'm switching to my rigger brush here to get the thinner foamy lines in the ocean. Add in those thinner lines at random places in a totally random manner, and then you can also add dry brush strokes if you want with this rigger brush or the smallest size brush that you have, observe how I'm just making thinner lines and try to join them with the larger foamy area. All of these strokes is what gives life to our ocean painting. You can already see how some of the foamy areas look real. If you want, you can add more or you can stop at this stage. It totally depends on how much foam you want on the paper. I always have this tendency to overwork on my paintings, especially with ocean paintings, I just keep adding more and more white areas. Sometimes I don't even realize the time and just go on painting and painting. See, this is what exactly I was talking about. I'm just not getting enough of those small branches. I'm just going on adding them, and even with the dry brush strokes. I'm adding in more dry brush strokes and adding in more foam. The dry brush stroke is really helpful because it helps to achieve more foamy effect than those wet on dry brush strokes. Those shapes that we did, dry brush stroke is much better than that because it will look as if it is forming water sprays. In all those areas where I applied the wet-on-dry method, I'm adding in some dry brush stroke so that the foam comes and looks real. Keep adding as much highlight as you want. Once we are done, I'm going to remove the masking tape around it. Here's the final look at both our ocean scapes, dark view paintings. Honestly, I like the one on the right because it is more realistic. The masking fluid one would have been better on a larger sheet of paper, and you can see exactly what I'm talking about in the project section. Here you go. One using masking fluid and the other without masking fluid 10. Class Project 1 - The Sunset Beach: This is going to be our first-class project. I will be working on this 15 by 30 centimeters paper from arches. It is 300 GSM, 100% cotton paper. If you don't have this paper, you can join me with whatever paper you have. The painting is going to be in the landscape mode. With whatever paper you have, you can join me for this class project. I've taped down all four edges of the paper. We will first start with the pencil sketch using a ruler, make the horizon line at roughly about one half of the paper, then with a pencil take your time and draw these shapes to form the beach area. We will first start with the sky, so apply water all over the top area above the horizon line. Just like we did in the exercises, make sure to apply the water evenly. I will start with bright blue and start applying from the top using the wet-on-wet method. Slowly, we will apply the wet paint onto the paper, and we will blend it nicely into the water using your brush. We need a perfect blend here, which is why we're blending with our brush. Then we will start with Indian yellow and add it to the whole of the rest of the sky. But remember to leave a slight gap between the blue and yellow. Otherwise, these colors will end up mixing together and form green in the sky, so we don't want that. Then on the top of this Indian yellow, we will add a darker yellow on top of it, like Indian gold or quinacridone gold to get the golden sky shade on top of the Indian yellow. You can see I'm applying from the left side and the right side and towards the center, I'm making smaller lines. Then next we will take Indian red and apply it on top of these yellow to get the red shade in the sky. You need to work on this while the paper is still wet. Make sure you work faster when applying the colors. I'm adding in the red shade from the left and the right side and towards the horizon line, so just above the horizon line. You can see I'm adding just some random strokes using the Indian red. Because my paper is still wet, it is blending it nicely on top of the Indian yellow and the Indian gold. After this, we will add some darker clouds. For those I'm using Payne's gray and add them in the gap between the blue and yellow that we left behind. Apply them randomly such that they form clouds in the sky. You can see I'm just dabbing onto my paper in smaller strokes. Then towards the bottom of the Payne's gray, I'm adding burnt umber and also a mix of Indian gold, so that the Payne's gray and yellow will have an even mix. If we do not add this burnt umber, the Payne's gray will look odd along with the yellow. I'm mixing them together so that my Indian yellow and Payne's gray blend together. We will also add some tiny clouds with our Indian gold. You can also add them using Indian red or the burnt umber. We just need to have some darker clouds in the sky. That's what we did. After completing the sky, we can paint the sea. I'm going to apply water again for the wet on wet technique. Make sure you apply the water all over the sea area and the beach area. We have to apply the water evenly. Then here to get a darker green shade of the sea, I'm going to mix Turkish blue and burnt umber. You can also directly use Viridian green for this. See the shade that I made. But I'm just mixing the same instead of using Viridian green. I will tell you why in a moment. We will start applying the same towards the further and of