Painting a Coastal Landscape with Boats & Buildings: Watercolor Essentials

1. Introduction: Welcome to painting a coastal landscape with boats and buildings. In this class, we'll be painting a coastal landscape with various elements, including boats, buildings, and people. Being able to capture an impression of a landscape in a quick, fun and loose manner is an essential skill at every artist should learn to master. Watercolor is the perfect medium that allows you to produce spontaneous and expressive paintings on the go. In this class, you'll learn how to simplify details and choose what elements are most important for you to portray. Drawing is an important part of the painting process. We'll go through an easy way to break down complex objects into simple shapes. I'll show you how to recognize shapes and estimate pencil in large shapes such as sky, water, and land. Getting those large components and accurately is essential for your painting to make sense. So join me in this class. You'll see just how easy it is to create a beautiful coastal landscape painting in no time at all. 2. Materials Required: Before we get started, I want to talk a little bit about materials that you need for this class. So there's mainly to temperatures of paints like to refer to or tints of paint that you want to be focusing on this class. So you've got all the warmer colors in terms of the warmer, you've got the sand on the beach, you've got the yellow's, a little bit of the white, yellowy colors on some of the figures. You've also got the rooftops of the buildings in the back, some of the land on the back as well. So in terms of those, I'm using a lot of this color here, which is yellow ocher. Yellow ocher is nice, subdued. Yeah, looks not too vibrant. In some areas, I may have mixed a little bit in with a bit of hands-on medium, hansa yellow medium, but that's not so necessary as you can see, Hansa yellow is a very vibrant yellow. It can be overpowering at times I've used mainly yellow ocher, but it's up to you. You can use Hansa yellow as well. Some people do like to use a little bit of this color here, which is buff titanium. It's a creamy white color as well, that works quite nicely for sand. You can combine them and come up with a mix that suits you in terms of the lights on the buildings, I tend to just use a more subdued light color there. Sometimes if you want to add areas of contrast, say in the foreground, sometimes you can add a little bit of extra vibrancy by putting in some of these Hansa yellow. And that will actually make them stand out and pop out more. So it's a technique that you can use the water, I'm mainly using a little bit of cerulean blue mixed in with some of this color here, which is ultramarine blue, just makes it a little bit more on the greenish blue side of things. Now sometimes what I do is I mix the ultramarine blue with a bit of the yellow ocher that tends to make kind of greenish colored blue, but more on the blue spectrum, nice teal color. I do have some turquoise as well. Turquoise is a nice color, but again, you can mix that up by just mixing a bit of ultramarine blue with a tiny bit of this yellow ocher, you get that nice color. And there you can see some parts of the water have these little waves in it as well. The waves just ultramarine blue and applied more thickly in the water. And it turns out the shadows you can see they're mainly just a really dark color. I have not used any particular color, but really mix the primaries together. I also use a color here which is called neutral tint to nice dark pre-mixed color. It's really just, you know, if you can mix your three parameters together, red, blue, and yellow, and mix up a gray that looks similar to that. I've tried to make that gray or that dark color and the black a little bit more warmer. So sometimes I can put it in a bit of brown. Another color I recommend another tube and I should say is gouache. Gouache is an opaque watercolor. And I tend to use this as a finishing, finishing paints so you can see some of it that's dried off around here. You can mix that in with a little bit of water, usually just straight out of the tube is fine. But you can get in the sales mass, little highlights and the figures and birds and stuff like that very, very easily know the answer. I recommend getting one of those. If you don't have one K, You can always use a white or a white pencil also can work as well just to create some highlights. In terms of brushes, these are the brushes that we will be using. And I've got three of these watercolor mop brushes here. And I always tend to make sure that I'm selecting brushes that are roughly the same in proportion to the paper I'm using. So you can see the paper with paper here, A3 size. So they're not too large, they're not too small. I've got a large brush to getting really large areas such as the sand, the sky, the water as well. So this brush and this brush can work very well for that then were smaller. A smaller mop brushes, which can be used as a middle ground to cut around objects where these might be a little bit trickier, but with mop brushes, you've got these nice edges on them and tips, I mean, so you can actually use those sharp tips to cut around shapes really important. A smaller round brushes also really good. These help to get in details near the end of the paintings. So when you're putting in figures, putting in tiny ripples or shadows, details of birds and things like that. The smaller brushes work really well, and a flat brush. And this one here is an angled flat brush. I tend to use