Tropical Watercolour Seascapes: Learn to Compose Your Own Summer Paintings

1. Intro: With the summer picking for the corner, we start dream and a form weather and bleach wipes. The smell of the seed, the movement of the palm trees and the sound of the waves are enough to bring us count, enjoy. Even if we live far from the beach for watercolor painting, we can express our emotions and convey the same feeling. Hello friends. My name is and I'm a psychologist and an artist. I work mainly with watercolors, but I like to play with all kinds of different materials. I believe that anyone could be an artist painting. It's not a talent, that's rather a skill, a skill that you can develop over time if you're willing to do the work. This class is designed for beginners to intermediate watercolor artists who would love to learn how to paint one. So let's see escapes with distant islands and palm trees. In this class, I'll walk you through all the different materials that you'll need to complete this class. We'll explore basic watercolor techniques, as well as some fun, loose techniques that can be used to bring dynamism and create diversity of textures in your paintings. Rule built a basic knowledge about perspective and composition and how important they are to create believable painting. We'll explore color mixing and how to avoid muddy mixtures whilst building a cohesive painting. Together, we will learn for simple skies and how they can set the mood for our page. And they will learn about distant islands and how to choose how distinct her vehicle would love them to be dependent on the overall composition that we desire. Who learn how to draw intricate boundaries and how we can incorporate all of this knowledge so you can build confidence in your own skills. By the end of this class, you will have completed four beautiful paintings and have the knowledge to compose your own summit see escapes. I'm so excited to see where to come up with. So without any further ado, Gary fan supplies and let's just jump right in. 2. Class Overview and Projects: Hello friends, welcome, and thank you for joining the class. If you're a beginner or you'd like to get the most out of this class, I suggest you focus on each main subject on a separate day so you can implement and build your own skills step-by-step. This way, you want for the pressure to query up and you'll learn the essence behind each lesson. That'll also help people learn everything. Your own skills. This class is separated on three main parts. The first part, we'll have an overview of all of the materials that you'll need to complete the class. Then we'll learn about perspective and composition and how you can create your own grief. Who explore some basic watercolor techniques as well as some loose. Them will focus on things and simple Spice Islands and drawing palm leaf trees. After all of them. We're ready to head over to our final projects. For the final project I have chosen for different tropical paintings will gradually increase the level of difficulty. So you can do it more confidence. After practicing all of the Class Project. There's a step-by-step tutorials. I'll give you one last final project. This will be our creative past. There. You can practice, Oh, that's really learning in this class. Either by painting one or you can choose one of the images provided by me. Are you ready to begin? I'll meet you in the next part where you discuss all of the materials. So that's to complete this task. 3. All Materials For The Class: Hello friends, Heinz lesson. We'll have a look at all of the different materials that we'll need to complete this last solo starts with our palettes, where we mix all of our cars. You can choose plastic, ceramic, or metal. It's absolutely up to you and just choose wherever is comfortable for you, not have to buy any other. I will also use silver black velvet brush. A size 1281 of my favorites is the Winsor and Newton probation versus I6, which is actually brush. I'm also I would like to mention, even though it's not on the video, I will use my friend if muffler, which is size 1.5 inch, I'll use it for only one of the painting. So you can easily take silver black velvet size 124, which in the paper is just more comfortable for me. Here. I'm showing you that we will use paper towels to block some water and I love using cotton towels. So on. Reaching this wastage, walk your hands to whoever you want to also use two jars of water, one to clean off the brushes and one for freshwater, and we'll change them quite velar. Also using different types of watercolor paper. They're both 100% recombinant GSM. Trying to pound. The Canson one is 9.1 by 12 inch and just found by our Tesla, is nine by 12 inches from the A4, but you can stick to any size you want. Don't feel intimidated. If you'd like to use a smaller size, you can just cut the paper to your preferred size and go for it. I've chosen cold press paper. I'm trying to show you the texture here. And you can see is the medium grain people. It's, my favorite though, is not that smooth. So you can actually have some dry brush. Let's have a look. Regardless of the type of paper that you choose. Make sure it is pressing problem. Cold press paper, and to be preferably a £140. Next Mooney of paperboard. It can be plastic board, a board that you can take your paper. So it will become less here I'm showing you how I keep my p-bar swedes pay for t. But I will check with the plastic. Just standard Magic tape, which I actually really like. You can recommend the Magic tape. And here I'm showing you my favorite paper tape, which is by the brand. So both of them I really recommend and I'm so happy I haven't had much of a bleeding. So it's actually affecting my paper really well. And it's very well. The next one I, I'm showing here, I have this clef on TV. It's 50% cotton paper. It's lower thickness. This is 200 GSM or £90 compared to a font. So for some of the exercises will use this paper. It's not a 100% cotton you one, yet. You may grow so you can explore better people. But I'm pretty happy with using percent cotton or even just standard cellulose paper for some of the exercises. Especially the color mixing where you can just experiment and have fun. So that's basically the basic materials that to complete the class, we'll also need some pencils and eraser. I have standard pencil. I've got this mechanical pencil which I cannot tell you the brand. I bought it from one X condition completely for free, but I'm really happy with it. So just choose whatever you like. I really loved kneaded eraser so you can meet up top and the top. I'm showing you here how you pop it gently on the paper to lift some of the excess graphite. So you're not really rubbing off the paper. Watercolor paper can be easily damaged. Here, some of the extra materials that you use. This foundation Brushes that size five round brush. What? The main point of it I'm using the back of the brush which I have sharper I'm with. Normal. Sharpener will use it for some of our small flat brushes, also for my condition versus I'm, all of, all of them are syntactic, so they're easier to go from this term. Here I'm showing you my water and faithful, as mentioned by your end goal and how you use it just to mark down some of the techniques that mean this in the flask. This much when I'm using people. That was my rolling pan and simple synthetic brushes, which we'll use for the masking fluid. The whole idea is that the masking fluid to have a rubbery texture and it can easily damage your brushes so you better, so cheap, either William Penn or very old brush that I could care about. But I'll show you using this soap, how you can actually preserve them for longer. I wait the bristles of the brush and just use a little bit of salt. In my case, I'm using masking fluid from Sri Lanka. Or you can easily go with the drawing gum or any other masking fluid. Like here. This is the rubber eraser got power we use from Moscow way. It's cold, pressed. Moscow way. It helped to easily remove any masking fluid without damaging your fingers, damage the paper or smudging some oil all over the paper will also use some clean from it will help us with some of the class. I am. That's also some salt. It's completely normal table salt. I patrols and use some kind of tiny particles. And also I have some of the particles. Some of them are quite a bit. So that's it about the soul. Just really funny. Fixture. If your paintings, I'm that way you add in some more interests or fainting. Also use a plastic cards. Card can do. It's not necessary to be always the card though. I will use some white gouache, which will use it on top of our finished painting to add some highlights. I'm basically that's it about our main materials that so let's have a look at all of the different palette so that we can go for. You can use cakes or also how often pull the band. Pull funds. Like you can see in the left side of this palette. You can use. You can squeeze them into your palette. Dann im in the main product of this class. And you can also use some liquid watercolor S, which unfortunately I forgot. The video to show you. The main point of showing you all of that is just to let you know guys, that you don't really need all the materials in the world. Here I already knew would like to show the color sheets, which you can also meet the PR less colors sheets. They are very, very interesting. But I want a recommender class. A little bit more effort to mix them on. Or perhaps you can just watch some videos and we'll call them. But for this class, I will suggest to my paints for your fans, but I'm going to combine them with jobs as you can. Color them. Basically, that's it guys. Just go with whatever. You don't don't worry. If you don't have all the colors in the world. Even though it's really nice to have them, it's completely not necessary. Okay, now let's have a look at the colors that are included in my main palette and that we use in the class. I have included my favorite ultramarine and burnt sienna and that's why I'm going to be close for them. I have not bought yellow cadmium, yellow, yellow ocher, raw sienna, lemon cadmium yellow, golden, deep. Cadmium red light car mine, Ruby English read embassy PLM Blockchain green, emerald green to please both. Bright blue, cobalt blue. I am not including the lavender by Van Gogh can use yellow, but instead, I'll use a cobalt turquoise color which I will use for the project. I'm really recommend doing that exact color. And also I will use some white gouache, but I won't keep it in my palette. I'll sit can easily so much and it can easily go into some of them are powered cars, I would like to avoid that. And basically that's it. In the next lesson, we'll have a look in the very basic materials that we will need to complete the class. 4. Basic Materials: In this part, we'll have a look at the very basic materials that we'll need to complete the class. Who need some 100% cotton paper so we can paint our main projects, two jars of water, then, some masking fluid, whitewash, pencil and eraser needs some silicon. The board who need some watercolor brushes, paper towels, cotton rag, palate. Our preferred colors are across the board. And basically that's it with all of the materials that the next part where we will speak about history. 5. Basics of Perspective: Hi friends in this part who have a look about the basics of perspective. So speak about aerial perspective one to earn 3 perspective. When we speak about aerial perspective, we have to keep in mind that the distance between the viewer and the subject increases. The contrast between the subject and the background decreases. The contrast of any markings or details in the subjects also decreases. Also. We have to keep in mind that the objects closer to us appear warmer and more bright. Objects that are further away from us appear cooler. I'm more vague. So you if you would like to show something closer, we have to show that it's more distinct. In our painting. Like here, you can see the marks on the trees and the bench. Compared to the other view of the clouds. Here in this painting, you can see that the mountains on the background, even if they're green in the painting, they are pure blue and we are showing them off of their farther away from the viewer. So the cooler colors compared to the world. Here also have more rights. I'm also, I'm showing you how the islands I have included some warm forest also show that the island is not that actually far away. We can see that horizon line is below the island itself. In this mountain painting, we can see how small the people are appearing and how even though they are closer to us, they have a lot more contrast and more course. And the small mountains on the background of this big mountain, they appear a lot lighter and this is giving us a better eye aerial perspective. In this painting, I'm showing you that even if you are using monochromatic idea as a painting, you can show up very good. I aerial perspective by adding darker and more intense and dams colors. The foreground compared to the ground. Let's have a look about one to 2 perspective in the cityscape been using one for one-point perspective, which means that all of the, all of the points, all of the balconies, the owning side windows on the right side of the building, cool points into one vanishing point. Here. When we're looking at University of each month, this whole building, we can see that all of the windows, PLRs, even the tiles on the floor, every single one of them is pointing to our vanishing point, which we don't really know where exactly is. Somewhere around our horizon line. And all of the colors above our theory and law. And all of the cars closer to a more rich, more dense, a lot easier for the eyes to pick up. So I think that's something interesting to keep in mind. Then we can have a look at this decline perspective on this from one of my lessons with Alex. And here we're looking up two-point perspective. So look how all of the balconies, the openings, and even the streets, like the sides of the streets are appointing empower vanishing points into our horizon line and everything kids synchronized. You want him just simplify castle. We can see the mountains on the back are very, very light and they're appealing a lot cooler than the grass on the front. Using that method, we can show better I aerial perspective. Look how how vehicle, the mountains on the back car. But there are still visible light. You can still see that it's a mountain there. You cannot really see every single blade of grass. You can obviously every bush, like you can see the bushes on the front, you can see the blades of grass and so on. This is so building more Bulgaria. And here we can have a look at the two-point perspective. To be completely honest, if we really concentrate our ice, we can really have a look at. This is actually showing three points perspective because it's showing the perspective above. But I prefer to show you this one. This is the cathedral in Varna, Bulgaria. And the whole point is like here. You can see all of the sites on the right side of the potato are pointing along the lines are pointing into 1. All of the lines on the left side are pointing into our left side. And the whole building, like the main part of the Belgium, it's pointing up and you're going up. The lines are getting closer together at some point that it's not really visible in here, what they will meet somewhere in the sky in one vanishing point. So this is the whole idea of three-point perspective that is really good to keep in mind when we're drawing or painting. And this will give us better aerial perspective and it will bring modellers on to our next part. We'll discuss Troy. 6. Drawing in Perspective: Hi friends. In this part, we'll speak about drawing perspective. And it's very important that when we are thinking about drawing in perspective, the ****** we need to consider is the line of sight or this is our eye level, which means that all of your vanishing points will meet some point there. It's very important to keep in mind the golden road that mean the further the object is small, there will appear. So the closer to the viewer any objectives, it will obviously appear bigger. This is very important. We need to keep in mind that when we're drawing, we start with our horizon line. And then we can imagine points that is separating our objects into two parts. And I think it's very good way to show you two points perspective because it's a little bit easier, in my opinion to understand. So once we draw our middle line, then from just two points, bar and the bottom part of the line, we're taking them and write and draw in a line function to our pension funds. Once we do that, we have basically four lines on each side pointing into the branching points. And then we can decide how wide our object is or how long is. It depends. So imagine if we have a very long building, like you can see some of this, some of this drunks here are not just cubes, we have rectangular and they are like some of them are having a lot longer appearance. Just because the lines are longer before you draw the second and the third vertical lines, the vertical lines, we are closing our object. And then we can see like if you have a look on the four main cubes that are laying on the horizon line itself. They have just lines on each side that are pointing to the vanishing 0.2. Vertical lines that are called rectangular screens look like cubes, rectangles, old buildings. This one that are below the horizon line. It looks like we're looking down from above. So imagine if you have a little tiny cube in front of you, you can see the top part. And if it's further away, if it's above the horizon line, you can see like some of the cubes that are above the horizon line, you cannot see their top part. You can see the bottom part that they are basically laying. Or if you don't want to imagine them of the buildings, you can imagine them flying in the sky. Lanterns that have been met. So when they are up in the air, you can just see the bottom part of the lantern. You can see where the fire or the candle is, and it's up in the air so you cannot really see the top part, I think is the easiest object. Or it's, imagine if you have a plane in front of you which is flying in there. You'll see the bottom of the page. You won't see the very top of the band because you are below the object itself. So pretty much that's it when we are speaking about 2 perspective. I believe you understand already about one-point perspective. So let's wrap up and I will see you in the next part. We'll