the sea along the horizon line. We have to be very careful that we do not spill over to the sky region. Apply darker tones towards the further end, and we will make it lighter as we approach the beach area. Observe I'm adding darker tones towards the further end and coming lighter as I come towards the beach. Make it as dark as possible in the further end. You can add multiple golds over the paint if you want. Then towards the middle we will add burnt umber because this is where the transition between the sea and the beach is going to happen in this painting. The burnt umber will need to blend in smoothly with the turquoise blue and burnt umber mix. This is the main reason why I made Viridian green by mixing turquoise blue and burnt umber. Because when I'm adding burnt umber, it will blend in perfectly as the mix already has burnt umber as an underlying color. We need to add some yellow paint onto the area below the burnt umber because we will add a sun later on in the sky. I need the reflection of the sun on the beach area, which is why I added some yellow onto that area. Then the rest of the beach area, we will paint with burnt umber and blending smoothly with the green. Since I feel that I need to darken a bit more near the horizon line, I'm adding a darker tone on top of the green again. Then using the same green, we will add in some random water ripples. They will be more towards the near side. As you go further away, it will be smaller. Remember the water ripples that we learned in the techniques lesson. Make small, tiny strokes here at random places. Towards the further end, it will be very lighter tone and also very thin. Use a smaller size brush for this purpose and remember, your paper has to be absolutely wet for this. Then I'm adding more of Indian yellow for the reflection of the sun, which we will paint later on in the center like I'm doing here, and blend them smoothly with the burnt umber because we do not want it standing out. Next, we will paint the beach sand area while waiting for the sea region to dry completely. I'm using Indian gold to paint the beach. Paint the whole area completely with Indian gold or quinacridone gold, or even you can use yellow ocher if you do not have either of these colors. Observe the slight white gap that I'm leaving between the beach, water, and sand. Now, we will need to add in darker tones and shadows to give the sand the feeling of depth. I'm adding in burnt umber on top of the Indian gold in the bottom area. Then we also need to give the beach water a sense of depth, which is achieved by adding shadows. We will add burnt umber or sepia to the areas below the whitespace that we left behind. But remember, these are shadows, so it can only be in one direction. I'm going to paint all areas which are horizontal as the sunlight is coming from the further horizontal plane. It will seawater part that lie in the horizontal plane, we will add in the darker brown or burnt umber. Now finally, it is the time for the white highlights and the beach and the foam. This is what will make a beach painting look like a beach. I'm going to use my white gouache again to add in the highlights. This is Titanium white gouache, remember that. But if you don't have white gouache, like I said, you can use your watercolors. You just need to have a very concentrated amount of paint on your brush to achieve the consistency like gouache. The area surrounding the beach, that is the separation between the sand and the water, this is foam in the water, so we are going to add that with white gouache. I'm just painting along the lines of the border of the water right now and adding white gouache paint. You can see that I'm having to add multiple codes over on top of each other so that I get the desired white that I want. You might also want to add in multiple layers to get it to be really white. Keep adding those white highlights and making the border of the water come alive. As I said before, this is really time-consuming, but this is what actually makes your painting come alive. That is the final white highlights. White paint is really necessary when you're painting beach or the oceans because there is foam in the water, or you can call it water bubbles. Those has to be painted and we would need white. That is what I'm doing. Then, using a smaller size brush, we will add in some lines into the water. These can be totally random. Just use the tip of the brush and the different brush strokes that we learned, we will add in lines into the beach area. This will be the foam in the water. This painting is what we see the beach from a very low angle. It is by the horizon line is above the half of the paper. Since we are seeing it at a very low angle, it will be one point perspective where even the foam in the water will be trying to converge into a point in the center. This is the reason why we have to paint the white foam in this angle. From the left, all of those strokes will be at an angle towards the right, and on the right side, all of them will be towards an angle in the left side as if converging at a point in the center of the paper. This is what we call as one-point perspective. Adding as much white foam as you can into the water using random brush strokes in the direction such that it converges at a point, and you can already