this sometimes as a guide to create shadows when I'm painting in buildings, because usually the nature of the shape of that brush, you tend to get really crisp and sharp lines and edges. So this can be a really useful brush and to create obvious shadows on the building that look a little bit easier to accomplish rather than using a round brush. Sometimes you got to be a little bit more careful, whereas this one's already got that nice sharp edge on it. And of course you've got the paper here. And the paper I'm using is medium or cold press paper. You can see there's a bit of texture on here. It's 100% cotton as well. And I do recommend that if you're able to get it in your area, it just makes most of the painting and the layering a lot easier. You've just got so much more leeway there and the papers, a lot more durable, dries, long, takes a bit longer to dry as well, so you have more time. However, you don't have this type of paper where you are. Any type of watercolor paper is fine. Just try to get the stuff that has a medium texture. It does have other miscellaneous materials. I would recommend having a large container of water. This one's about a liter and I feel it right to the top. They don't have to replace it halfway through if the water gets dirty. And also if you've got a spare rag or a towel, that's really useful because I tend to dry off my brush at times, It's really important to modify how much water is on your brush. So if you have one of those towels on the side, it just helps you to basically drain the brush a bit of water if there's too much on it so that you don't make a mess. 3. Drawing and Light: We're gonna get started over here with the during. And what we're gonna do first is I'm going to put in with the sky separates from the water. So if we just look at the scene, It's roughly about in the center of the page, probably a little bit above the center. I'm just marking that in a little gentle indication like that here. And I'm actually going to try to do this a little bit darker in order for you to see what's going on. Normally if you're doing this, you're doing this at home. Just make sure you go a little bit lighter so that that line doesn't show through too much. I'm just having a look at this roughly above that central lines. Keeping it around here doesn't matter too much. So when you separate that page roughly into half, okay. So here we go. We've got it, That line here. So above this line we've got the sky and below we've got the Earth basically. So what we'll do is we'll not the Earth, but the water and the sand as well. So over here is probably one of the easiest bits we can start off with. There's a bit of land that just runs off to the right like that. It's the bit of the headland or something to the right. So just draw a bit of that coming out there and I'll darken that down more later. Now what we'll do is I want to just getting a little indication of where the water comes down into the foreground. So it's roughly here, runs all the way to the right-hand side and just finishes off so round about where that water line is here. Okay. So just putting that there and then we've obviously got the beach further over here as well and the water where it kinda joins on. So again, I'm not going too dark. More just an indication, although this will be painted wet into wet. And one of the things, the most important things to put in as these buildings and there is one just here, wall. It comes up like that. Before I get in most of the other side of the building, I'm actually going to do a quick little, quick little plan of the top of that building. We know that sort of comes up. Then there's a bit of room up on the sky for the sky. So I'm going to just have a bit of experimentation go through like that. And the house or this building basically finishes roughly in the middle of the page, maybe some middle left of the page, something like that. So you want to leave some room here in the middle to indicate the water. And here we go, Just get in this other side of the roof, join that up like that. I will go in a bit little darker later just to solidify these lines more. But in the meanwhile, it doesn't really matter. I'm just trying to get in a brief indication to start off with. Here we go the side of this building. This is really important because you need to make sure you get this sense of light on the side there. So I am paying a bit more attention to the side of that building like that. And of course there's a few little I don't know what this is, but it looks like part of the building as well here that just goes up like that. And here generally joins on like that. And we've got this sort of shrub, this bush or something like that in front. Here. It's quite a large, just a bunch of trees really here in the distance. And they look to be growing just on the beach actually. But in front of the house or the building. We've also got a bit of, it's kind of like a house is built on these wooden planks or boards that some of them go straight into the water. It's the foundation of the building. And we can also just look at separating this building up a little bit. So I'll bring the back of it down, the right-hand side of it, all the way down like this. Okay. So we kind of ended and then we know that we've got some windows here, okay, There are 12345, these are opening, so 123. And we've got another one here, four, and then another one here, five. Again. Then on top we got a few more. We've got one which kinda like a rectangular shape 234. And this one here is kind of interesting. It's less