speak about composition and how it can affect our pink. 7. Types of Composition: Hi friends. In this lesson, we'll explore different types of composition and we'll start by drawing together first, the steel yard in position. It's one of the eight main composition start to explore on. You can see exactly how since Juilliard, we have one bigger part which is heavier than the other side of the painting. So in our case, for example, I will draw two examples for each, for the compositions. And you can, you can find my reference image in Google, but you can, you can find a lot of different reference images, explore different types of positions where you'll see even more. But that's the domain that I'm usually using my paintings. The second one is the balanced scales. And that's showing you that both sides of the painting, you see, you have two main focal points into our painting, where you have dead space in between or less interesting components of your composition. We also have circular or O composition. And we have the S or compliance curve, which is basically an S curve which is leading the eye from the bottom of our painting, left and right, bringing die to the viewer on to the upper right corner where it can rest. Next week, we have the pyramid or triangle composition. And in that composition will have to remain elements that are placed into three. Ngo will have more of a dead space on all sides of our triangle composition. We also have cross composition. I will see them just in a second. I'm just, I didn't myself. So rectangles here to draw the position, sorry, no worries. When we have cross composition, that means that our, our focal point is one of our 4.4 of the points that we explore into the rule of thirds. So for example, will have a figure in motion or have tree, and we will have some elements on both sides. We also have Reggie to line, which means that we'll have, our focal point will be somewhere in the middle, will have different elements of our painting that are legion die out further away from our focal point. One of the most famous is L, or rectangular composition, which mean that we'll focus our focal point on one side and the bottom of our painting, or the right side and the bottom of our painting and the other side to be a lot weaker. Here, I'll just show you real quick sketches explaining each of the compositions. And here you can see you have one, let's say bush or tree, on one side and on the other side you have smaller bushels, smaller tree. This is very common for the steel yard composition. You can also have a big figure, for example, on one of the sites and smaller figure on the other side. And that's creating a little bit of balance. We also, when creating a balance or scale type of composition, will keep our focal points on both sides and we'll have less interests into the middle of our painting. And we'll make sure, for example, that this area where we don't have our focal points, it will be a lot lighter. It won't have a harsh lines, it will be soft and gentle. So we're keeping the eye of the viewer focus on to our scales or onto our focal points that are placed into the skills. Circular composition. You can easily see, for example, if you think about lakes, you'll have all of the elements around the league. You may have mountains on the back or you may have. Big Island and a few little elements around it. But the circle will be our main composition. And everything else will be just a little odd zone to our painting. When we're speaking about the compound curve or the AS curve, will usually come to think about a river that is getting bigger closer to us. And it's an S curve for legion die from Dunaway. Or that could be also wrote in our painting that is just bringing the eye of the viewer further away from our focal points. Exactly on the same way. Closer to the VOR, it will be more brighter, more vibrant, more vibrant part of our painting can further away. Everything cool fades. I need to look bluish and more light when we're exploring the pyramid or the triangle composition. In our first example, we can imagine, for example, Dr. hop Mountains further away from us. And on the second part we can imagine two big trees or rocks ion we can have, for example, a cloud in the air where it's bringing our third in the pyramids. Or we may have a plane or birds that is closing the composition. Or you can also use very often that composition is used when you pair it. Pains to life's. If you have a look and some still lifes, you can see that usually our focal points are usually kept into three main parts, like three angle, I know, half dead space in our painting. For example, e to both sides of the composition, either the upper or the bottom part of the pyramids. Also. When we're speaking about cross composition, I think it's very important to keep in mind that this is a composition. Will see marine paintings and a lot of landscapes. For example, in the cross composition, we can have our focal point. Hold. On your account. We can have, for example, distant mountains into our cross composition. Or we can have, let's say, a big tree on one side, smaller tree on the other side. Just for a little bit of balance. And we'll see the horizon line will be our horizon, our horizontal part of the cone position that through easily. Leave one side of the painting. In our case, the upper side, the sky, will leave it quite empty. Unless of course, we decided just to be our main focus. And we'll just use the sky of our focal point, creating beautiful colorful clouds or more dramatic clouds. And we'll keep then the front of the painting closer to the viewer with less interests so the eye of the viewer can store it. We can see radiation line, usually into painting where we have a lot of clouds, but who have, for example, one big focal point into the left or right-hand side of the painting. But it will be either one of the sides of the painting where we will have to write. Imagine one big focal point. It could be the sun or it could be, for example, a boat, ship, or maybe our rock. And that will be the focal point and everything else who believed in I took that focal point. And the L, or rectangular type of composition is usually used when we are paying to be rocks. Or it's also used very often into cityscapes. So for example, in the L or rectangular composition will keep, for example, the left side of the painting. In this case, we will have a big building. We may have some main elements in front of us closer to the viewer, I like cars or pedestrian SWOT can and will keep the upper and the right side of the painting with more ease, with lighter colors, less interests. So the eye of the viewer can rest on that side of the painting. You can also use that rectangular composition when you're painting rocks, mountains. And just keep in mind that the focal point should be on one side and the rest of the painting will just be there for the eye to rest. I hope that's helpful for you and I'll see you in the next part where we explore basic watercolor. 8. Quick Tumbnails: In order to understand how we can create quick thumbnails and how they can help us to improve our composition. First, I would like to focus on the rule of thirds. The rule of thirds in general, its use in photography and it's a guideline that places subject into left and right third of image, painted sleeve in the other two-thirds, more open. So that means that our subject will be placed into only one main site of the painting. And the rule of third device, the photo into nine equal parts split by two equally spaced horizontal and vertical lines. You can see that creation of four points of interests. And we won't specify now into the Golden Rule. But you can see that if we try to just quickly dry the golden rule, which in general is used in art to create the most interesting focal point. We are using. Deciding to focus our focal point into one or two of dots. And we try to use the other two, the other two points to lead the eye of the viewer into that more interesting part. Creating thumbnails, we can experiment with different types of composition and see what it looks pleasing to our eye IN what doesn't look please. And then here our experiment with a few different types of distant islands and how we can place them to create different composition. But we'll focus on composition on to the next lesson. So here we'll just experiment with different thumbnails and see what it's making. It making us feel more comfortable. So in order to understand well, we want to make sure that we understand that the human eye is attracted from a distance by the brightest and most contrasting points. So that means that we would like to have more contrast and more brightness into our focal point. Will also want to make sure that we start, we start creating our focal point onto the closer to the viewer or the human eye. More interested to the bottom of the painting. And then it moves up or to the end, to the right. So that's why our focal point. We want to make sure that it's always the prompts of our painting. And also, the more the rest of the painting will be on the background. Regardless, I would just painting or drawing. We want to make sure that they will be place for our eyes to rests, solely warm to create our painting, to engage in. I'll stop can buy, that can make us very overwhelmed by the painting. I knew won't stay to look at it for long. And it's important to always have hard and soft edges. So the soft edges are given space for the wrist where the human eye is very interested by the dark lines and the heart edges. And we also would like to make sure that we always have crossing lines. So we have both warm and cool colors, warm and cool tones to our painting. Unless of course we are creating monochromatic painting. But even if you create a monochromatic painting groups to want to make sure that we have different values. And they will repeat for the painting. So for example, if we have light values, they want the concentrated on only one part of the painting. But to create nice balance will have to seem light value in different parts of the painting and will also a half middle and dark values into our painting. But always keep in mind that the human eye is always subtract it into the heart, edges, crossing lines, warm colors and details, and talk to the places where we have created contrast in our painting. We'll always misses areas that are with little to no value, where we have soft edges and colors of the same shape. When you create thumbnails with color, always make sure that you keep this main points in mind. But to create quick thumbnail, we can use even only just pencil and paper as I'm showing you here in this example, you can create many quick thumbnails, like in this case for ten minutes, I'll create a twin to sometimes I'm making the third day or so quick thumbnails and then I can take, let's say ten minutes wrists always makes sure that you take somewhere between you're drawing stages or even between drawing and painting so your eye can rest. And when you come back to have a local ward had it done, you can see which parts look more interesting to your eye, or in our case, which quick thumbnails are more interesting to us? Which of them we may be interested to create a painting from? And which of them will want to skip for now. And we can always revisit them back and see all. Perhaps if I just change something a little bit and let's say that quick thumbnail, I can make it more interesting. So then it could actually be a good composition and you can create a painting from it. But don't worry, if on the very first moment, it doesn't look interesting to you. Just make sure that the time you will, you'll keep revisiting your quick thumbnails, quick sketches. And you can always revisit some of your older paintings and try it. Draw or paint them once again. And I'm sure that you'll be very impressed how much you improve over time. Doesn't matter. Is it just a month or a knee or in-between or drawing or a painting, your sketches. Or you can even try after a few years and you see the massive difference in your skills and that can make you feel even happier and more confident. Us usually we're just sticking into our chin. And once we achieve certain level of skills in art, quickly forget. Quickly forget how difficult to us, or let's say, how long time it took us to go there and how much practice we put into it. And that way, I think it's very important to keep in mind how much we improved us for artists is usually a lot easier to go into mine space where he ***** him. Oh, well, I'm not feeling, I'm not feeling happy with the paintings that I'm creating currently. For gauging, how much you actually learned with the time. Here you can see I'm exploring different types of quick thumbnails and I'm always starting by separating my sheet of paper regardless, is it horizontal or vertical? And two main parts or into our third, I know it's a lot easier this way just to start by placing my focal points. So one of this four points. And you'll see that even if you don't understand math Nevada, composition by creating the quick thumbnails. Now, you will see how much you gain and how much you understand by taking the next lesson, where we will explore different types of composition. But until then, keep, keep practicing, keep experimenting, and keep in mind, you can even create a little chick, for example, next to the compositions that you think they look good on. Once we explore the different types of composition, you can go back and you can see which types of composition are the most attractive to you personally. I'll see you in the next part where we explore different types of composition. 9. Basic Techniques: In this lesson, we'll learn about the different watercolor techniques. We'll start with the basic ones, like wet on wet, wet on dry, dry on wet. Dry brush technique, flat wash with wet-on-wet, and flat wash with wet and dry. Then I'll proceed through some important techniques like gradient wash, Glaser and lifting, leading, pulling color and variegated wash, which are very useful when you're using watercolors. And then we'll go to some fun techniques like splatter on wet spot, on dry cards, scratch, scratching with different sharp objects, deliberate blooms, and even Clemson South. So let's start with the basic watercolor techniques. I will proceed to each and everyone one by one. Before we start with our basic water techniques, I would like to apply some masking fluid to the part where we'll plot our own dry. So we'll take one of our cheap brushes or Olin pen. It's completely up to you. Whichever you prefer to use. The rolling pennies just easily. You are dipping it in the masking fluid and put some dots on the paper. It's very easy to clean, but I really prefer to show you how we can use soap on our brushwork, just swirling it in the water. I'm coaching the brush with a little bit of soap. Tried to make sure that you have enough soap on the brush. So the masking fluid want actually go through and cover the bristles of your brush because that will damage it in the long run. Once our brushes coated with masking fluids, we can dip it in. I'm showing you here that is not a very good Shake. The masking fluid does it will create a little bubble sign. It can take ages for them to settle down. So you better just swirl gently. Here. Look, you can apply the masking fluid by making splatters or even just using the brush. Normal watercolor brush and paint, whatever object you want to preserve. By using masking fluid, we're preserving the watercolor paper, as you can see in the next lesson. But for now, let's go back to our basic watercolor techniques. So let's start with exploring. Wet on wet. Wet on wet basically mean that we have a width surface and a width brush over the wet surface. It can be covered with water or with watered-down paint. We are applying water down color. So here in this example, and first, waiting down the paper with clean water, my sleep to create a flat, very flat wash. Who would like to avoid creating for those in some of the corners or in the middle of the painting. And just to make sure that will happen wound leave our paper to soak up the water. Cotton paper. I mean, general watercolor paper. It's very thirsty, so you would need a lot of water to apply on the surface of it will go deep in the forest. So here I'm swatching something, carmine. Nixon, sorry, I'm mixing some carmine and I will make a puddle of ultramarine blue. Just right here. I'll add a lot of water and a lot of pigment as I won't use it only for the wet on wet technique, but I will use it for some of the needs just to be more easily, be easier for me to apply. So I'm not concentrating on the course. So here I'm trying to get closer to the paper. Romero. And you can see I'm applying more. I clean my brush into my first jar of water. And once I clean it properly and I pick up some clean water from the second jar. Club lie more water. You can see here on the corner it was a little puddle of water. So I'm drying my brush and making it o even around. You can see it have a nice, very nice and both. She doesn't happen anymore for those. So I dry my brush a little bit and pickups. Caroline margin it. So one of the sites of iron can see that watercolor, It's already blade and we're adding watered-down paints. It's prayed in nicely and gently. And it's creating this beautiful spider-like effects, which also are known. Here I'm items sent the French ultramarine. And you can see where I'm not mixing the paper there Justin separate but where the water is pushing one pigment to the other, they are already mixing on the paper. And here you can see we can soak up the excess moisture. We added some extra water to the paper when the cup our color. It be that on the bottom of the paper. Just dry my brush and the color with my brush. You can do exactly the same with paper towel. But I would like to show you both ways. It's completely up to you which one video? As you can see, with removing some of the water, were to move some of the pigment that was on the paper. And in general, watercolor is dry, lighter than what the peers. So we need to make the mixture more dense, or let's say Faker, a lot thicker. It will have more pigment inside. So once it dried will still be visible. What we're painting here on wet, on wet, you can see once we apply the first course, I'm Arjan, more thicker mixture look I add less water and more pigment. And it's not surprising that far away else, the paper, it's already absorbing the water as well. And we can blend it gently with a damp brush. Just Hopkins and