see how the beach painting is coming alive. Adding as much as you can, add in the dry brush technique strokes. Remember, for the dry brush technique, you have to take paint on your brush and dry it completely. But if your brush is already dry, you just need to dip your brush into the paint and pick it up and swipe onto the paper to get the dry brush technique, which is what I'm doing right now. My brush is dry, I'm not filling it with water, or I'm not dipping it into water. Keep adding the dry brush technique to add in as much foam as you can into the seawater. I'm speeding up the video slightly over here. This is because the process of applying the foam into the water is fairly repetitive, and we have already learned it in the various exercises and also previously in this class project itself. Just keep applying this random foam into the water. I have increased the speed of this video to times four. But in case you want to slow it down and watch the whole process again, you can use the settings option in Skillshare at the bottom where you can click on it and set the speed to 0.5 so you can reduce it down by times two. But this process is really repetitive, which is why I have sped up the video. All you have to do is bring out the foam in the water by using the white paint, by using your dry brush technique, and applying these strokes. Remember, all of these drops has to be such that they converge to a point in the center, that is one point perspective. Now, here we will add in the sun, just like I said. Using your white paint or white gouache, add in a tiny dot in the sky. Then now we need more reflection of the sun in the viridian green or the green mix. I have mixed a bit of yellow with the white gouache paint. You can use a mix of a few white and yellow and just apply these small strokes into the viridian green such that they form a reflection, and we will just blend it on top of the viridian green so that they do not look odd. Now, onto the last age of our painting, we will add some darker highlights with the same viridian green mix. This is [inaudible] is blue and burnt umber mix again, and I'm adding some smaller lines to depict the darker lines on the beach area. I'm using my thinner brush. Our painting is finally complete, and we can remove the tape and see how it turned out 11. Class Project 2 - The Magic Beach Part I: Welcome to the second class project. In this class project, we will be using this Currents palette from Art Philosophical. This palette is perfect for painting the ocean and the beach. Look at these swatches here. I made them into the shape of the waves, and these are the colors have been built within the palette. But don't worry if you don't have this palette because we can always use the other greens and blues that we have. I will be telling you the alternate colors that we can use, so don't worry, if you don't have this palette. The other colors that we're going to be needing is this Indian yellow from Sennelier and this Sand Ridge color from the Woodlands palette, again from Art Philosophical. Don't worry if you don't have it. This is the Woodlands palette and the Sand Ridge belongs to this one. Then the additional colors that we will require are: sap green, any dark green and olive green. I have filled the sap green and the green and the olive green into these full pans here, so I will be using them instead of it being from the tubes because I've already filled it in, then burnt umber. That's all the colors that we're going to use. Next, let us start with our pencil sketch. First of all, we will sketch the beach area. This is going to be a really fun class project where I have combined two different oceans in one painting so that we can have some fun painting with it. Just draw the shape of the beach randomly as you wish, and just add some lines at the bottom of the right one to add green foliage. We will add some green bushes in the beach, and also mark another line towards the top area. This is where the form will be. We will be painting with the wet-on-wet method, so you can use a larger size brush to wet the paper in case you have it. I'm using this Princeton hockey brush. It is mainly because when you use a larger brush, you can have it apply water over a larger area. When you use a smaller brush, obviously it will take a longer time. This is the main reason why I switched larger brush for applying water in larger areas, so the area of the water is very large here, which is why I'm applying using the Princeton hockey brush. But don't worry if you don't have it, you can use the larger size brush to apply water. Apply water evenly all over the area. Then I'm using the color called seaside, so this one would be any lighter tone of blue. You can use bright blue or turquoise blue blue Mijello Mission. Use a very light blue for the ocean, and we will be painting the one on the right side, and it can go over to the left side. As I said, this is going to be a really fun class project where I'm blending into different ocean, which is why I have separated it out in the center. But it's going to be still forming blend. The first color was seaside or bright blue, then the next color would be Caribbean Sea, and on top of that, we will add the color called Turkish sea, that would be a darker tone of viridian green or a mix of