opens up into the sky off at the back there. And I think I'll just draw it in a bit like this, but I will probably end up simplifying this down because I don't want to really be fiddling around too much. They're trying to cut around the sky and that kind of thing. And here we have, of course, this front part of that house. I keep calling it house, but it is something some kind of building. I don't know what it is. And we'll go across like this. And this building has another side building sticking out like that. Okay. Notice at times I don't always erase everything. If it's too, of course, then I will erase it. But other than that, it's not a huge deal if the line isn't completely straight or what have you, but I think it's mainly the roof of that building I need to make sure is in fairly accurately, not only that there is some kind of Here, the roof here that is catching the light. And I'd like areas like that where we got to be a lot there and some building behind it like that. So I can indicate something like that later. Good. And we know this because all the way around on an island, a bit like that. And of course, bits and pieces here as well that just go down into the water. Okay? And this stuff is just more gonna be indications. Here we go. These little stilts in the water like this stuff on the right. I think I will simplify down a fair bit. Let's get in some boats. So here's one. There's a boat like shape like that. No need to put in all the details. We will figure that out later, but I just want you to put in a few general shapes of these boats and keep them small as warrant. Don't make them too big because they're often the background from different angles you can kinda see on top into them. But for the most part, you're just going to be a little slither of space on the top and mostly going to compose of the side of the boat. Like that. I'm going to keep them small. Again, as you move closer to the scene, this is where you can do things. You can start making it a little bit larger. Because in order to imply a sense of depth in your scene, you need to make sure that the objects in the front a little bit larger than the ones in the back. Here we've got a couple more as well. Now, you realize that we're kind of looking from a top-down view as well. So we're not going to get in. Essentially, we're still going to be looking at them from a distance, so they're all smaller, but certainly the ones closer by here, we'll be noticeably larger. So that's why you want to keep that in mind when you're drawing them. The plan of this is quite important. So then we don't have to think too much later on once we get the the rest of the details in it look. Also I do like that. There are some of these like little yacht here, something here and the distance is small, yacht like that. It could have it sail up, could have another one here as well. Like that. All this kind of stuff. We can just indicate out the back and whether we want to put it in or not is up to you later. But I'm just at the moment kinda composing and taking the shapes that I see and trying to transcribe them and decide what looks good. What I want to keep, what I don't want to keep k That's a boat, the back of a boat there. Okay. What have we got here? This is kind of like the back of a boat as well. That's the front of the boat, like that. Similar sort of deal here. We've also got some figures here on the beach. So here's a figure we put in the head like that. And then from the head you put in the body easier to do it this way. Okay. Legs like that. They just kind of like a group of looks like a group of friends just standing near the water. There's gain as you go down to the back, you'll find that it's just makes more sense to make the figure smaller. These are a bunch of, bunch of figures just kinda grouped together and you want to kind of get some of them to overlap as well. E.g. this one here, I might just overlap a bunch of them here. And maybe there could be another figure that's all the way here, sort of waiting in the water or something like that. Just a large group of people doing who knows what? It could be another person over here. Just be careful not to make them too big as well. I've made that mistake already, but that's okay. We can just reduce the size of that figure. Lead to like that. Still too big. Let me just redo that little bit like that. Okay. So from the distance walking through the scene, we've got this building in, but I will also will also just getting a little bit more detail on the sides of it like that. Again, the reason why I'm emphasizing it, because I really want to get a sense of light and preserve that side of the building. So some of these darker lines help to just help to separate it out from the sky. So there's a bit of that. Who knows what kind of a part of that building there and there. But I'm trying to create a sense of light. And if you notice a little bit of light on the left side of these little blocks, even on the wall here you can see there's actually perhaps a little highlight on top of the wall. Okay? You keep that a node is up to you. But I will leave that in there. There's all these. Trees and stuff here as well. And not only that, but you've got to then we've got to then start dealing with these boats. Of course. But I want to make sure I've gotten enough of this stuff here. None of these smaller boats off in the distance. Okay. Oops. This can be a person just over here with the boat. You've got people that are also near the water like that. Just a little figure indication of where that figure