call it afraid and so it's not to sit in so concentrated on the one side. Also, we can pick up the color on the sides of our paper. So when it's drying of the car won't bleed back into the paper and create watercolor blooms, which we'll explore a little bit further. Now when we are adding the car mind into the French ultramarine, That's also called charging was we are charging long calling together color. I'm pretty much that sets about wet on wet so we can proceed through wet on dry. When creating wet on dry, that mean that our paper will be dry and we'll pick up some, some paint or water with our brush. In general. What are along here? I first added French ultramarine, and I'm adding Carmine. To be there. I can just say blue and pink. More normal. And have a look like the course. But some of the parts of where the blue was sitting started already trying a little dance and because the paper was on wet on the very first place. So if you see the left corner where I just went once again to reactivate the paint dry so it will create hard edges. And in general, we would like to learn how we can preserve the hard edges or how we can use them in our advantage. I am not really seen that L1 is good or bad. Everything really depends on what effect you would like to add into watercolor painting. I believe that having a balance between hard and soft edges, it's very important for each Beijing. So let's go to paint a little bit dry on wet. And that mean that to be able to see that oil start with little wash of water down Carmine. What dram width mean? That means that our brush, when it's half, half our book color in this example. Our blue color, it will be a lot more dense, very saturated mixture, which will be full of color. So it will have a lot less water. Look here. I'm mixing the French ultramarine with carmine, and I'm trying to avoid adding water, which you're going to see that I'm really making my paints. Pool. I don't know how good or bad is it, but I really like to have the opportunity to pickup a lot of color and I like to have pools of water into my watercolors. And it's making them easier to activate. So here, in order to use the dry on wet technique, I'm picking up the color from the palette and bought him a little bit of little bit of moisture on the brush into this paper towel. And when doing that, you can see the paper, the paint on the paper is not spreading that far away. So as more water you add to your watercolor paints, the mixture will move further away. Less, oh, less water it half. It will stay closer to the anchor point where you are putting your mixture. This is a lovely technique for adding clouds, but you can use it not only for clouds but for creation. For example, distant mountains or objects that you would like to keep the soft edges. You can see we are keeping soft edges because the paper underneath will still wet. But because it's dance is not flowing whenever it or whatever it wants is just sitting where I'm fortunate with the brush. You can see also, if you are curious like oh, is it my paint mixture good enough? Is it thick enough? The easiest way is to see how much water you have in your mixture. So if it's no more than easily, that mean you have it a lot more water down. And if it's team began on your palette creating this sparkles in-between. And when you move your butter sauce, the bristles of your brush downwards. That's an even. Your mixture is a lot thicker. So you can easily create this dry on wet, Tiffany, I am I think it's a very good technique to know it's one of the basics, so that's irregularity is also here we can see the dry brush technique because I'm using the same thick mixture on, but here we don't have any water or any liquid. The paper doesn't make various affordable down paint or is it just, we can create this beautiful dry brush effects. So it's lovely for creature and palm trees. It's beautiful to create textures on mountains. I'm like, Not only you can use it for any fan, It's a lovely way to add more dimension to your painting and interests, as well. As I said earlier, in your paintings to have hard and soft edges. So this is a beautiful way, creates this. So well-designed are hard edges. Next one, let's proceed to flat wash. Our first flat wash will be created with wet on wet, which means that I will first water. I will add water to the paper. As you can see, I'm not adding too much water. I just want the paper to be nicely moist. The square is quite small, so I don't oh, I need to order an hour and a half prepared my paint on the palette. I told the easier to pick up. Once my paper is wet. I can just jump into my purple. Just swap. The easiest way to create the fluff Walsh. My opinion is to pull your brush. Left to right. You can see if you just continue pulling the brush down. It's creating graded wash. So if you'd like to have it have the color even everywhere around the paper, we need to spread it left and right, up and down until the color is the same everywhere. If if we don't add the color on all sides, can leave some lighter or darker spots. The interesting ways also, like I'm showing you are to keep your paper ink wind on, sloped. Let's say I'm an angle. So the gravity will help the paper to flow down easily. And you can move your paper up and down so you can make the wash even more. Even you can remove the left and right up and down. Just take your time. I move it around until you have a beautiful photos. Where I do with this exercise, we can proceed in our flat wash with wet on dry, which means that we'll have a puddle of water on, as we said. The second word was about about our paper and the first was about our brush. We're picking up wet paint and we're putting it into the right. To avoid introducing more water into our paint mixture, we can just dry gently our brush so we're making sure that you introduce more water. We're just grabbing it from the jar and adding them to our I just would like to mention it. I think it's a good tip. I would like to have it when I went here to create this flat wash. And I'm really loading my brush with lots and lots and lots of water. I'm not drawing it everywhere. And I'm creating a flat line and keeping the paper are inclined. So it will keep a puddle of photo of color on the bottom. This puddle, hello, It's ensuring that we want to create a harsh line. So make sure you're using a bigger brush. I really like to use bigger brush when I'm creating. Be cautious of column. Make sure that you have prepare enough mixture in advance. Plus half the mixture prepare in advance, the most likely won't have enough time to create the new mixture which is the same color, same density, and apply it onto the bottom of your flat wash until I'm perhaps until you're ready to do that, you already have harsh lines. So look because I was keeping the bottom offer each stroke, load it with a lot of paint. I don't have any harsh lines here. Lift up a little because I feel with our damp brush. And damper is the brush when we have clean, for example, clean brush and we are dominant and our people are caught on top. That's what I'm regularity is. Here you can see my ceramic dish data in general, it's perhaps for sauces, but I'm using it when I would like to create a puddle of watercolor, or in this case, I would like to have some white gouache. So I can show you how you can add a dot of washing depending on how thick you would like to appear, you can add less water or if you'd like to have a tooth or down you can just add more. So I just opened it over the flight Bosch, my ceramic dish. I like, Sir, I'm just as good here, very easily. Lovely colors. I'm taking mine. Small round brush. Just so I can add some new that. I can take my small brush to pick up some fear look. So I have quite a lot of water in that mixture. And look how the paint is spreading quite because it's wash, it will feed. So here I'm creating and I'm dropping, just look at them. They are just the luteum, exactly like a watercolor is the new term. So if you add a little out of order, it will. At some point for completing visit. I'll leave it on the site and you can still see how wide the first disappearing. But by the end of this exercise, how dry, lighter coat actually dropped. Here, I'm picking up paint straight out of the job, basically all of the dish. And I'm adding it into the little square for dry brush technique. You can see how it's scrubbing. It's creating the same effect like with creative with the colors. But because it's not so visible, I'm applying cold French ultramarine. I'm drawing it with the hairdryer so you can see how it will appear over watercolor wash. Now you can easily see how the white wash, the big dots of white wash that to hop that was quite watered down. It's almost disappearing. You can still see it, but there's a lot more faded than the top one that we are fixing things. And this one that we happened to go with the water on top, It's almost disappear as well. So if you would like to make sure that your paint is completely dry, you can double-check with the back of your hand. I'm not really recommended to use the palm of your hand us. It can add oils to your watercolors. Of course, to exercise. It doesn't really matter. But just good to remember Andrew Thompson. Don't do it. So you won't forget. Because you can see here when you use a natural mutated certain natural bristles, your brushes hold and a lot more warmth or sold the Walsh's PRN a lot lighter compared when you use synthetic brush. The mixture, It's a lot thicker. It's sitting very well on the paper. I love it. I just don't wanna go out. And it's a lot easier to control. Where do they actually put it down? Here, I'm using the natural cirrus of my silver brush. I will soften them up a little bit. So it will appear a lot lighter afterwards. Here are all of the pieces and I'll meet you in the next part, the price, where we will discuss important watercolor techniques that you can miss. 10. Important Techniques: Hello friends In this part who explore some important watercolor techniques that are very good to know. So we'll start with learning how to create some graded wash. But before we continue, we'll just put some French ultramarine and some failure brain. The part where we will explore the lifting techniques so they will dry by the time we go there. On the part where we will place our watercolors, I'll start by creating some light washes of color so they can dry. And I'll show you how you can create as many layers as you want. As long as your paper is simply 4010 can hold lots and lots of layers. So before I proceed for the first square, which is the graded wash out just a little bit of colon into the section where we'll learn about pulling color. So it will also have time to dry. And now we can act once again another layer of water or a solo creative easily our graded wash with width. So let's just make some changes and some Cherokees. I'll make an adult puddle of turquoise blue, so we can use it. For this sheet of paper. Here I'm margin a little bit of this blue and green mixture and a little bit yellow on the bottom. Just so we can imagine that some kind of over here to beach scape where we'll play with pulling color later on. I think it's interesting to speak about some of the mistakes that we can make, as you can see here, on the part where I was supposed to true, just for bleeding, I slap on Adobe Color ion I did on just that panic or no, like Oh, I run my paper. Now, you can just go and pick up some clean water, go back. And they looked at the paper until it disappear. Or watercolor is transparent, medium. So as long as it's not very staining color, it will easily. And that's safety to March around that they find it almost impossible to tell dodges. It will be in there. Here. In order to create a graded wash, I loaded up my brush with a lot of French ultramarine. As you can see. It's not very sure, but it's quite visible. On the opposite way of the paper. I will put some turquoise. I'll merge them together and how's the course are not very dense. They look almost same. But here I'm adding more pigment and to make sure that they all mix very, very nicely in the middle. The best way to do that is to start from one end with one colon. Go to the very bottom, like I've done with the French ultramarine. And I will do exactly the opposite with the Joker. In order to add it evenly, I'll start from the bottom and I'll go up towards the beginning of Barnard. So here you can see, I'm sure you have a more dense and the repeating every friend. And I will do exactly the same on the opposite way with my turquoise blue. Perhaps I've plotted some torture, my blue. So it's not so visible in your long run. But I have a beautiful bands in the middle. I'm quite happy with your vendor it with any color. Perhaps. So my mistake was up, I'm using the same color family. If you would like to have a better grade at horseshoe by the truth to this and merge them and to see what color are they will create for you. I'm making here a bottle of French ultramarine, which I will apply with wet on dry here. And I won't be so careful how exactly I want it to be. But the whole idea is that when wet paint touch wet paint is bleeding. So as you can see, if I just leave the paper to dry completely, I will have a beard, Whoa, harsh line, five dots, some kind of sky, for example. It will be perfectly fine if I leave it as it is. But I will make a little mixture of yellow and I'll add it on the bottom. And you see where I'm creating shear, my little puddle of French ultramarine. Just parts can bleed down into the yellow ocher. I need to create very interesting effect. You'll see how both the yellow ocher will go into the French ultramarine endorphins, will go to o cough. In general, whichever. Paint half more water, it will flow into geode. Where if they have almost the same quantity of water, they'll just march exactly like they will write. I'm here, I'm touching them gently so you can see what's happening. We'll create a tiny, tiny water column wounds both sides. And I've done that completely deliberately to finish my my stroke in the middle of the paper. So the yellow ocher can bleed into the French ultramarine, also. Quite some water. This particular second. So let's just continue and go with a variegated wash. Sure, Chez very interesting, different, wholesome. It's one of the important basic techniques that we'll learn on. You can use it in a variety of different subjects, from nature to fluoro, even given to create beautiful backgrounds for a singular object. In its essence, you can see that variegated wash mean that you will vary the color. We'll start with French ultramarine with a little bit of turquoise blue that will the little sea. And on the right bottom corner, I'll add some yellow ocher, which will act as our second color, or the varying color, which will be our sun area, if you would like to see it like that. The next technique that I would like to practice with lifting, we can lift the color from wet on wet, or we can lift it from dry paper. Independent of that, will will have different results. When we're lifting from wet paper, will have follow-up, softer appearance of the water will try to flow back to where it was once the color. So it will, it will soften. And if the paper is very wet, the color can flow back times n times again. When you are lifting. When you are lifting color from wet, you can use soft brush as well. It will be quite alright. But if you are lifting power from dry, I'm from dry paper, then you better use synthetic brush. It, it will be a lot easier for you, or synthetic brushes, a lot stiffer. So that will help you do the lifting technique, come up quicker inefficient. Here you can see I'm using synthetic brush to lift some color. And you can see that I'm lifting a lot more color than what I used to do with spiral brush. Just because it's the bristles are a lot stiffer. Here. This is the only time that I make sure to use an oh, sorry. One of the only times that I make sure to use any disk, so flat brush and I'm using it for lifting color. Flood brushes are beautiful to create straight lines with lifting color. And I think it's very, very useful. You can see us every single time when I'm, when I'm using my brush, I'm going for the line and I'm I'm cleaning my brush in the water jar and wiping it either on my katana rock or my paper towel. And then I can go again with a damp brush to lift. Hello, and you can see we've got French ultramarine stone, very, very staining collides. Actually. A beautiful very transparent non staining color. You can almost go to white paper. Now, go to the part where we left the paint, dry it and now I'll try again to use my soft bristle brush. Here to help myself. I'm using some some paper towels so they can help me to lift out the color easily so I'm wetting the surface of the paper with the brush and I'm lifting the color with the favorites though. That's another interesting technique that you can use for lifting up color. And I'm using it a lot when I'm painting clouds. You can see you can easily add more water to the paper with soft bristle brush. Continue using the paper towels to blot out the paint and lift the color. So I will use now the soft brush just to apply more water into the part where we draw a line with fellow green. And I will continue using the paper towel to blot out the paint and to lift it up. Sorry, I'm just adding water and lifting with the paper. I didn't want her with the brush lifting with the paper, so I'm not using my soft brush for lifting off the alarm, just using it to apply the color. Here, you can see that out. Take the flat brush. I'll use exactly the same metal like I was lifting from with how we'll use a damp brush so I can lift the color easily. I'm here, I'm using a round brush, it doesn't matter I use and round brush. It's a lot easier to use flop. But if you don't have club brush, just to build the round brush lettering and it will be alright. Just use the tip of the brush. It will be a lot easier for you. My nephew is the bailee us you can have a lot more control. Well, as you can see, if you're just continue adding more water and persist, you can clean a lot. Depends on the paper. And in this part here, we'll see how we can pull color. How happen little puddle of burnt sienna. And you can either use one or two brushes. I'm recommending news and two brushes as you can keep the paint in one of the brushes so you can apply the color easily down to the paper and you can foster a lot quicker, you can move a lot quicker and a lot faster. Which our actions and that way you will avoid having harsh lines. Here. As