viridian green and Hooker's green. You can also add some algae or olive green here to the mix so that we get a wide variety of colors into our ocean. This color is now Hooker's green and then adding more of the Caribbean Sea color, so that would be viridian green, and blend it along with the seaside or the bright blue color. I love the names in the Art Philosophical Currents palette. It's just really so much interesting. They call seaside, blue whale, Caribbean sea, Turkish sea, algae. It's really amazing palette, and it's a must-have if you want to continue painting oceans. But don't worry if you don't have it. Like I said, you can have all these colors and use alternate once instead of these exact same palette. For example, as I said, the Turkish sea color is the mix of viridian green and Hooker's green, Caribbean sea is viridian green, algae is olive green. There are always alternate colors if you don't have the exact same color, so don't worry about it. Right Right, I'm blending in both the greens and the blues together using the wet-on-wet technique, and I'm adding darker tones into the green part of the ocean. You can add more dark green on top of it, and here I'm going to be using the blue whale color or the deep sea color, whichever you want. That would be equivalent to indigo, as you can see how the shade has done that, so it is a very darker blue, so you can use indigo for this. Apply the darker tones, the darker shades in the ocean on top. I'm just applying them randomly onto the wet paper. Add some small spots here and there as well, and now we want to blend it on top of the green using the same indigo or the blue whale color, you can add on top of the green to give the darker shadows to the green areas as well, and it will blend and mix together with the green to form an even darker green that is the property of the indigo pigment. Keep adding the darker tones to give the darkest depths of the ocean. I prefer some areas to be very dark, so I keep adding more darker paint onto the top so that I get the darkest tone possible. Because the paper is wet, there is a tendency for it to blend out and it becomes lighter. You might want to add darker tones on to the top as much as you can. But remember, so long as the paper is wet, when it is dry, we should not add more darker tones because that would create darker edges in the paper. Also, most importantly, note that while I was painting the blue and the green, I had left a tiny space, whitespace at the bottom part of the ocean. This is because I wanted to blend in the sand area, and this is where I'm using the color called a Sand Ridge from the Woodlands palette to paint and blend in the sand and the beach. That is the sand and the sea together. But as I said, don't worry if you don't have this color, you can always go for a mix of yellow ocher and burnt umber to get this color, so blend in the Sand Ridge or the mix of yellow ocher and burnt umber to the sea, greens and blues, and then you can paint the rest of the beach area that is a sand area with yellow ocher. In case you're using yellow ocher and burnt umber, the beach area would be first a mix of it, and then towards the bottom area, you can use yellow ocher. Blend them together nicely. You can also use wet-on-wet method for this. I'm just going with the wet-on-dry method, but I'm making sure that I blend it together with my previous stroke. All this is possible because this is 100 percent cotton paper. This is the Tetra Pak paper that I showed you in the techniques lesson. The Tetra Pak paper stays wet for a longer duration of time and you can work on it more and more, which is why I prefer this paper a lot while painting oceans and for blending techniques. As you can see, I'm blending on top of my previous strokes with yellow ocher here. The part at the bottom is where we will add some green foliage, so until that green foliage area, we will apply the yellow ocher paint. Then, once we're done with it now, we will blend in the sap green along with the yellow ocher. Painting for painting the foliage, it is better if you have multiple versions of green mixed together, which makes it looks like having a depth and some foliage effect. Which is why I'm blending it together with the sap green, olive green, and the dark green. Mix all of them together. See, for example, if we had painted the whole thing with just one color, we would not get that foliage effect. This is why I'm using different colors. The three colors that I'm going to be using, are olive green, sap green, and green, the green shade is a darker one. First I used the sap green and the olive green mixed together, so you can already see how we are getting a slight texture because there is a mix of two colors, and then on the top, I'm applying the darker green to get an even more depth in the foliage or in the bush area. There I'm applying random strokes into the bush area at the bottom to get the nice bushy effect and make it look like real. In case you want it to make it more darker, you can use indigo on top of the green, which will make the green turn into an even darker green, or if you don't have it, you can also use a black on top of the green that would make it more darker. Then I'm switching to my smaller brush, and I'm going to do some wet-on-wet splatters. Remember we learned the wet-on-wet splatters in the techniques lesson, so the sand area is still wet, and I'm going to do some splatters with burnt umber. Because it is wet-on-wet splatters, it will spread and create these nice texture on the beach area. I'm covering the rest of the area with the hues so that they do not spread to my seawater, and I've added in this splatters. You can add as much splatters as you want and they would just blend in together and form the nice wet-on-wet splatters that we learned. Now, we will add the final form in the next lesson. 