is. Not want to even put another boat. I wonder if I should put a bird here or not. I want not just put another one in here just to perhaps a little larger one going out like this. I'm just making this one out by the way, I'm not so sure how this will turn out. Notice underneath the boat as well, there's a little bit of darkness, so I will take that into account. Light source is coming from the left side, so we're gonna get some shadows cast towards the right. And let's work on this building little more. I don't want don't want to overdo it. I'm just cautious of that. I'm trying to make sure I do most of this work in the watercolors itself. But when you're doing stuff like these buildings, I do find that just a little extra care. Go a long way to making sure that you've got something that looks more represent representational. There we go. It's a little chimney here. Probably not going to worry very much about that. The top of the roof, this will be the top of the roof there. This does not seem so straight. This area, the roof. Let me redo that. It's probably really only part of the painting that I'm precious about because here man-made objects tend to have to put it in a bit more detail on them. Here we go. Some boats here as well. In these ones I can just simplify down. Look, this is simple boat shaped like that. They're all just overlap with each other, which thankfully makes things easier. Okay. There's another one there. As we get closer to the front of the scene as well, notice how they get a little bigger. So you want to also imply that. But I don't want to make them too big, just being careful as well. Here's one coming in from the side of the scene here, another one coming in like that. They liked the patterns in them, especially these stripy, stripy looking patterns as well. Make things look quite interesting like that. The way that they overlap with each other is so important. Here's another one, perhaps just in front of the other boat to the left. Over here, you've got a boat facing. What if you got like these kinda just facing inwards to the water, to the beach like that. Something like that. How would we go off on another boat here, this bluish colored boat. Okay, it's almost appears as this shape, their bid at the bottom part of the boat, like that. Now the part and another boat or something, I don't know what that is. Could be a boat down the bottom. I'm actually just remove that. Sometimes you get objects that creep, creep into the scene but don't add much value in a painting. But they look fine. And they look fine and the reference photos, so making sure I'm leaving enough sand and year as well. I don't want to I don't want to have that old disappear off the beach. Just disappear off. They're kinda considering this boat as well. Whether I want to keep this one in, I think it should be okay, but I feel could be that could potentially add in another person here walking in just a bit closer to the scene. A little bit closer like that. Okay. As you go up, you see the heads of the figures start to increase as well. Increase in size, not size but in height. That a couple of people like that, I think I'll extend this boat to go all the way back because looking at the figures that I've drawn in now, it makes sense for them to be a touch. Here, the bush to be attached larger as well like that. Okay. Good luck. There's even some boats and stuff here on the side of this building. Okay. I think that should be good enough for a plan. Let's get started with the painting. First things first, I'm actually going to go straight into the buildings first because I want to get in the warmth, the colors of the building, what the yellowish be the yellowish colors. Yellowish colors and also a bit of dislike brownie, burnt sienna type color in there as well. So touch this yellow here and the burnt sienna. And I don't really mind exactly what color it is, but I do want to make sure that it is vibrant enough, especially on that left side of the building. And I'm using just some pure yellow ocher, which already is quite a desaturated yellow. And just on that left side of the building that's gonna be a bit more vibrant and I'm saving the extra vibrancy for that side of the building and the rest of it will be a little bit more dulled down as you can see here. And just all the way through like that. Rooftop though it does have a bit more yellow in this, so that's dropping a bit more yellow. Look at that. Just a bit of that. The backside of that roof there. Let's bring this down like this here and down here. Okay. And bit more here on the right-hand side as well. Like this. You can even leave parts of the roof whites if you want. It's up to you. Okay. I'm just little bits and pieces like this. And will go further down the page at an a little bit of color here also here, these two little left side of the building and the wall would be nice to have some light showing in there. Not only that, but also in these like trees. You can see there's like some yellows and stuff in there as well. And I want to leave this to for a moment while I actually go into the sky. So I'm just going to wet this section a little little bit of water in there. And before I forget, a little bit of yellow here would be good as well. A bit of yellow ocher with just putting in the areas of light, little bit series of light. We don't want any detailing. Just look at the basically just look at the tones and getting the light tones. Of course, I haven't gone into the water yet, but I know the water but the beach yet, but we'll do that in just a moment. While