you can see, I'm applying the burnt sienna onto the dry paper. So that mean the paint wants trade away from where I'm opportunity to go exactly where it is. But because I'm dumping in my cleaning and making my brush clean and damp. Hi know the paint won't spread on the top of the paper, but it will be nice and soft on the bottom. Here as you hover, beautiful soft line. And I'll get them. I'll create another line so we can repeat the process. And of course a look. Here. I'm adding the burnt sienna and with brush, our soft on bearings. You're going to see the mixture was quite fixed. So it's a lot for the line, it's a lot harder. So I'm adding a little bit more burnt sienna. I am. It's already looking a lot softer. You can also use a clean damp brush to soften the bottom. Like so. And that's it. So you can see that the line underneath, It's still seeing sharp Jos because I'm not using it. I'm not touching it. I am here. I will create one more. I'm making sure that the theme, the water was already dry. Sure. I can. And softer medium, i'm I'm using two brushes panel. You can see that both chips or block, but one of them, It's my size eight and the other one is my size 12. I'm using my size 12 here to soften the pages. Now as you can see, we have heart h on top and we'll have soft edge on the bottom and the cultural of closer to the square on the left side you can see how the French ultramarine and the yellow ocher how bleed into each other and created some interesting feathering effects where they bled into one another. And here we will play with glazing. And I'll show you how you can add lots and lots and lots of water. If we just add one layer, dry it on another layer. You can try it once again, you can create like looks beautiful rocks. You can soften the edges so, or just up the water to their affliction of the rocks. We can wait for it to dry. Right here. I'm using the shared drive to speed up the process. And I'll go once again. I will talk a little bit of water into the rocks on their iPhone, dry so nothing's happening. I'm not disturbing the pigments underneath. And I'll add some more burnt sienna. So I'll make the color a little bit more thick and dense. And the rocks are PRN a lot more visible and closer to us. I'm dropping turquoise color so I can add some interests to barracks. And once you are happy, you can dry the paper. Once again. Softband. So majors, just play, just have fun. Play. It's good to learn all of the techniques before you proceed to finish painting. So I believe that repeat him. Want if Nick time and time again, it can just help you master it. A goal of softening some edges. With bumper. I dry the paper once again, and here I'm adding some turquoise color. I will create a wave that is behind the rocks, appearing like K2O slop the rocks in a second. But we are having this painting just before. The way if you plan, that's just in my imagination. You can imagine you want to just do it at present wherever feeling you desire on paper, isn't it? So here I add the way if I tried it once again, and I'll add some white gouache on top so I can create some more interests. And I will paint basically the form of the wave. But before that, let's add some white wash into the section where it was pulling color so we can see how you can do that even with whitewash. And the class-wide go sheets are easily reactivated, It's never really cure in exactly like watercolors. That mean you can reactivate it and you can pull color anytime so I can soften the edges. So here I'm just flicking my brush with a little bit of whitewash, softening some edges. Click again and soft and again and repeat those one. Here I'm using some more things. On top of the wave. You can see if I'm up and downwards. You can see for the one. And because it has some water, it has soft on so it won't appear that very visible. But we all know it's there. It will create some interests. Without being a very harsh. Here, I'm adding some splatter, so but I'll keep especially for this progress bar I just wanted to show you that combine in just two simple techniques we can create a whole painting. Shared on my doing some more whitewash. I'm using an almost dry, almost dry brush found using dry brush technique here. And I'm just dabbing my brush on the paper. I'm adding some white dwarfs to the rocks because there is some leftover foam from perhaps the previous wave. Some splatters that are just from door from that wave origin to the owners just add in some more interest on here I'm using the same dry mixture, brownish green, which I will add on top of the rocks. Here I'm adding basically dry brush technique. On just with a dry brush technique, we'll add some beautiful texture, bridges, rocks. There will appear a little bit water listed under. The whole point is just to exercise. We can just have a little play and explore all the different. Here I'm dressed up some more soft and again, just keep playing. Just don't worry guys, just have fun. Enjoy the process and try different things. You'll never know what you'll figure out just by mistake. Think so, just unexpected. Would want a column. But if you master the basic techniques, you know what you can expect most of the time. And sometimes you can just figure out something and very nice and interesting that you can use in your future painting. Or you can also have created some state that perhaps I want to really call it new state. It will be some action that you can keep in mind. You may decide to use it deliberately next time, or you may decide that you prefer to avoid it in whichever future painting you would like. But I believe that chicken into exercises and at a beach in them from time to time, going back to basics, it's really, really important. And really practicing all the different watercolor techniques can just kill people up your game a lot quicker. So that's pretty much it about the important watercolor techniques. How seeing the next lesson, where we will explore some loose and fun watercolor techniques that can make your paintings very interesting. 11. Loose Techniques: Hi friends. In this part we will explore some loose watercolor techniques, and I will try to keep the whole video and real time. Here. I'm using turquoise blue from the Cotman series. And also the bigger darker mixture is I'm trying to just plain wash with turquoise, blue. I let us plot that. Also. Some clean water. Well, a police clean as it could be. Quite mason jar. And you can see when our splatter in the water and took a mixture of turquoise and indigo into the, into the first part where we're exploring splatters on wet ice, plot our own gather sheets by mistake, so I just water it down. It won't be visible in the future. Here I'm just adding more and more and you can see if you are using a smaller brush that does not hold really a lot of water, you can make really tiny, tiny splatters. If you're using a bigger brush that holds more water. Or if you don't debate the towel, for example, you can make a lot because fathers. On the second part, I just add some little bit of color so we can explore later on some splatter, dry. But for the paper, right? And here I'm just adding some carmine and I'll add some indigo for just part. I really wasn't sure. Did I make everything right and would come up, well, I will make one more experiment in the next lesson, where we'll explore once again the matrix with the film. I really like this technique. You can see our aided. My paper wasn't really wet. I do them. I didn't put await it. I just swapped some color. I wasn't really sure. Do I have enough time? But you'll see in Dmnt1 I had to move the clear film. It all look quite alright. And also, I'm going to combine them just to leave it, leave it to dry. If you can play something CVR on top. Once when we're using a hair dryer, it won't blow it away. Because then you cannot really put the clear from exactly on the same place and you can mess up your wrinkles. Here. You can see, I'm trying to add more splatters. The paper is dry, but they will create a little bit more different effects. Here, this is my host card. We want travel nowhere. Explore, card scratching. And this is one of my favorite techniques for Islands and the rocks. And just adding more interesting texture. It's really, It's really good technique. Here. We'll just add some carmine violet mixture, basically from the workplace. And carmine, smart as my pink color, it's all aged. Quite purple. Don't go hysteric because of that, I'm quite messy painter. So sometimes a half leftover paint from other colors into my wealth. But once it's dry, you can easily pick it up. So that's, that's not the problem. Share I'm just exploring techniques so that really don't bother me. I don't really need the pure colors. I'm drying of all of the paper. Now. You can see this was the part where I move my clean film and I wasn't very sharp. What have I done would come up well, that's why I will do that. Once again. I wasn't very satisfied with their result. Tracing far, but that's not helping in general. And excuse me for the shaking of the camera, but I just didn't notice when I was filming the taking of the techniques. I didn't really saw that my camera was quite loose. So I'm apologizing for the shaking. Here in this part here you can see that I will make once again the applying of the more carmine. Here I'm using a little bit different paper. I have leftover Saunders, Waterford. It's also a 100% cotton paper. To be honest, is one of my favorite papers. I'm using it regularly for finished pieces, but when I'm getting a little sheets and I cut them to size, sometimes I have this leftover pieces of paper and they're lovely to experiment. To create also some nice bookmarks in GM's. When that's completely dry, you can just use it as a bookmark and it's, it's a nice addition. Our collection. Right here, I'm facing the biggest struggle in the world with my clean tone by the fights, keep it keep it visible for you so you can see that it's happening and you don't have to worry. Sometimes your paint film we'll break apart. Like mine. It just so weird. But it's perfectly fine in hand with the idea that I used the sun. That's what part is that really holds. A lot of water is keeping though, is keeping the food part. Wait for longer just because the, sorry, the good-quality. I'm not seeing that the Canson or artists or papers or not, they're lovely. But this is just my favorite paper. Perhaps. I'm just feeling it more closer to well, that was it. We just place the pin from and I'll put it on the side where I want the chicken put something heavy if you'd like on top. But I'll just leave it like that on the side to dry and we can continue to the next part. So here we'll finally use our own style. You can say any cards is just needs to be a plastic card. Perhaps old bank cards that you don't really need anymore. Or shopping, shopping cards or nowadays. Discounts. You can use any of them as long because you are not disturbing the barcode in general, that's perfectly fine. Here. I'm just adding some more your quiz and some more indigo to my wells. And I'd ask some more water. And straight instead of placing the paint, I'm just mapping from the paper. Carmine. Just to vary the color. So you'll see how the cart will create lovely, lovely textures. Here I'm just showing you that I'm not really holding it 90 degrees angle. I'm prefer I prefer to call it on about 45 degrees angle. But you can move it around. So you can see that I'm moving in all directions. And if it's not picking up more color, you can just take the excess paint on your paper towel or in my case, in my cotton towel. And move around and you can see how interesting different movements are happening in the paper. Create bigger and smaller and like all kinds of different lines you can create. Scratching the paper. And because it's not a very sharp objects, the water won't flow back. So if you're scoring into the paper, you'll see here in this bar. Here we'll explore the scratching with a sharp object, which in my case I will use the back of my foundation brush size five, which I've sharpened. Pencil sharpener. Here. Nice and sharp. I'm just pulling. It's a beautiful technique that you can use for grasses and also for whiskers. I really like using it for whiskers, for cats, for example. And you can see how, because I'm scoring the paper instead of creating this white spots that we created with the, with the cart here, because the paper is damaged. You're making wholesome to the paper when scoring with the brush. So that means that the paint will flow down into like little wells. So when the, when the pigment fill up the host, it will appear darker on the, on the flat surface of the paper, which is above. You can see whenever I scratch the paper, it's eco, look a little bit. The surface here. The very last exercise will create some deliberate blooms. And I'll show you you can, you may know them also as cauliflower effects or backgrounds. There are many, many names. Symbol watercolors cited, but you can meet them are deliberate because we are making them on purpose. So I'll just hop in the water from my brush basis. Because this is still in the first phase of the drawing of the paper. Some of the places where I'm touching the water droplets, they will melt gently. So the water will melt with the rest of the paint water on the paper. Then they will blend nicely. Crm, look this part. So this type of rooms I just charged, the blue would think, I'm just fluttering my water, which will create also some cauliflower. But they won't be harsh, deadly to walk the harsh because I'm still having a lot of water on my paper. I just plot there are some of the first brothers here on the width. I'm sorry. Yeah, wet on dry splatters buttons on dry paper. You can see It's exactly the same wipe wet on wet, where the smallest plotters the, the, the brush with a small, smaller bristles that's holding not too much water, it will create very tiny splatters and my big squirrel brush, we'll create a lot biggest plotters. The interesting thing here is that you'll see how all of this plot are some dry deal Half very hard edges compared to the splatter. Some wet because there is no more water left. The paper is completely dry and they will make very, very harsh edges. Here, I was planning to show you how they can smallest brothers are when you are using, but unfortunately, it's not really visible on my hand, so that's what I did anyone make the effort to get it closer to you? But it can also try that on your own hand. And you can see how big or small this plot, our skin care. And here I'm just dabbing some water with the tip of the brush when you making some splatter. So I'm recommending top width. For example, with your index finger on the top of the handle of the brush while to holding it. I'm not recommending to tap on the Ferro unless you areas and second, brush, which, which can, which can help you to make tinier splatters. But if you would like to me because proper So you can use your index finger and tap on the handle of the brush. You better predictor of Pharaoh in general. One of the most important parts of the brush. Here, you can see I dry it a little bit of paper. I didn't fully dry it does the tiniest bit, so I'll drop some water on it. And here, I decided to keep this part completely visible when I'm drawing with a hairdryer so you can see how the water that I dropped there will actually reactivate the paint below. I need to create harsh lines. That's, that's the whole point that when we're when we're drawing our paper, we would like to be completely dry. I'm doing that on purpose. I can show you how you can create blooms completely deliberately. If you would like to have that effect, or you may want to avoid it. Depending on what exactly are you painting? You can see where I put the water lost. I have very harsh lines. The water droplet that I, that I dropped on the carmine is making the cauliflower effect. Here you can see all of the different effects. And excuse me for the shake. And once again, well, I'm just removing the masking fluid here from this plot are some dry and you'll see how they will leave some just very bright light spots. Cause it to be just pure white of the paper. But you can see that is quite harsh, so just be very mindful when you're doing it. I'll see you in the next part where we will just flow with some salt. 12. Salt and Cling Film: Hello, hello. In this part we will explore some techniques with salt, and we'll also have a look at the final result of our bookmark with clean film, but that will be just in the very end here you can see I'm showing you just the big particles of rock salt who use, and we'll also use some tiny table, just standard table salt. I would just put them on the side. And I'll mix two big puddles, one with indigo and one with turquoise blue. And I'm using that because I really think that using darker or a chart color are more creating a better base for a sound effect. And I think it will push the pigment a lot better and heavier, or the pigment is the more interesting effect you'll see. So that's why I'm choosing a granulation, indigo. Even though the turquoise bluish, not granulating color, you'll see that the combination of them. So I think it's great and very pleasant for the eye effect. Here as you can see, I'm using my mop brush and I'm using it just to dampen the paper around. I'll add quite a lot. To be honest, our really soak the paper as one. The first section that we'll have separate who explore some salt effect on wet paper. The second part will be on damp, and the third one, it will be on orange drain paper. I'm adding bulk of the course. Just putting again just randomly around. I'm making the mixture darker and deeper as we can. So we can see the salt effect better. You can move the paper around, you can move it up and down and you can soak up, of course, the excess water from the paper with either your tissue or with your almost dry brush. This way we'll avoid having some puddles of water which can push the pigment. Here I'm switching to real time and you can see I'm adding the first bit of salt on the bottom and the big particles of rock salt on top. Just so our first part where we're just dropping the salt and the width paper. I'll wait a little bit. Just piling on the globe it in just few seconds out of this whole thing for the second part of the paper, where the paper will be just dump. And you can see I have sped up this part a little bit. So just I can show you that the pigment is sorted portion or the Saudis already pushing the pigment around, excuse me. I didn't some more