12. Class Project 2 - The Magic Beach Part II: We will have to wait for the whole painting to dry before we move on to adding the white form. I will be using these two brushes. This is size 4 brush, and this is the rigger brush that I was talking about in the exercise lessons. First, using the rigger brush and the titanium white gouache, I will be drawing the lines of the beach. Remember, if you don't have the titanium white gouache, you can use a darker tone of the white watercolors that you have, so don't worry. Now, this will be the border line of our beach. Remember to make it onto the sand area because the beach water would have formed and flowed on to the beach area. This is why we have to include the beach sand area as well. Once we have done the outline of the beach area, we can move on to adding the further details and adding the form into the water. Even with my gouache paint, I'm having to add multiple layers to get the desired white. Then we will add more waves in the water. This will be the second wave in our beach view. This will be further in towards the sea. This is the line that we drew in the center. It might have gone off with the paint on the DOM, so you don't have to worry about the pencil sketch that we have made. You can just randomly draw the second line using your white paint. Then we will start to add the highlights using the white paint. We will be using the dry brush technique. Remember, dry brush technique is where your brush is really dry and you're having paint on it. When you apply onto the paper, you will get paint at random places, as in as paint spots, tiny spots. This is because your brush is dry and also your paper is dry. The paint will not get into the pores of the paper and will form as tiny dots. This is what dry brush technique is. Now, I'm switching to my size 4 brush and I'm going to repeat the dry brush technique to paint the whole of the beach area. Keep applying the dry brush stroke technique onto the whole area of the beach so that we get the effect of the beach water on the sand, that is the form or the waves that are formed as they approach the sand. As I said before, this process is the most time-consuming one, but it is also the most satisfactory. I really love the dry brush technique. It is one of my favorite techniques. Remember that we have to apply the dry brush stroke towards the top area, that is facing upwards, so make the brush stroke upwards so that they are towards the ocean. That is what we have to take care. They always will be facing towards the sea area, so if it is at an angle, we will have it at an angle just like we did in the exercise. In this class project, the ocean is towards the top and the sand is at the bottom, which is why we did it facing upwards. Now, we will paint the form in the middle. That is the wave breaking in the middle. For that, again, l'm applying the white paint on the area where I marked. Here you can apply concentrated paint using the wet on dry method. Then from that area, you will again do the dry brush technique to give it the effect of the waves breaking as they form. I have increased the speed of the video slightly over here because as you can see, the process is exactly similar to what we have learned in the techniques lesson and also in the exercises. The only thing to remember is that all of these dry brush strokes, we have to be doing it in the upward direction. Keep adding as much as dry brush strokes as you can, and your beach will turn out to be beautiful as it can. In both sides of the ocean that is on the green part and the blue part, we need to be adding the dry brush strokes. The speed of the video here is times four, so in case you want to paint along with me and want to slow down the speed of the video, you can do so from the options in Skillshare. At the bottom you can see the settings icon, and if you click on that, you will see that you can set the speed to 0.51 or even you can increase the speed if you want to see this faster. Just keep adding the dry brush strokes. As you can see, I'm painting on the left side as well, where I have added in the wave and we will also apply the dry brush strokes at totally random places. Only towards the wave we need the dry brush stroke to have some more bright white, which is why we will use a bit more multiple layers. As you can see, I'm adding multiple layers of dry brush strokes to the beach area. This is because we want that area to have more form than the rest of the areas, which is why I keep applying more and more white, because the white that I apply seems to get dull as it dries, so add in as much layers as you want. Now, I have switched to my rigger brush and I'm going to add some tiny lines into my ocean. This will again be the form, but in the