we get in some cerulean blue for the sky. I'm using a large mop brush. I like to get in all these yellows and stuff first because it just makes it a little bit easier. I don't have to worry too much about mixing some greens or that kind of thing. Once I get in that loop, just a, just a really, really light wash of this blue. Although I do tend to make it slightly darker up the top. And if you've got a bit of this color here, which is ultramarine blue. Tiny bit of that darker blue up the top, helps, makes it, makes it look a bit more realistic. Tend to find that with skies they're little darker. At the top. I'm closer to you and then as you move further away, it just becomes more thinned out and lighter. Look at that. Yellow. A lot of that has partially dried as well. I'm hoping I don't get too much mixing with the blue, but at the end of the day, I'd rather some of it mixed together and still look cohesive. Like it fits altogether than something that just looks too out of place and stuck on so that sky bit more blue in the top section, I thought just a tiny bit more of this ultramarine let that settle into the paper, let that settle in and do its thing. And the rest of it here. This is just cerulean, light watered down, cerulean further down below. And let's have a look. What else do we want to potentially do? So of course we have a bit of this, this headline out the back and it's kinda yellowy again, yellowy brownie color. I'm going to bring some of that. Just color that in straighten. Some of it will maybe go into the sky. I'm not going to worry too much like that because I'll probably do another wash over the top. Bring this blue down the water. I think I'm gonna get in, in a sort of perhaps even a turquoise Sea type of color. Before I do the water, what we wanna do is get in a bit more of this sand here. And I'm mixing just yellow ocher with a bit of, we've got a bit of buff titanium here cutting around some of these boats as well. Because the boats, I want to add some, some interesting colors in there too. So cutting around them. Just dropping that. Drop it in there. Nice and nice and quickly. Like that. Some of these books I'll probably have to reshape as well. Let's see how we go light off. And then like this here, you put it in a bit of brown in there as well. Like that little bit of brown. Okay. You often don't get the same exact same color of sand wherever you go. There are variations and even tonal variations in the sand too. Leftover bits from my razor. You gotta be careful of this away. And why am I doing this? Well, the reason why is so that I can, once I put it in the water, it just melts in nicely. Okay, so we get this greeny transition down the middle pod. So having a look and seeing how does that appear, that seems to be where I want it. In. Another thing you can do, I pick up a bit of leftover paint, bit of brown or whatever. I've gotten the palette, just a bit of mark that I found here. And of course you can do this sort of thing. Just tap that brush and let it flicks some paint on like that. And that can just indicate some seaweed or, or whatever you want in there. But me, it's just creating some textures, some interests. Otherwise, I don't know, I find that it looks too boring. Even just put it in the buildings like that one ought. Be careful a little bit in the sky there and time to grab that mop brush. Now, this will be starting to dry and I want to get to it before it's completely dry, but I still want it a little bit damp. Little bit of blue, ultramarine blue mixed with cerulean. And if you don't have that ultramarine blue mixed with a little bit of, a little bit of yellow, yellow ocher. And I am just cutting around everything here. We've got these boats, but look at that. I'm just cutting around them. This hopefully that doesn't spread up too high here of water out the back. But what you can do is watch this lift off some of that paint to stop it from spreading too much. Let's go back in there again. Time is of the essence here. And at the same time you are making sure you're cutting around some leaf shapes. And these boats, you only have one chance to really do this. Here. As we move to this area, you notice the water starts to get kind of greenish and that's because it's mixing with the sand. That's what I want to imply. I really, really want to make sure I've got that in because I'd like that sense of mixing. Look at that just a bit of something here. Could invent a boat, put in a boat there. Then they just cut around some of these shapes like that. Just the same mixture of paint. It's a little bit darker off in the back though, have to say, There we go. That's a boat shape. They're more green or turquoise. See color in here. A bit of teal turquoise here, so I can just drop that in. It. Do its thing. Thicker paint here in the front, like that. Okay, And the important thing is look this mixing and you just touching it onto the yellow. And there are figures here as well. So remember the cut around these figures don't just go directly over them because you're going to miss out on some of those amazing highlights later on if you do, and the colors that you can get in on the figures. Because I just drop it in and let that psychologists mixing. It will. Do its own thing. Don't disturb it. Once you've popped it in there, let it, let it do its thing. Moment you start fiddling around too much with it. Create a gigantic mess. It looks like a mess now. But when it dries, it won't be hopefully the because that's the back of the boat. They're just trying to indicate some small