salt are exactly on the same way. I'm putting the small, tiny grains of salt on the bottom, middle part, and on top I'm putting the big rock salt. And I watch just a little bit more. In GnG will see that every little minute matter will happen. Different effects. And then out the salt on the orange dream Park, which I will separate on suit as well. So on the left side of the third column, I will add a little bit of salt on the left, and I'll wait another minute and then I'll place the salt on the right. So this way we can see with the time how the pigment is just pushing the pigment differently, excuse me for that. But I think it's a lovely effect. I'll just tick next video. I'll show you a few different places that I've used the salt effect. But you can easily practices on small pieces of paper exactly like that. This was a real time, so I just really wait about a minute. In the very beginning, you can see it's not the salt when I put it down, it's not pushing the pigment straightaway. But now, I was thinking it's dry apparently is not as you can see, underneath the rock salt or the particles are still wet. I smushed if I don't, I could've just wait. And everything could be a lot easier for me. But my own patients created this harsh lines. I know I could've done it once again by really wanted to show you what, what could happen if you're already in enough patients. Share. I'm just trying to gently rub it off with my finger. But if that's a finished painting, really not recommend using your finger. You can see here the very first part where we put the salt on wet was still very wet. So that's why I decided to try it with the hairdryer. So I will ensure that I won't smudge that part as well. So you can see the better results. You can see video difference between the fine salt on wet, damp and orange drain paper. Here you can see the result. See how more smooth the transition is when the soldiers on wet paper. We have this, still this cauliflower effect, but it looks a lot more like snow on the second, third part, a paper was already, it's already drying stage. Exactly like Argent deliberate blooms of the drawing, the paper. I just wanted to show you. Another paper that I was experimenting here. It's turquoise blue with Prussian blue. And I just left some basis that was more what are down here, as you can see, I use it for our finished piece for just lantern. It's creating a beautiful snow in effect. I think it's beautiful. Here, we'll use it altogether. Or the forest islands. One of the future. You've got your desk scratching effects here. Awesome. The clean film that we'll use for the islands as well. To be honest, that's pretty much it. We'll just have a look here for the final results of our hour to Phoenix and how they look like. And we'll see how the bookmark came up. I think it's really, really cute and you can create small bookmarks like that. I'm, I'm making it personally for myself because I really like reading books and just having fun and experimenting with different techniques is making me just not beautiful bookmarks. But it's making my practice more fun. I'll see you in the next part where we paint together simple white flowers. 13. Colour Mixing: Hello friends. In this part I would like to speak about color mixing and how by mixing the tree a primary colors, yellow, blue and red, or you can meet them or yellow, cyan and magenta, we can treat any color on the averaging depends of how poor or Walmart the polar is, solely can understand what the mixture will give us. So that's why in this part here, I'm including five different pools. I'm encoding cerulean blue french, ultramarine, cobalt, unfavorable. They'll be mixed first with cooler yellows. I'm a fallen by warmer yellows, dependent on each column and how they hear. Glue create a lot of different interests. So every single line in this color mixing charts, or they will start by more yellow and with every next swatch will add more blue to it. So you can see how by using more lemon yellow or lesser than blue, half more yellowish. Who Law? Yellow greens. And by using more, we're getting closer to the color itself. When of course, we add a little bit of white, like we can see, the combination with Naples yellow. The color is not so vibrant anymore because the white in the Naples yellow is mutiny and down. So it's not helping to avoid making muddy green shirts, which is very helpful if we're using a chi-squared by mixing it with warmer yellows like cadmium. Yellow or golden deep, for example, which is a light orange color. We can see how we can, we can create very, very muted greens. I'm Deacon, very, very useful because most of the greens that we need to nature are not really dark and vibrant. But of course, they may have different, different colors. I believe that by using loose and read switching create more natural appearing of greens. And there will be a lot more pleasing to the eye compared to using green straight out of the tube. So I would like to encourage you to enjoy and mix your own colors, have fun, and experiment as much as you can. I'm, I showed you that in this exercise I used mainly to loss paper. And I think it's very important that you understand the color mixture is more than using a good-quality pay for the good quality paper, in my opinion, as for free practice pieces or I finished paintings, not much about color mixing, because I think it's very important to really warrant to mix the colors yourself. And that will give you a freedom and that will give you peace of mind that you can. You don't need to limit yourself to only what colors you need. And by having two yellows, two blues and two reds. Want cool and one warn of each. You can create any color on earth because let's be honest. Most brands are chicken. One preferred color us make like a primary yellow, blue, or red. But in the end of the day, it's so much better if you just keep one cool and warm. Warm. So, you know, work, extra insurance you can pay for. So just before I leave you to the next part where Florida pipes, of course, I know what pigments they haven't pulled up. I really would like to mention at least once that by using, for example, fluorescing blue and yellow will have, will have for example, standard secondary color, secondary green, and so on. If we mix blue and red will have secondary purple or violet. Everything depends. So your acceptance. People bought up by mixing a primary yellow in primary, secondary ELA. By adding, for example, to the secondary yellow, if we add more yellow, we can make it cooler and choline more. Rick will make it warmer and warmer. Find that with everyone that actually by mixing the primary so we can either get brown or we can get grayish black color. So everything can be the balance of how much or how much of each color you add the mixtures. And there is one more thing that I really would like to speak about, that watercolor is very, very transparent for don't forget that. If you just would like to light, to make the color lighter, just add them all up. So don't worry so much if you really would like to see what exact color you half the easiest place for them. Because when when the colors are very, very fixed, sometimes they even appear black. So I'll see you in the next part. We'll speak about different types of Ford, the pillars and pigments. 14. Types of Watercolours: Hello friends. In this lesson, I would like to speak about types of watercolor I think it's quite important ***** to speak about. So here I would like to show you that you can get tubes, pants. You can half-caf bonds, corporate bonds, even pull funds. I'm here, I'm presenting you a tube. I'm on the back of the tube. You can see different properties. It's very important to let you know that the pendulum of the shifts trillion greater professional rate that would advance of the pigment and the light fastness of the pigment that's contained in the toolbar or the pump. So the professional-grade watercolors, there'll be more expensive. They will have more pigment than binder. Every watercolors is created from pigment and binders. And the cheaper ones are having some additives as well. So that's what will make them appear more troll key. And if you're ever painted with keeps watercolors, you know how chalky they appear exactly because of this additives that here I'm showing you how on the back of every job, you can really see that we have pigment number where we have full transparency and light fastness ratings that are shown in each professional or students with student grade watercolor. So look at that for example, p27 stamped for pigment grains seven, PY six is six. You can see here pigment white five. This is five pieces, Chinese white, watercolor by Winsor and Newton Cotman series. And it's opaque. It's not so transparent and that's why it half white square or fill, filled black square on the backend instead of white. You'll see the likeness region on the bus. And whichever, which pigment, whichever pigments are better, they will spend better on the light fastness rating societal, they will last longer for their ears. They will have less adjectives, more pigments, and they're just in general, better quality. That's it guys. I'll see you in the next lesson where we'll learn about basic watercolor techniques. 15. Skies - Simple White Clouds: Hello again, my friend in this bar to explore some simple white clouds. In order to do that, I separated my piece of paper into four rectangles and I will use my biggest round brush. You just saw cases size 12th round brush. And I will wet gently the whole surface of the paper. Keep in mind as much water you have on your paper. Your pigment will be, will dry, lighter. We would like to wet the paper very, very nicely, so it will hold the pigments for longer and will have longer time to work on our clouds. Don't overdo it down because in this part, who just really use only one pigment, who just use French ultramarine? Well, you can use any blue that you would like practice with. So here on this separate piece of paper, I'm just trying how dense is the mixture? But of course it will look different here as you can see, it's a lot lighter. The paper was pretty wet. So in order to create the clouds, I'm just painting around them. So I'm using the negative painting to hear campaigns from around the clouds. Instead of painting the cloud itself. What does you can see? I'm starting with a light mixture with lots and lots of water and I will add more pigment to the mixture. I'll make it a little thicker in Premier. So our clouds will be a lot more visible and prominent. In the end. They'll still have some very nice soft edges. Because of the water that was applied to the paper. They will look very nice and rich as we are using only one color. So you don't have to really worry. Are you mixing the correct colors and what the result will be in the end. Once you are happy with the result, you can just clean your brush and use clean damp brush to soften the edges where the color is meeting the white for us. So you want to have cauliflower effect. And you'll just have preacher fluffy white clouds. Then I'm recommending to clean the edges of your paper so the water and the pigment won't flow back to the paper and disturb the pigment that's already there. And you can just leave it to dry. I'll see you in the next part where we explore some moody gray clouds. 16. Skies - Moody Clouds: Hello again. In this part, who explore some moody gray clouds. In order to do that, who makes our own Ray? And you'll see how easy that is and how much more interests it will bring into the clouds. So first I wet the paper gently, and then I'm making a pool of French ultramarine, which will be our base color. Blue color for the top of our sky. I'm the bottom, basically the parts where there's no clouds. And I'll make a separate second mixture, which will be including French ultramarine. As you can see. Make sure you are making big pause. Make sure you have enough paint to cover the whole surface of your painting. Everything depends on the size of your paper. In this case, we have one small rectangle, so I don't need that much. That big mixture, but you can see that I'm making quite big pool. Here. I'm adding Carmine, so we have French ultramarine carmine. Now in a second, our ish for burnt sienna and I'm I'm washing the brush between beach. Hello. Just to ensure that I'm not adding more color into the well, I'll say I prefer to have it clean. So now I'll add the first human to the mixture. You can see it's not so purple anymore. It's more like a light brownish color. Brown, red. And here I'm picking up some viridian green or whatever it's called in your satisfy P G7 pigment green seven. You can have it those viridian or it can have at us fail a green or a glory. It's the same pigment. So now, when we have mixed, all of our four-course will have a beautiful gray mixture. I need to separate light Muslim the paper because the French ultramarine is heavy pigment, which is granulating very nicely. Here. It can sample them up a little bit of color and I'll swatch it on my fuel card. And I'll put a little bit on top of the blue just to ensure it will look nice together. But I already know it will look nice together because I'm using the same french ultramarine in the mixture itself. So that's something to keep in mind when you're making your mixtures. You can clean your brush after that and pick up some French ultramarine so we can paint the first base color of our painting. But before we apply it to just wanna make sure that we have enough water or a Ulema on the top of our paper so we won't create any harsh edges who just would like to have nice even coat Florida. And then we can start applying the French ultramarine from the top to the bottom with slurring, swirling motions left to right and back, left, right, left, right. Dragging the color down. You can lift your paper up. I am. Use a little angle that that will create to our papers. So here you can see I'm picking up with a clean damp brush, the leftover water on the bottom of the paper. And I'm going down to up with the clean water. Before I go downwards and picking up more color. And once again, from top to bottom, gently applying the French ultramarine until we have a very nice clean gradient. And once we are happy, you can just stop, pick up the excess water on the sides of the paper so it won't run back to the paper. I'm crunch. Take your paper tissue and crunch it very nice and soft. You can use toilet paper or you can use cotton. Sorry. You're going to keep chiral. Just smash it in between your hands so you'll see what I will do just in a second. And we'll both our big clouds in the middle of the painting. Using the kitchen roll can help you to create soft and harsh lines. Everything depends of the pressure that you use when you are applying the tissue to the paper? Basically when you are lifting color with the tissue, to be honest, you can see I'm mushing up between my hands making the dough and keep scratching it around. And I'll make it a little bowl with that little bow out, just pick up some color. You can see in the beginning because it's not very prominent. I'm not lifting all of the color, but as more as I'm dabbing off on the paper, I'm picking up more and more color. If just to make sure you will avoid putting the same color buck, you can just turn around the tissue as I just did. And look how much nice and clean that is creating some soft and some heart. It just, everything is really dependent on where your paper will be. And also you can see I'm picking up some, I'm lifting up some color with a clean, damp brush. I'm just using the very tip of my brush. Doesn't matter if the sides as long because you have a very nice pointy tip and this brushes have it. I'm recommending them. They are my probably best to investment in art. So if you have a question, it just go for it. You won't regret it. Here. I'm just lifting off some color with which with my synthetic brush. And I'll start applying the gray mixture. I'll start with this little white gaps. I'm using the synthetic brush just to make sure that I want to add lots and lots of water into the paper. And here you can see I'm grabbing some blue as the clouds, which will be on the distance, they will appear more blue like any other object. And the clouds closer to us, they will appear warmer. And there'll be a lot more permanent, a lot more dark. And you can see I'm applying the mixture and then I'm softening the edges. Just make sure you keep applying color and softening, apply and softer. And that that will ensure that your mixture is nice and creamy and you won't have lots and lots of harsh lines around. As you can see. Because the paper, the, the part of the paper where we pick up the color with our tissue. It's dry. Otherwise, who have a dry brush technique, which we don't really want. Just would like to have a nice fluffy clouds. Yes, they are great and moody, but I think they will look very cute. Indians. Just keep applying color and softening the edges. You can leave some gaps. You can see I'm leaving, I'm not softening all the way through. I still believe that having some hard and soft edges, It's given some nice effects to any Cloud as this is how it's in real life as well. Not everything is soft or not everything is very hard. And that will bring some realism to your clouds and make them very, very cute. This is one of my favorite exercises and you can apply it with any color. But I think this is a standard moody gray sky that you can see when you have a light cloud burst. For our little tiny rain, the cloud to come up altogether very fast. And they were in a little bit and disappear faster. They came. And I think this is a very, this is adding a lot of interest to your painting using different types of clouds. So that's how I am. I didn't just exercise, I think I didn't. Different types of clouds to your paintings can add a lot more interests. Instead of painting the same clouds all over again. Just practicing them on separate piece of paper can give you more confidence in your skills and your film. A lot more confident to apply it to a finished painting. Instead of just guessing what the outcome will be. Here, I'm just adding a little bit more tiny clouds. I'm just using the tip of my brush, that part of the paper, it's already dry, but you can see that because the mixture is thicker so it halfway lift a little bit more permanent color. I'm using my paper towel to lift off the excess paint. When you're happy with it, you can just leave it as it is. Or as you can see, I'm adding a little bit of carmine into the mixture. Now I'll put it around where? On top of the gray mixture. And I'll continue softening the edges. A little bit of color to it. It will make it a little bit more interesting, but it's not completely necessary. I think even just using the one flat gray color tool look alright, as well. We pre-mixed it ourself as it's not. It's not a single pigment color that you are using. It won't look flat. It will look very interesting as we used for different course, we use French ultramarine Carmine, burnt sienna, and we use viridian green. And because of that, the particles on the on our mixture will separate nicely. And you'll see that you have different colors on the different parts of the clouds. Just once you're happy, leave your paper to dry. When you are ready, we can jump into our next painting where we'll practice cloudbursts with brownish colors, brown and orange and yellowish colors. You'll see how much more interest and how it can change the mood of your painting immediately, just because you are changing the clouds. 