form of lines. For this, if you don't have the rigger brush, you can use the smallest size brush you have, and using the tip you can make the thinner lines. I'm also adding some dry brush strokes with my rigger brush as well. You can also add in splatters if you want. Anything that you want to add in, you can add in using the white. Now you can see our painting is complete and we go into the most satisfying part, which is removing the masking tape. See how beautiful it has turned out. I just love this because even though it's a continuous painting, we have two different colors of ocean here. As I said, I felt that it lacks a bit of splatters, and if you know me, I love splatters, so I'm just adding them here. See this guys, I just love it so much. The texture on the sand, the green bushes, and the multicolored ocean. 13. Class Project 3 - The Green Ocean: Welcome to the next class project. For this class project, I will be using this paper from Saunders Waterford. It is exactly same as Arches paper and just to be 100 GSM cold pressed. The paints I will be using the Currents palette from Art Philosophy again. I have already shown this in the exercise lesson. The brushes that we will use are the silver black velvet size 12,4 and 8, along with the masking fluid, which I have filled into the masking fluid applicator, just like I showed in the masking fluid lesson. For the ocean here, I will be applying the masking fluid in random shapes like this. But I want a larger foam in the center of the painting. Which is why first I'm creating the border and then I'm going to fill it up with masking fluid randomly such that there are slight gaps in between. The speed of the video is times two. Because this was a really large painting and the masking fluid process is fairly the repetitive one and it's exactly same as we learned in the exercise lesson. We will apply the masking fluid in the center, just like I'm doing. In this one, the foam is going to be in the center of the ocean. So we will just apply and fill the board that we created. We will also apply the masking fluid at other places randomly in, foamy shape that the ocean has. These are just totally random and it depends on how you want. You can see how I'm doing. There is no specific shape, no rules as to how this is to be done. Just do it randomly as you wish and add some strokes here and there. Just like I explained, if you don't have the masking fluid applicator, you can always do this using the old brush that you have by taking masking fluid and dipping in and doing it. Once you have finished, we need to apply water all over the surface of the paper. But remember that we have to make sure that the masking fluid is completely dry before we can proceed onto this step. Also, don't worry if you don't have the exact colors, as in if you don't have the Art Philosophical currents palette. Because I will mention all the alternate colors that we can use. Here, we're using viridian green. In the Art Philosophical palette, this color is known as the Caribbean sea, so we will add in the color. You can also use viridian green. If you don't have viridian green, you can get this color by mixing turquoise blue and burnt umber. Just like in the last class project, remember that? Apply the whole of the bottom area with this viridian green or Caribbean Sea color. This is a wet- on-wet technique, so we want it to be blending it nicely. Remember to add darker tones at some places. Next, I'm adding in the color called as algae here. This is exactly going to be like some algae in the sea. This color is olive green in case you don't have the palette. You can use olive green, and on top of that, I'm adding the color known as Turkish sea again. This Turkish sea color is dark green color. You can add this color. The process is really simple. We just want to cover the whole of the ocean with different types of greens so that is what we're trying to do here. We will be taking the Caribbean sea or the viridian green color again and applying the whole of the top region with it. The only difference was that we added an extra color algae or olive green in between, so that we had an effect of green into the ocean. I'm working on this whole thing while the paper is still wet. It is very important that we use a 300 GSM cold press paper and also that it is 100% cotton paper. Hundred percent cotton paper is what actually makes the paper stay wet for a longer duration. Once you have finished with the first of the viridian green, we will start to add the darker tones. I'm taking a darker tone, which is deep sea or blue whale from the Art Philosophical currents pallete. But you can use indigo or a darker shade of green for this purpose. Indigo would be ideal so add in the darker tone of indigo on to the top of the green color that we added so that we add highlights. Mostly it will be right below the foam area that we want to give the darker tones and towards the bottom. All of these darker tones would be at random places. These are just the shadows and the darker spots in the ocean. As you can see, I'm adding it right next to the foam and at random places towards the bottom. We need to get it as dark as possible, so if you want you can give multiple on top of each other. Just like I'm applying here, I'm adding more and more darker tone