details. Notice I'm not also coloring in all of the areas. I mean, there's some white in here as well. That's okay. No problem. Okay. That's another boat off here. You can even reduce the size them down if you feel you've really gone overboard with some of them. Like this one, same sort of deal. We're almost done here. Cut around this last one like that. Like that here. Yeah. Good. Okay. I'm pleased with this sort of mixing into the sky here. So I'm using just picking up a bit of color from that back section. Otherwise, I think this looks pretty decent. So far. Again, you can start picking up a bit of a bit of leftover paint, some brown or something like that. You can pick that up and flip that in here. Some of that detailing effect that I put in, there's disappeared, but some of this stuff, when it dries off, it actually looks great. It looks like footprints or bits and pieces in here. This is just some brown, It's no particular paint. I mean, you can even use some look, I'll just pick up some purple even in some of that in like that. Don't want to go overboard here. Now the thing is, of course, some little lines running through the water. They can indicate like waves. So notice how I can just do this sort of thing and also indicates a way the curvature of the shoreline as well. I'm just following that around like that. The waves are coming in, like in this sort of angle. Underneath the Neith, this building. You've got all these like darker spots as well. Don't be too precious with it. The moment I start putting too much thought into things and the waves, you gotta be careful, just little bits like that. Drop that in. Doesn't have to be perfect. I'm good. Now I'm going to work a bit on these boats. When I say work a bit, I mean, I'm just going to put in some, some colors to the side and maybe these ones will wait till later actually with those ones. But these ones here, I think that some color would be nice like to indicate some details like here, just these stripes that I really liked, these indications of this color on the side of the boat like that. I'm going to get just going to leave that one as is. This one could be perhaps a bit darker and more vibrant here look just a bit of this darker blue or something like that. They're inside the boat. Why not getting a bit more vibrant blue, but a lighter wash of it, something like that. There we go. Remember, it's just not a huge amount of detail. We're just putting in colors, real basic colors for now. Okay. This is just the beauty of white, Titanium white. Yeah. Why not? But there's a few more. There's even this one that says same titanium white color. It's kinda like an off-white colors. And these colors, these colors that go on top of the boat. And some of them have this nice blue color like this running across the side and then underneath them. You've then got the video that whites are that yellowy color underneath. So I can just imply that this more details later of course, this is again just adding in small details and not to say you have to color them all in as well. You can leave some of them. Can leave some of them just white, e.g. that one there, you could leave white and then color around it like that one. I put up with a burden behind. You could put this boat in here. Perhaps it's a bit of blue, blue, blue tinge in there as well, like that. This one here. We will blue in there, very good bit of yellow, actually, too much blue, tiny bit of color for some of these boats and the indications of the details of them as well. So not just getting a few little things while the while it's still wet. Okay. We have to reshape. This one is local too much like a boat there that's like the back of it. Yeah. The interesting thing is that you can actually recover a lot of this later with some gouache if you haven't got it in completely as you would like. Okay, Good. Destic. I'm gonna give this 0 a really quick dry. I'm going to draw it fully, but just I'm going to dry dry it to maybe 80 per cent. Then we'll get into the rest of the details. 4. Painting Shadows: We have mostly dried this all off now. And the second step of this painting is to put in pretty much the rest of the shadows. And once that's done, we are good to go. So let's go in. I'm going to mix up myself a purplish, dark purplish brown color. This is the shadow on the buildings in the background. I want this to be kind of purplish as well so that I've got in the shadow is a little bit warmer so that hopefully you can preserve some of that color, that yellowy color in there. Let's try that. May not be dark enough. Let me grab some more darker color, drop that in there that's too dark. I'm always modifying and just checking to see if the right tone in there. So this is that large section of chess. Gotta make sure we've got this in nicely and with enough detail. So look at that cutting around using making sure we're leaving that left side of that building. If the roof kind of yellowy. Okay. I mean, Dan and of course like again, you don't have to color in all that yellow. You can leave in little bits of bits and pieces in here as well. Could be indications, details can be anything really that, that just that side of that building and bring this all down. Of course, as we move further down, this is where we have other objects. We've got perhaps a boat or something here so we can just cut around that boat. I'm like this, another boat there. Okay. And because this paper is still slightly damp, you do get this kind of wet and wet on wet and wet feeling as I move further down that the most important thing is