17. Skies - Cloudburst: Hello my friends. In this exercise, we will create a cloud burst and we'll see how fun and interesting that can be and how much of our interests can bring to your painting. It could be just a painting on its own. And here I just dropped my water jar and I'm applying as much water as I can. I just really want to make sure my paper will hold the moisture for a lot longer. So here I'm just adding some water. Well, I'll start with some cadmium yellow. Just warm yellow color. I'll start applying it to the paper. I'm just lifting up with my tissue paper the excess water and soften it with a brush as well. I just want to make sure that I have even coat of water and it won't run back into the painting in time. Anyway, I'll add some more water when I'm applying the the colors. So you don't really want puddles. Just make it nice and soft, gently glistening. And we'll start applying our first code. Cadmium yellow. Excuse please. Any sounds on the background as I live in the park. So I'm pretty sure that you can hear the birds are singing or some of the motorcyclists around. I hope it's one without disturbing, but I just want to excuse myself in advance. Here you can see I'm applying the first coat of cadmium yellow. And as you can see, I'm leaving a blank circle in the middle. So I don't need to lift the color. Afterwards. I'm slowly applying the color, but I'll add more and more pigment with the time. And also here I'm using golden GIF, which is transparent orange color. So as you perhaps to remember, when we're discussing the different type of pigments, we said that some of the pigments can be more transparent and some of the Lincoln Memorial pick this exact orange. It's a little bit more transparent. It's not a little bit. If it is transparent, is completely transparent, beautiful orange color. Of course, you can apply it FEC as much as you want, and it will be a lot more permanent. But if you apply a tiny little layer, it will be very, very, very, very transparent. And you can see the white, shiny, Shining of the white paper showing through the color. Here. I'm just lifting up on the car on the side of the paper. Just make sure it won't run back. And just give acronym the mixture. Here I'm mixing the orange, the deep golden orange with cadmium, yellow cadmium. The cadmium colors are a little bit more opaque in general. So the cadmium yellow, it's making automatically moral panic just because of the properties of the cadmium yellow itself. Once you're happy with the results, you can just wipe the sides of the paper. You can leave it to dry or you can use your hairdryer to speed up the process of drying. You don't have to worry about the pigments. Just make sure that the paper will be completely dry. Before we continue to the next part. Here, as you can see, the colors are a lot lighter now, does because the paper is completely dry. I just use my hairdryer to speed up the process. And I'll start mixing some of this gray with a little bit of French Ultramarine. I'll add some burnt sienna. I'm more French ultramarine, and that's given us a beautiful gray color. I, it's one of my favorite combinations and not on there. I know that a lot of watercolor artists love exactly that combination of French ultramarine with burnt sienna. And you can make it cooler or warmer depending on how much of each color you will add to the mixture. Here, I will apply even coat of water and make sure you're not really pushing very hard with the brush. Just want to have an even coat of water, but we don't want to disturb the pigments underneath, warm-up. Apply second layer on top. That's why we want to make sure that you have a very, very nice and dry paper before we start this part here. Here as you can see, I'm making sure that I'm drying the parts, the lightest part in the middle of the paper. I'm just using a damp brush to lift the water as much as I can. And that will help me to prevent the colors around in the ocean for that part. And I start applying the green mixture gently around. And keep in mind that the clouds on top will be a lot bigger than this one on the bottom. Here I'm using our first mixture, mixture of gray that we created. For the Moody clouds. I'm switching between both of the mixture. So I'm using sharing there, the forest gray and here and there, the second one, there will appear a lot different on the paper. Here you can see that I'm using the very tip of my brush. But because the paper is still wet, the clouds are spreading around very, very fast. So that's why I'm using clean damp brush. I can soften the edges around. And I can shape the clouds in the desired shape that I want. Since some places will have some spreading cauliflower effect. I'm just keep wiping. Then I'll add some more thick mixture on top. Here you can see I'm just taking some color and I'm dabbing indexes on my brush. Make sure that you control the excess amount of water by always. Keeping in mind how much of water on your brush can hold. And this is one of the reasons that we want to practice our water and brush control. Here I'm using exactly the same mixture. I'm just making more. And that's one of the reasons that we want to make sure that our paper is very nice and moist before we start doing any firm because your CI or amount of color, I won't be able to mix the same color. But I'm not really worrying. Aside, don't really need exactly the same one. I want to add more interest to your painting clouds here. So we want diversity in the car. That's why I add more blue. When you add in more blue, you make the mixture more cool. And if you would like to have at Walmart, you just add either more carmine or burnt sienna independent of the overall look that you would like, would you like to have more brown old? You like to have more red in the mixture as you can see. In a minute. I'm already dead lifting up some color using my fine size eight and paint in some tiny clouds. Then at some short-term memory into the mixture. And it's looking a lot more blue dots why I'm adding Carmine, so now it's looking fine the thing, sorry, kind of purple. And I'm dabbing up the excess as this cloud to be a lot further, as we discussed earlier. The the smaller the clouds will be positioned in the bottom of our page. The bigger Cloud tool we'll position on top authorities. Often lightly the clouds on the bottom with a clean, damp brush. You can use soft dry brush as well. It will make them even more soft here and I'm just making another mixture. I didn't some more varied yum and pink and varied Uranus, a beautiful gray as well. So it's just experiment with your colors a lot. But I would like to have a beautiful gray. That's why I add also fringe, ultramarine and burnt sienna. And you can see here, this is one of my last layer, Sam Adams, very, very thick. Chair, very dense. The mixes so full of color and it has a lot of pigment and it doesn't have much water. You can, if you just pay attention. If on how my mixture on the palette look like, it looks a little dry, you can see the glistening of the white of the palette underneath the color. I'm, this is because we are creating dry brush technique that way. So we're using dry on wet in this case. So we are, so our paint is not spreading a lot. Have a very nice creamy, creamy mixtures. And we'll continue at a little bit on the bottom. But just make sure that when you are getting closer to the bottom clouds, you want add more pigment. Now, we don't want to disturb the orange drying clouds on the bottom. Be very gentle with them and make sure you get the excess amount of water out if your brush before you add it to any of them. Here, I just make a little bit more orange mixture and I'm adding it into the upper clouds. So just, I'll add some more interests. I'm softening the edges with a clean, damp brush. You can see even the shape of my brush. You can see how dumping this, it's almost dry. And in a second, I'll show you how using the same damp brush, we can lift little gaps into the clouds. And that will give us the effect of eliminated clouds from perhaps the hidden some that are cloudbursts covering. Just make sure that you are cleaning and wiping your brush between every lifting. So we are not applying the same lifted color back to our painting. Just wash and clean your brush and then you can continue lifting column. And once you are happy with the result, we can just continue to the next part where we'll paint some somewhat storm with red, orange, and purple colors. And you can see how the lifting of the lifting technique is not given us the best results always. You just need to apply it whenever you feel is right. In this case is fill, it fills. Alright? But it's not, it's not always look in that interests you and can that good? So just keep practicing and have fun. And don't worry. There are small thrilling mistakes. It's just a lot of practice that will give us better results in the long run. So keep painting, exercising, and observe on, you'll see how much of a progress that will help you to create. If you're curious here, what I'm doing, I'm keeps softening the edges and I will also wet the paper on the bottom. That's not completely necessary staple so you can just stop the pigment. But I would like to lift a little bit of the color. I'm feeling like the bottom Clouds are looking a lot darker, Donna, what I want them to look like. So here you can see I'm using a little bit of clean water and I'll use my tissue paper to just lift some color. And that's pretty much it. I'll see you in the next part. Well paints the summer storm. 18. Skies - Summer Storm: Hello and welcome my friend once again. This time we'll paint the very last Skyping *****, which will be the summer storm. In, will start now with which in the paper, applying an even coat of water. Once again, as you can see, I wipe a little bit of space on the bottom of my palette. When I moved my paper. See you, but I clean a little bit of space so we can mix some nice clean colors. Without picking up some of them. I just wiped a little bit on the very right corner. And here I'm applying some even coat of water. So let's just do that together. I'm with swirling motions left and right. We are making it o even care. So that's just pure cadmium yellow with a little bit of golden Jeep. Waste, not completely necessary to use taskbar and orange. You can just use cadmium orange if you have. It. Does use whatever colors you have. And how play with them. You don't really need the exact colors that I'm using as long as they're the same color family, for example, the car mileage, so warm, sorry, it's a poor it. So it's mixing very nice, vibrant purple for the French ultramarine. But the cost is store it. It's still mixing a very nice with Codename with cadmium yellow and with golden deep. Here, I will mix some carmine with French ultramarine. So it can have some watery purple mixture. You can call it purple or violet. It's completely up to you. If you ask me, it's more about the light spectrum, the violet. So I prefer to call it purple. There on top you see I've deactivated the dark purple mixture that was, and I'm mixing French ultramarine with burnt sienna. So I have nice deep grayish color as well. So do this mixture will use on top of our Cloud time. You can see I'm swatching it so I will create a nice little gradient. I'm using the second darker mixture. I'll use a little bit of the French ultramarine with carmine as well. Below. I'm just trying to avoid to mix complimentary colors. So you can see the warm purple before I asked orange-red color. And lastly, I add the orange one. So we are having a very nice gradient. If I would like, I can even add a little bit of the brown on the bottom as it tool makes very nice with the yellow, but we will skip that part on the actual cloud painting. Here, who applies to some more clean water once again. So the first coat of water was, so the paper will absorb it. I need to go deep into the pores and the second coat of water. It's helping us to moisten. Once again, the top surface of the paper. We will still apply or even coat of water without making any puddles. If you see any puddles, just lift them up with your clean, damp brush. Now, I just speed up a little bit. The painting because otherwise it all ages, what you'll see is nothing difficult. I will hold the paper on inclined manner, so the paint will flow down. And instead of going up, and I'll start with yellow, orange mixture. Here I'm applying the Golden Gate. It will be followed by our golden give with carmine mixture. So let's say the orange, red. And now I put it floods down. And then keep applying the colors. Following. With the next purple mixture. You can see how nice and easy is that because I have all of my colors prepared in advance. We'll call natural. It looked like even the blending on top. But to all of our coursework, pure, a lot lighter and just because you have so much water on the paper or aging, um, just because in general, watercolor dries lighter than it appear first. When we apply it. Here, I just put something to lift up my paper. And you can see I start just softening the edges around and reapplying the color. One by one. Here I add more golden D. Some golden **** with carmine. Here is the more, alright, orange mixture. This purple is carmine with French ultramarine. Once again, software noon. And the French ultramarine with burnt sienna on top, so it won't mix with the orange or yellow on the bottom. And you can see, if you can see exactly where it was my brush. So I had to score on the paper. I didn't know that before I start applying. It was just damaged paper on a toad's happen and sometimes we need to just accept it. It's nothing we can really do. Or perhaps I've done that, but I don't really think it was clean, brand new sheet of paper. You can see I'm just using my block paper. And here I start lifting up the colon. This is the mistake that I was speaking about earlier. So you really have to keep in mind what affects the lifting up of the color will give to our paintings. So it's not necessary to do that always. And I will show you our left more colors. It won't look that illuminated and beautiful us. It was, if I could have a second thought, I would keep it as it was. But for me it was more important to show you the difference, to show you how it looks. If you just left the color without applying thoughts in-between. So they illuminated clouds will appear underneath the dark clouds. And it won't just happen in the middle of the cloud. I think it's quite important to show you that just because it's very interesting effect. And now you can see all the finished pieces. And I'll see you in the next part where we'll see some different examples of clouds paintings. 19. Skies - Examples: So in this part I would like to show different example of Skype paintings that I've created over time. So I can show you that by practicing and observing what you've done in the past, you can incorporate or you can move some movements from your future paintings. You can see how you can create a lot of different color combinations. You can study clouds and you can do that not just with Cloud paintings. You can do that with any subject. As much as you practice, you'll get a lot better. So I'll see you in the next part where we will finally start painting some distant islands. And we'll start with the first part, which is the sketch of the islands. 