on top of the first tone that I applied. This is because the paper is still wet and there's a chance that the pain that you applied will spread out and loss its darker tone, which is why we have to add more on the top. As you can see, I've also darkened up the olive green or algae a bit. Then we will move on to working with the rest of the parts of the ocean. I'm applying the Caribbean Sea color again, that is the viridian green. You can also add mix of other greens in between so that you get a realistic effect. For example, I have added the color called sea green here in between, the sea green from the currents palette for that. You can use sap green or hookers green instead. Then obviously, just like we did at the bottom part, towards the top part, we will add the darker tones using the darker colors. That is indigo. I'm adding in the darker tone on the top. The reason why I applied another coat of the Caribbean Sea color onto the top area was because it was drying out and I wanted it to stay wet. What you can do is you apply it another coat of the original color so that the paper will stay wet again and then you work on the further darker tones, like I'm working here with indigo. You can also add shapes in the foam of lines or small cloudy shapes into the sea. This is entirely the ocean and it doesn't matter what shapes you put in. Right here, I'm adding in some shapes in the foam of long lines, and because my paper is wet, it just spreads out and gives it more texture to the ocean area. You can see how I'm adding the darker tones again and again. You can already see how the blend or the mixture of all these colors has turned out turning our ocean into a perfect one. I'm adding more of algae and indigo to the top area, so add more of olive green at places wherever you want. You can also add it more in other areas if you prefer. You don't have to paint it exactly the same way as I did. You can have your own innovations and try to explore how you can make your ocean more beautifully. Now, my first ocean layer has completely dried, so I'm removing the masking fluid. This process is my favorite part, as I said before, to remove the masking fluid. You can either use an eraser, but I have found that using an eraser would also remove off some of the paint from the top layer, which is why I prefer to use my hand. In areas where there are thick masking fluid, you can just pull it off with your fingers and the others just rub off using your hand and you can just remove the masking fluid. You can see how I'm removing the masking fluid. The center has a thicker consistency of the fluid, so I'm just pulling it off. Believe me, the process is really satisfying, I just really love pulling off the tape. You can see how once the tape has been pulled out, we're getting a more better ocean view. Now, we do not want it to be left so bright white, which is why we are going to start applying a bit of water into the foam areas and try to blend in some lighter tones so that we get a realistic view of the ocean. I'm just applying water onto that area and I'm going to apply a very lighter tone to it. As you can see, I've added a very light tint of the viridian green onto it. This will remove the brightness of the white and make it look as if it is real. As I said, don't worry if you don't have the masking fluid, you can do this entire process in the reverse manner like we learned in the lesson, the exercise without the masking fluid. In that, you would be painting the whole thing and then you will add in the foam using your white paint or gouache. When you're doing that process, then you can skip this step where you're trying to make the brightness of the white to decrease by adding in another extra layer of a lighter tone. You can see, I'm just blending in all the white areas so that they do not look odd and stand out in the painting because we want it to look like foam. Now, we will add some splatters. I'm going to be using white gouache and the brush method to do the splatters. Remember, I told you that they make very small splatters so it is ideal for ocean painting like this one. Dip your brush into the gouache paint or the white watercolors and gently do the splatters at places near the foam. Your hands will get dirty but that's the best thing about painting, isn't it? Getting your hands dirty, working with the magic. You can see I'm adding more and more splatters. Also with this splattering method, the splatters are so tiny that there's a chance that they will get seeped into the paper and they will become lighter. You might need to add more and more splatters to make it prominent and be visible on the paper. This is the reason I'm adding more and more splatters. Add these splatters with the brush in every place that you think it needs more splatters. This was the last step, and now we can remove the tape to reveal our painting. See how it has turned out. I love this one so much and it is one of my favorite oceans. 14. Thank You For Watching: Thank you so much for joining my classes. If you attempt any of my paintings, you can upload them to the project section here in Skillshare, or you can tag me in social media profiles when you upload them. You can find me in Instagram as colorfulmystique. Once again, thank you so much to everyone who has joined me here today.