that sharpness there. And here's some more details on the side there That's like rooftops or something here. Rooftop here. Leave a bit of light. They're just these small details that will give the impression of light and let down. Okay, another thing we got to keep in mind is this platform or whatever in front of the the building. It's like just how much light there and I want to be so careful that I'm not getting rid of all that light. So leaving some of that they're okay. And look at the brush I'm using as well. It's really sort of small round brush so that I can detail. That could be a boat or something there. But this kind of indication like that here As well. Some bit of something facing the water. Underneath here. It's really dark. So I am doing my best to make sure I imply that okay. That that something in there. And again, this could be something like a bird or something there. And I'm going to put in some of the trees and what have you, so picking up, grab a bit of this green, dropping some of that green here for these trees or whatever you hear a bit more green here as well for this other area of this tree. And this also melts in nicely with the building. So you want to make sure you've got that going on. And I mixed that green, as you can see with the little bit of purple as well to increase the contrast and the darkness around the areas that I want the most contrast in. So e.g. here, I potentially just want that boat to stick out more. So why not just darken here the bit more and then carry on here. Okay. This is like underneath, isn't it? Right. Welcome to the side a bit as well. So there's like a side of that building here as well. This kind of wall or whatever here like that has maybe like a sliver of light on it here. Just carry on. Carry this on downwards. K. Here we have been done. This is just green. Okay? Green, again, darker, sort of green. And we've got all these boats that are just so, so dark in the background. We don't need to say lighten the background, so we just cut around them. And while that's happening, obviously, just work on some of these trees and stuff as well. Of course, there is some kind of a tree or something like some green areas here, the background and maybe a little, and just dropping in a little light wash of green up here too. Create some extra detail, but I don't want to overdo it. Something like that is fine because it's quite, quite far off in the background. We don't need to worry about that too much. Okay. Great. So that's the shadows of that building. We've got some details of the building in here. At this point, you can think to yourself whether you want to drop in some details for the windows and stuff like that, or you might want to just leave it too late. Okay. And you could do something like that or you could wait. So we've got just dropping in a bit of color for the, for like a, you know, an opening there and opening here. Now you gotta be really careful with this though, not to overdo it is one. You can also dry brush these on later. How many windows are there? There's quite a few actually, isn't there? There's 123-451-2345 windows, I guess. Another one like potentially here. I'll probably sharpen them up later to make them look more realistic. Bits here. Of course, like you do get sharper areas and regions like this here, the rooftop look at that. You actually got this little line that indicates the gutter or something like that or the roof. So I'm just trying to do that and no say here few quick little lines perhaps to help, help with that. They're building behind. They are just darken that off the touch there. Now you've got a window here, perhaps. Window further down like that. Okay. Likelihood, I'll probably have to go back in and sharp and then up a touch. Okay. Some of these boats or look nice with some color in them, just a bit of blue or whatever color you want to put in there. You can also just mark off the bottom of them like this with a bit of darker color that indicates that the shadow forming underneath them. The reflection on the water. More here. Some of the ones in the background, you're not going to find the ones in the background went up too much of a shadow. It's more than once in the foreground that you're going to get more of that shadow. Also, you will need to work on these boats attached to make sure that you've got extra details in here. I'm going to use this same sort of purplish color to cut around some of these boats. Using my imagination here to create some shapes. Maybe some bits and pieces, boats that cut in front of others like that. Membrane to preserve the light that you see in here. So important. Okay. Again, this is like a side of a boat. I can just get in. We imply like this. It could be about there. Here. Okay? Now I'll just also put in the shadow that joins the bottom of the boat to the ground. I'm just running to the right-hand side. You're going to want to do this sort of thing. Just, just create a shape that runs out to the right like this. I think that but you've got these figures that are walking around as well. So you pick up a bit of paint and just pretty much do the same thing with those. Look, there's a couple of legs potentially for this figure. Leave the top. Leave the top pretty much untouched. We can cut around the head and kind of thing to create some negative painting like that. Okay. We got here. This could be a shadow of a boat, like running towards the right like that. Here there's a bit of a shadow we can get like this as well. Connected onto the darkness of the boat and you'll be fine. Okay. Look