20. Distant Islands - Pencil Sketch: Hello my friends. In this part, we'll explore some distant islands on how they can set the mood for our painting and how different they will look like depending on how close or far away they are, the distance compared to the war itself. In the very first part, I want to show you how we will create the pencil sketch for this. This few parts will create everything together. So I will start with the first pencil sketch of the forest islands and for each of them out on the top left foreigner. As you can see now, you can see how the finished painting who look like us. My pencil sketches, very light and I like to in general, people like you can just have a look at the painting and create your pencil sketch is just a basic outline of the island itself. Will keep the bottom of it in the second and the first lower thirds until the top of dialogue will go to the second floor, third, so it will be positioned basically in the very middle of the painting. And I know it looks quite awkward on its own. But if you'd like to have a better composition, you can put it a little bit right on the left and leave some blank space and one of the sites. But just for the sake of this exercise, I will make sure that everything is very visible. And we will, in this little series of lessons where we will paint the distant island to paint everything altogether. I think it's very important to share with you that this is something that I like to do. I like to make a few paintings to get them. I'm practicing, for example, in this case, four different subjects. So I'm trying different compositions. You can try different color combinations. In my case, I'm choosing not to stick to one color combination. So in the end of the day, all of these four paintings rule look, pushes safe and they will look up nicely put together like they are part of the same story. They belongs together. If you use different colors, it can look a little bit off. It can be a little bit different. Here, we will start by placing the horizon line on the upper part. So as you can imagine that we are separating the rectangle on three parts. The horizon line on the first line, basically. And I'll, I'll make a basic outline of the islands. You don't need any details here as everything is nice and loose. And you can see on this island painting, practice the scratching technique on the left I want endospore and on the right Island, the whole idea of this I allowances so you can try to practice some of some of the techniques that we practiced earlier and how you can apply them into a real painting. The very first tile onto your salt, but there can be one of the very visible. My paper was already drying. Hopefully for you, it will be a lot more visible. So once you share your results. In the project section of the class, we can all see how your islands and up do have better results than mine. This is the third painting that who do? I'm also doing a basic outline, as you can see. I hope you can actually see if you maybe turn your phone on the desktop of your computer on a site, you can see a tiny little gray outline that I'm preaching. Don't trust my outlines. And that's why I'm using these windows with the painting, with a finished paintings. So hopefully that will help you with this painting, will make almost one washroom, make it one basic wash, and then we'll add the sand as a second wash, the very end. Once it's all dry. And pretty much that's it. About this one. You can see that I'm Yvonne White and more of the pencil sketch by gently tapping with my kneaded eraser. But it was already quite liked before I even do that. I just really don't like my graphite showing for these types of paintings. The very last painting, I'll put the horizon line once again on the upper 1 third. The painting on the right side, basically almost on the whole horizon line will have a little distant island. You can imagine native homozygous c2, life like SIGCHI. That just sum the distance. We don't really know what is. It has gone through a very vague place, some colors just to exist there. But you can paint a mountain or you can paint a CT. You can just imagine wherever you want to be, very far away from distance. So we don't really bother what exactly is iron on the site? I will put two rocks, rocks on in front of the viewer. I'll place a big rock, which will be the main exercise of this painting where we will practice, once again, the plain film methods. I will see you in the next part where we'll start painting the sky altogether. 21. Distant Islands - Painting the Sky: Hello friends In this part who paints all the phrase Christ from the distant islands. And I'll start with mixing some cobalt blue. I know it's taken quite some time and in general I'm feeling quite slow, so I sped up the process, 1.5. That's why it looks a little bit faster. Here I'm keeping mixing my cobalt blue and some of the binder are separated by the pigment. I just do not want you to spend ages. Here. I'm just wetting the paper. How coded here on site. And I'll add water, just the skies. So I will paint around the island. You can see your outline. Just paint all the older sky area. Just add some water, just even coat of water. You don't need pools of water. Just make sure you're following the lines. You don't have to hold your paper in the air. If it's easier to keep it on the table, just keep it and just do whatever it's more comfortable for you. I'm doing that with the idea to show you better what I'm doing. And I'm just way I'm keeping the paper closer to my ice as well. So my kids is not showing on the camera. Man keep waiting the paper gently. Just making sure all of the spots are covered. All of distress guys will apply some flat wash of color if you would like. Of course, you can can make whatever skies you like. You can, you can make them flat color, exactly like I'm doing. You can experiment with some different types of skies. We can make white fluffy clouds or odds Yvonne, gray clouds underneath. Just to do as you feel. But I think it would be nice to still practice with your islands. And don't worry if you're painting doesn't look exactly like mine. It never does it. Every single one, even if I repeat it once after myself, it won't look the same. The results are always different by Frank, that's the magic of watercolor. Watercolor will do whatever it wants. And we can just work together instead of fighting with the median. Here, I'm trying to apply more color just because the bottom, where when I reach the bottom of the, of the paper, I will read you run out of pigment on my brush. So it became like a gradient, more than just a flat color. But it's up to you Exactly. It's up to you. How would you like to apply it? You can see I'm using some swirling motions left and right. I'm keeping it from an angle so I know that all the papers, all the pain to slowing down and if I have some excess water, I can just pick it up with clean, damp brush. Once you're happy with your score, you can just clean the borders. We can leave it to dry. Or if you want, you can just continue to the next island with the sky and apply the flood color once again. So here you can see I already start painting the second one. And the whole point of this exercise is to show you how you can save a lot of time if you are painting, few paintings are the same type. So here I'll paint the skies altogether. So audiotape us about 510 minutes. All in all. In five-minutes, will have three skies in the end of the day for one hour, we will have created for small paintings. Instead of losing one hour for one of them. This is helping you to optimize time and practice mole. So you have different, different ideas for coal compositions. In the end of the day, when we start painting big pieces of paper. We know that we are confident in what we're doing and the color composition will actually work nicely together. You can see I'm moving my board up and down. I'm moving in all directions when I'm applying the water. I was really worried and how it will end up. Even though I had in mind, it will begin the result. You are never share with watercolors. What's going to happen? Here? I will just put our cobalt blue and I'll add it to this track. Just like that. Taking your time. Like all the color Around the first island on the left-hand side. I prefer to make the lines thicker. So I have more more color and I just wanted to make sure that I have a good outline around the second tile. I don't I cannot really be bothered how exactly it's looking at the very edge. So don't really worry about that. You can have a soft on page underneath us will have some bound tree stare. The leaves will go to the sky anyway. About to be perfectly fine. And here you can see I'm just wiping the sides of the paper so all of the paint won't go back to the paper. It won't disturb the pigments that this holiday your name there. And that's it. I'm completely done with the very first sky. So now I can proceed to the third one, which will be our fourth rectangle. The third one, as you can see, I'm showing with my finger, we will skip it, complete them, and we'll go to the far-flung base. Because there is no painting. There. We'll have a bird's eye view. Here. I'm just adding some more cobalt blue. Go. Just click. Once you're ready with the third sky. Make sure that your paper will be completely dry before you continue with painting the water. So I'll see you in the next part where we will start painting the water and all of our paintings. 22. Distant Islands - Paint the Water: Hello friends In this part to paint the water in our distant islands. You can see, I'm just making sure that the corners off the water where the sky is meeting, the C part of the island is completely dry. Before I start painting. Otherwise, the water will push the pigment. And I'm applying and even pulled around picking up some cobalt. Your quiz is one of my favorite colors. I absolutely love it and I'm recommending just a beautiful addition, but if you don't have it, just a little bit of yellow, PR cobalt blue, or some other turquoise color. Just make sure you won't make a green mixture. Or even the water can appear green because it's reflecting basically the colors around and sky. So don't worry, but here I'm using cobalt blue and I'll use a little bit though. How about jerk Chris as well? The main the main color for not it's cobalt, turquoise. You can see how soft look like because from the paper. So I does not appear that vibrant and bright. I'm adding some cobalt blue and I'm using a size eight silver black velvet brush. It's easy to control its holding a lot of water, but it's not too much water. You can see here, I have some lemon yellow. This is cadmium lemon yellow color and a little bit of burnt sienna. And the idea of the burnt sienna here will be, that will have a reflection. Here. I add just a little bit of the burnt sienna will basically show that affliction of the island onto the water. We're imagining that the sun is somewhere behind the island. So it's costume. The shadow for the shadow will follow the island on the opposite direction of where the incision. So if, for example, if we have our sum on the left hand side hitting the island, the shadow will be on the right-hand side. In this case, we can imagine that the sun is somewhere behind the island, but enough high in the sky that will have a flood. Clear blue sky. We know that when the sky is blue, that means it's very, very clear. It doesn't have any clouds. And here I'm adding just a tiny little island on the back. You can see very visible and I'm softening the top island. So it won't have a very hard edge. I know it won't be very prominent because it's very, it's on the very far distance. So the island doesn't matter. It's a real color. It will appear very light. And I hope it will be understandable. Without VRS in there. It's not just a blob of color, which as you can see, is, but I think as giving a little bit more interest to the painting compared to a flop. Horizon line. Here I just switch to my foundation burst size six, which is a very thin synthetic brush. And I add some more burnt sienna to the upper mixture with cobalt turquoise and cobalt blue. Cobalt turquoise blue. I will add a little bit of that mixture underneath ions. Just to suggest some shadow here. And I will increase the color. I will increase the. Density of the color and I'll put more shadows with the time as well. Sam keep adding some different about cars, trying to add some interests. And I'll even add a little bit of turquoise blue. This one is from White Nights. It's a little bit different than the cobalt turquoise. The house bump right there. And keep softening edges. Once you are happy with their afflictions of the islands, you can just jump for the next painting so we can paint the second. The water of the second island will do exactly the same procedure. So we'll start by watching the water part and we'll skip the part. Skip the part where the island, where we drew the islands here. And let's just grab some clean water and apply it all over around. I just switched half my size 12 silver black velvet brush, so I will apply more water and that will speed up the process of refining. What do you recommend to switch your brushes from time to time. I know it's confusing in the very beginning, for instance, in time. But with the time you'll get used to it and you'll see how much more comfortable. It's switch between small and large brushes depending of the surface. So as bigger the surface, just grab a bigger brush, it will save your time. Then it will help you just feel more comfortable. It doesn't make any sense to use a smaller brush, which will take you a lot more time to apply the same amount of water or color. Here you can see I switched to size eight and the whole idea is that I'm applying a lighter color towards the horizon line and more vibrant colors towards me, towards your width for every brushstroke, I'm trying to intensify the colon. Imagine just more cobbled chocolates. Use yellow. I will apply that color underneath. I want from the right-hand side. I'm applying a little bit on the left side, but I'm not really bothered there. That part will be a little bit darker. Here I'm adding some work, do your quiz blurry. So we can really see That's reflections and a little bit of the burnt sienna mixture that will be on there, the islands. So we can see that's really odd affection of an island. I'm softening the edges with my size as well. Some more of the burnt sienna mixture. That's why the island, it's casting the shadow. Some more yellow. And just have fun, and just make sure that you are having some nice vibrant colors. The water. If you would like to add some repulse, makes sure that the reports are bigger towards the viewer and smaller towards the horizon line. I won't be really visible ripples in the water because my colors are very light. And I think the whole idea is just to practice some of the islands, but you can do as you wish. It's your painting. Here. I'm just adding some yellow ocher. I would have sunk on the island. I just decided it right now. So if you feel like you've left yourself some space there, don't worry. Finally, when you're done with that. So once you're happy, just jumping to the next island. Pretty whites the paper and will follow exactly the same procedure where I didn't even coat of water. I'm switching to size eight round brush. And I'll just add some more cobalt chocolates. And apply the basic column. Here are some more cobalt. Cobalt. And don't really worry because you already pretty wet the paper, the surface slaughtering the big. So you will actually have time. Just enjoy the process. Have fun mixing colors. It's not necessary to blend them perfectly everywhere they can separate, and that will occupy more interests. Pair painting, I'm just paint gently around the islands, don't go over the islands themselves. Or perhaps I should call them rocks next to dogs. Here is some more cobalt, your quiz. I just add a little bit of water and I'm much more cobalt turquoise. I'm, I add a little bit of turquoise and cobalt, turquoise and a little bit of cobalt ion. I'm trying to make sure that the right side in this case it's a little bit.com because the shore it's on the right hand side. So the water, it will be deeper on the left side of the painting, which will make it appear darker. Because we have ashore on the right-hand side of the painting. That mean that means that the water would pull the shallow. So we can even have some yellowish glistening into the water showing through the sand underneath or perhaps the little pebbles all dependent of the beach itself. Here I'm just adding some yellow ocher here and there. That will add a little bit of interests. And it will suggests the sand or pebbles underneath the water. That's some burnt sienna. I'll put a little bit more. Okay. I'm just tapping with the very tip of my brush. The paint will spread very nicely around. Does because the paper is still very moist. Share just some more burnt sienna that was suggested. Reflections of this distant island or city into the water. Some more blue under the islands you can see that was a little harsh line with so I just soften it. Here where we place the yellow ocher. I'll just tap a few different places with burnt sienna. The whole idea is just to add some more interests. So it's not just a single flat color around. If you have some harsh lines just so you can soften your damp brush. Here. I'm just extending the shadow after making it a little bit more. So you actually know what that once you are happy with that, you can either leave everything to completely dry before you continue on to the last four islands. Or you can just make sure that you want you want to plot are any water onto the right side. Where is our third Island fits? Here? I'm just adding some more lemon yellow. I'm just double-checking. Is there in dampness on the papers to where it was, the cobalt blue if it's already starting to dry or paper, just leave it completely dry. And I'll see you in the next part where we will paint the warm wash painting. 