at that. This one's just sort of hitting the lights and then we get to another shadow running closer. The shadows become bigger as you move forward as well. To the foreground. Okay? That shadow on the right side of that boat. Of course, you've got these figures as well. Let's get these figures in bit of little bit of color for the legs, just a bit of darkness running down the page like that, just joining them up legs. There's one here. There's just the legs together, joined together or you can even just leave them slightly. I'm touching just a few broken lines like that. It creates actually a bit of a bit more life. And when you do that, it looks kinda more abstract. But also, it could be because there's some shadow again running to the right, right, right and downwards. Almost. Same thing for these ones. Like this. Same shadow pattern. Turning to the right. More details on the boats. You know, you might think to yourself, why not put in some tiny stripes or something on some of them just joining up. Adding in extra details. You can go ahead and do this like that. Just some extra bits and pieces we see fit. Okay, I'm gonna give this a really quick dry off. Okay, so I'm gonna be using basically neutral tint or whatever dark color that you've got. You can use black. We can use the three primaries mixed together. Almost no water in here. And I'm holding the brush right at the end. And here what I can do is really start to do things like bring out some details of the building. So extra darkness here to create some shadow underneath. There. You might have a situation where you want to put in the windows in a more dry brush to A-sharp state so you can do them this way as well. Just dry brush some of the details on just trying to get more detailing on the windows to make them look more shaped a bit better. Okay, Oops. I'm drawing that brush off a little bit and then adding that paint straight on. So the reason I'm doing this is so that I can get in an impression and it doesn't look like stock on because when you add too much paint on and it just looks so sharp, suddenly draws way too much attention. Some little bits like that, a fine can even add in details that aren't exactly there but imply some bits and pieces like here. Look this section of the there, there's a 0, there's actually maybe another window. That's fine. Just thought I'd do that a bit. There we go. A little bit of that. There's a chimney or something there and notice that, but like this little section here as well, this part here. Here. What these are like little structures that you can sort of pin on. The rest of what we've done. Okay, Good. Is extra darkness also here in these bushes and stuff trees. So I will just getting a bit of this like that. This is a filbert brush. You can use a little flat brush as well. That's going to work just as well. More here. Want to add in a bit of color to these figures as well. And they kind of feel like they're just lacking in personality. Bit of red for that one. It could be any color you could put in. I've got some gouache as well. The gouache is great for some of this detail work. So if I e.g. pick up a bit of that, I think to myself, Hey, I want to get in a sale here. We can just put that straight in like that. Simple, simple little sail. Do that for this one as well. Um, it cut straight through. You can recover bit of that watts on the page and start to bring things back together again if you need to. Especially if you feel like you've lost some of that detail, you can actually bring it back and recover. Recover that died. Trying to do it too much. It more boat perhaps. Yeah. Okay. Here. Some of these figures you will find they have like a helps to put in a bit of highlight on the shoulders like this to just bring out some little highlights. Figure there. Here. You could even just getting some details of maybe a boat or something here. That little bits and pieces. I also mixing pepsin blue at times bit of this ultramarine blue or as cerulean blue to create the kind of gouache blurry wash mix. And that helps to kind of getting some colors for these figures. Only that but you can pick up other, this is a bit of yellow. Stick that in like this bit of that yellow pink color there. There. I have to color them all in just some of them. Of course, these boats, they have some of these like patterns that run across the top which indicate extra details. So this does help at times. Bring things back. Before we even want to turn this one into a sale or something. You can do it to that one. This one as well. Just some white gouache, little bit of white gouache for that does the trick on these boats as well. But I'll add in a bit of Guassian, the figures here, especially the ones here in the foreground. Touch of highlight and the top of the boats does help. Some birds. Often the distance. Little v shapes in the background and running through like this. Some small birds here or we're flying through the buildings. So you can put the mean in gouache, break up some of this darkness here. That would help. And I'll call that one finished. 5. Class Project: Your class project is to draw and paint your own coastal landscape. This can be a St. featured in this class are based on one of your own photographs or scenes that you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawing if you choose to do so. I recommend drawing each scene free hand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you've finished the drawing, usually watercolor, steps and processes in the class demonstrations to complete your painting.