23. Distant Islands - One Wash: Hello friends. In this part we'll paint the one wash painting. So I will show you how by pinching different parts of the painting, we can create one wash painting. We just need to make sure that we're not introducing water to the whole part of the paper. So we can preserve some areas and widths them once the paper around them, it's almost completely dry. We will also use a lot of softening for this one wash. Let's just start by applying a lot of water to the sea area of this painting. When we are applying the water, I would just want to make sure that we're skipping all of the islands. So we are skipping the little islands in the middle of the painting and we're skipping also that island on the right-hand side. Know the area where the sun to be. Well, once we are completely happy, we can start applying cobalt. Cobalt blue. Here is the cobalt turquoise blue. I hollow straw here in my brush that was trying to fall down. So I just pull up gently and I started applying cobalt turquoise. You can see, I'm just trying to make sure that I'm applying it almost to the whole vapor. The whole area where we already do with announced starting with a light wash. And we'll intensify the color. With every mix coke. We're adding some more cobalt, turquoise. You can use some, not only the tip of your brush, you can use the belly of the brush as well. As you can see, I'm switching between different daily depending on the area that I do want to cover with my brush and I'm softening as you can see, the area that the island who meet the water. Because it will be one wash painting. So we don't really want harsh lines, or at least not many harsh lines. Here. The Turkers with more cobalt. That will make it a little bit darker. I'm softening once again with a clean brush. Hello. Hello. You can see I'm not applying the same color everywhere. I'm not making a flat wash with both of them. I'm just trying to vary the color. You can see some places have more cobalt your quiz, some places have just standard code column. You can even up to just normal your quiz or French ultramarine. Many courses you out. It will be more interests. If anyone knew. Bright blue, It's a lovely watercolor, but I really would like to stick to the same palette. So I will use exactly the same colors that I used to use the data paintings. So in the end of the day, who all nicely put together, even though this one is bird's eye view. So it's still will be a little bit different by the other three miniature paintings here. I'm keep softening the edges. You can see. That was a clean, damp brush. Just keeps up. I'm just picking up some columns from the sites of my tape. I'm keeps often in the inside part of the islands. So once we start painting the inside to create a harsh wine, that's the whole point otherwise. So once we start painting the middle, we can create cauliflower effects and we really would like to avoid that. Here I will just add some more yellow. And our flights around to all the islands. Perhaps that part will be well-lit. I need to flip some of the sand color. Just keep adding a little bit of blue here and there and soft and round. Here you can see I'm already happy with the water part, so I'm waiting. The part where is my big island? I start with the paper there. I'm just applying even cold water and I'll add a little bit of yellow lemon. I'll use some of the color. How long I'll slap at that owns. And that will show the lights. The light part. So the island itself. Now continue mixing it with some more cobalt blue. I'm just using the very tip of my brush. And lemon yellow. Mix it with some cobalt. Your presence alone. I wet the paper. Where are the little islands that prolonged not applying with our before that, I'm just wetting the paper with the color straightaway. So in this way, I'm just avoiding to add a lot of water on that part. And I'm just dragging some color onto That's cobalt, turquoise, blue mixed with lemon yellow. This is still very yellowish mixture. And here I will make some cobalt blue. I'm just trying to pick up some more colon. And I'll put dots around. And I know it looks quite abstract and they're very simple. But this is how it actually appears when you look when you see the islands from bird's-eye view, because it's very, very far away. You can see I'm just dropping a little bit different color here and there. And making sure I'm on. I'm not spending a lot of time in one place. I'm, I'm dropping the color all over the islands. Simon, ensuring that neither one of them is dried before I start painting. Some things in them all together. Go some more about your quiz. And that was a little bit of burnt sienna mixed with it. Some more cold water for its inverse. And I'll make the mixture warmer. And closer to gray. The paper will be a lot more dense. You can see I'm just dropping some little dots. They're not flat, they are not flowing far away. They're almost exactly where I put them. But still watercolor is working, making its own magic. So don't worry, that will just help you to spread the paper, the paint around the paper will create beautiful interests in. Here I just add some more horrible mixture, some more burnt sienna. Just drop them. So here I'll add even more burnt sienna or to the mixture. I will make it very nice and thick, very dense call off fu, full of pigment and with a little bit of water. And I will continue applying it to my island. But you keep one eye on what exactly is happening with your painting. Don't worry that I'm Martin. Dark colors currently if you're painting because dark enough, just stop there. You don't have to make it really dark, but keep in mind that you still need some dark colors. So when you are happy to stop painting the islands and you can grab your flat brush and we'll just lift two lines that will indicate some marks from perhaps some floating around. Just use clean damp brush to lift some color. Here I'm still Joe Rogan column. Here. I'll try to lift off first with my big round brush, but then I'll switch to a flat, tiny flat brush, which will be part of my foundation, brushes from Winsor and Newtons here, I'll try with round brush. But the flat brush works a lot better. So I will switch to flat brush. Here you can see I have a clean and damp and I will let some color and you'll see that it'll work so much better. About your quiz color. It's very staining and it's very light. It's hard to create lifting. But by using this flat brush, I can actually create some suggestions for sensing color. It's not completely necessary if you are happy with how your islands appear now, just leave it as it is. I think it's perfectly fine. You don't need to suggestions of possible both lines. So when you happy, just leave it to dry in need me. The next part where we'll paint the islands. 24. Distant Islands - Islands: Hello friends. Congratulations on completing the other parts. And in this part we'll try to paint the islands themselves, which I hope it will be the most fun part of us here who use our font. So before we start, we just need to be completely sure that our paper, it's a 100% dry. We want disturb any pigment that was applied earlier. I'll start with applying even coat of water onto the very first island. Makes sure that you're sticking to the lines. Good. The water only inside the white part where it where the paper is showing white. Please don't cover the sky and dump cover the area. And make sure you don't have any puddles. Just gently apply my phone wallpaper. You can see how many times I'm going warm again and again. Making sure that just very nice and damp, but it's not creating any puddles of water. And I'll start with applying some year old car into the very bottom islands where it's meeting up some lemon yellow. I'm just soaking up some water from the lemon yellow because I'm always me. Excuse me for that. But I in general like to have some debated. And here I'm Arjan, the lemon yellow Jameson mixing it together. Here are some more lemon yellow. And I'm applying it to the upper part of the island. Take your time. And just gently by the column. You don't have to rush. Make sure that you are using both the tip of the brush and the belly of the brush. The belly of the brush. You can use them to the inside part of the island so you cover the area quicker. And share, I use a little bit of cobalt blue and French ultramarine. Cobalt blue. I place on top of the palette near the lemon yellow. And now I just picked up some yellow mixture. You can see I'm mixing them. Lightning show, I have quite a lot of lemon yellow, as you can see, it's very light green. I will start the planet. The island. It's not a very big area, so we can do the mixing whilst we are painting the island. We just need to make sure that all the parts of the island as to remain and dump. Before we apply the next color to paint. I'm dropping some more lemon yellow. And I watched some more of the green mixture. Will continue, Doesn't make sure you concentrate on the upper part. Here I will reactivate the brown mixture, the brown green mixture that French ultramarine with burnt sienna, but it's a lot more burnt sienna than French ultramarine, so it's a medium brown. I add some carmine, so I'm making a tube and Walmart, and I'm dabbing the excess water on my favorite session, so I'm not rented this. Here you can see I just hopped on little bristle from my brush that was sticking up. So instead of leaving it on the brush and fallen into my theme to my just look it up. I continue diagrams some more colors into the painting. I'm introducing the brown mixture next to the green parts as well. So that will suggest some occupied on the island. I did some more French ultramarine and carmine. So that will make it even more like a purple color. I add a little bit of lemon yellow. Lemon yellow will make the mixture little bit more, though. It will make it darker. Yellow is complimentary color. So you can see our island just starting to look a little bit more interests. In some places, of course I'm lifting up column and I'll add some more green mixture. Just vary your colors. If you need to apply some glue, some more yellow, you can make the mixture more dense. You can make it call by adding some more pigment. You can make it a little bit weaker if you add a little bit more water to it. But concentrate the darker colors on the bottom and the light colors on top. So we're suggesting that the lightest heating from above. Here, I'm mixing financial trauma in yellow. And I'm keep adding it some margin a little bit. You can see that the lemonade mixture is a little bit of water in it is concentrated, this nice concentrated, but have quite some water in it, disturbing the pigment around. So that will create tiny, tiny cauliflower effects. And here, I'm still praying that my paper is damp. I'm adding some salt. I'm hoping for the best. That's what we can do. The best we can do to make sure that everything is working on its own in the salt is working, is stopped. Touching the island itself. Makes sure it's dark enough. Dark enough. You don't need to add anymore colors. Of course, you see here. I don't listen to my own advice. But in general, makes sure that you have everything darker enough before you build up. The salt will do its job the best. Yeah, I'm just dabbing some more brown color. I'm suggesting somewhat architecture on the island. If you are watching me painting before you attempt yourself, please make sure that you are dumping Tim before we apply the salt, the paper. That'll give you the best result. Also, once you're happy with the results and just leave it to dry, you can leave it on the side or you can just blow dry it, and then you can go and proceed with the next violence. I'll start here with the alignment of unquote the water, the whole island. Exactly the same way. And I'll start with applying some lemon yellow with a little bit more bold this way. And using some of the brown mixture. As you can see here, with the water area below the island, where we can see the reflections of the island itself. The shadows that will appear on the bottom side of the island will march together with the reflections that the island is cast into the water. So CRM make watery mixture of burnt sienna and I'm applying it on top. And our margins some more burnt sienna. Just dab some notes. Screen-share. I'm taken the French ultramarine with brush. And I'm dabbing it Olson. And I'm softening the bottom of dialogue. So the paint can run the water. And it's not creating harsh lines. Here it comes the fun part. We are taking our cart and we can scratch the paper. So we'll scratch the island that I'm showing you once again. We're keeping it from an angle. We can turn the car around so we can create a lot of different angles. Scratches onto the paper. It's very important to keep in mind that once you have excess paint on your cart, It's really good to just the way debits on the paper Chu Shou or on your cooking Morocco from scratch once again. Once you are happy with the results, just stop. Make sure that you have nice highlights and don't overdo it. It won't really look nice. Here I'm taking my sharp brush and I'm scoring some lines sweep the bulb on, it. Just suggests and some grasses perhaps are sitting on that island. I'll grab some darker mixture because it's already drying, is not much paint to go into the scored lines. Sam, just add in some more paint and it will fill up the gaps. Once you're happy with your islands, just leave it on the side, pick up some clean water and let's fill up the second island here. I'm just dropping some lemon yellow on it or they didn't. It's not a big surface so we don't need so much water. You can see I'm just dabbing the lemon yellow. I'm not really being so careful. If I'm covering the lines, the upper lines, they will JO, will suggest some lines there. Later on that we'll play the game like palm trees. Here I'm covering the distant islands. On the very last line you can see that I'm just grabbing the cobalt blue straight away without relating the paper. And I'm softening the edge. Don't have very harsh line. Here. I will just pick up some more cobalt blue, add some more color, a little bit of the brown mixture here and there. Just make it more interesting. Grab some of the mixtures that we already use. But stick to the cooler mixtures as we would like to keep the warmer tones towards the viewer, would just continue keeping that in mind. I'm softening the edges on the bottom. So once I apply a little bit more brownish mixture, it will run downwards. And it will suggests the woke up. Here I just up a little bit of the brown and green mixture that at all, and add in some yellow ocher to the very last one, very close to us, the closest of the tree. So you can use to appear warmer and warmer, sharing more brown to add some green. Not all of the all of them mixtures to both of the islands on the right-hand side. Or perhaps there's just some little rocks. Ahmad and some of the same mixture onto the water. So that's pretending a reflection on the little top here, some yellow ocher and I'm going to stay with the yellow ocher. And you're going to see I'm grabbing some auto sienna as well, but it's not completely necessary, I think is the best if you're just a yellow ocher that all sienna from White Nights is very weak as it is. It's completely pointless. In this painting. Let's see. Here, I just apply a little bit of yellow ocher and I soften the top edge. So the top edge of the circle basically March onto the water. While some haven't used yellow ocher mixture, I'll just glaze it on top of the island. And glazing basically mean that on top of the colors that we already have, I will just paint over all of them. This yellow mixture and that will suggest some sandy area Where we left to right. All of the white gaps will be covered with that Sunday mixture. So it will look a little bit more interests. Here. I'm just adding some more water and some more yellow ocher. And I will leave it to dry. And here you can see the soul just doing something like list that in the island. I had to move some of it. I just saw a talk with my finger. You can see there are tiny little particles that appear white, which means that the salt push the pigment away. We have a little bit of interests. Our first little islands. Now, once we're happy with everything being completely dry, we can start painting our third island. But wow, so we are having the dry paper. We can just observe, take your time. Have a look what you like, what you don't like in your painting. You there anything that you'd like to change what you like the best? And what is disturbing you is if you're painting, looking flat, do half and half of hard and soft edges. Here, I'm just mixing some more yellow ocher. I'm preparing my tissue all over my finger. I'll use I'll just dab a little bit of yellow ocher into my islands as this is dialogues that actually didn't have any yellow ocher on the upper part of it. It's credit on on the bottom part where it's meeting. And I'm glazing once again. Some yellow ocher. I'll add some burnt sienna to the bottom of the island. Here. That way, I'm showing that the bottom part of the island, it's a little bit darker. So that's creating some contrast with the upper parts. So it's hopefully create some more interests to the island. Next time grabbing some more burnt sienna, dabbing on the right side. I denied alien life, how bolt it was looking like. Go you can see I have some more burnt sienna mixed with ventral, truly. Grabbing the gray mixture and keep dabbing it gently onto the board. So you can see I'm using the belly of the brush, but I'm not dragging it that off. I'm just tapping. Once you are happy with the outcome, we can proceed to the next one. And we'll start with some lemon yellow. Just for some lemon yellow, Let's grab some cobalt blue. I mix them gently to create a very light yellowish green that the mixture on the paper towel. And now you can go and apply the column on the upper part of the island living. And so you can see better. Here, we can see both the pilot and the islands. And let's start with little tiny dots on the upper part of the ions. So that's why I told you that Iran today to have to be very careful when applying the yellow medium for this little dots me suggest some leaves on top of the island. Socks. Yeah, we're suggesting some bushes. Some more leaves on the bottom. And you can see that I'm even trying to pretend some palm leaf trees like the tiniest from trees. More green car and just dump it all around. Here I will make a bold decision to add some cadmium yellow. I'll add a little bit more interests in the boundary of trace, or they can have a little bit more light on that island. I want it to be a little bit more alive than the rock on the left-hand side of the painting. So we're dabbing some more yellow. I think create some tiny family trees on top of the island. Just have fun. They don't need to be very distressing. Everything could be vague because it's following the distance. As you can see, both of these islands are so far away that they appear like they are on the horizon line. Of course, that cannot be that close to the viewer. Perhaps there is something behind the viewer can see. Here I'm just adding more cadmium yellow. Some more cadmium yellow with blue, and I'm softening the bottom. Just make sure you're softening the edges so you don't have harsh lines when the islands is meeting the water. Just keep dabbing the color. Here. Look him up a little bit of burnt sienna also. Does that with our own. Have fun and create some strokes suggesting tree trunks. You can see I'm pulling some lines. They are not all facing one bearish for my mom making sure that every single one of these different direction here, I'm just mixing CMO and Ahmadinejad, the middle and bottom part of that tiny little islands. So that suggests and some shadows under the trees. I'm just mixing some more French ultramarine. And I'll add that part into the very bottom of this island. And I'll lift the color up here. I'm suggesting that this will look like some grasses. Don't feel pressure to get exactly the same way. I will lift a little bit of the color. In my case, I know it will be lighter, but still just make sure you're not making a very, very dark. Some lights makes sure that some of the previous colors to appear here. I'm just dabbing some cadmium yellow and that will disturb the darker pigment. I'm making some lines. I know that you will push the pigment around saying it will create more interests. I'm grabbing some more burnt sienna and I didn't, it's the island. Just have fun. If you want darker and some parts. Some parts you can lie down when it dropped some cadmium yellow. I am I'm softening off the edges with my clean damp brush. Here. I'm covering all of the surface on the island with paper tissue. So this way out to protect the painting. Once everything is covered, then we can proceed with fathers will splatter some clean water water down, lemon yellow, cadmium yellow, I'm a little bit of water down burnt sienna. Then click the very dark and Dan Smith chart of burnt sienna. I'm French ultramarine. I'm a once you're ready, you can just remove the paper towels and we can proceed with the rest of the painting. Here. I'm just reminding you once again that I will lighten up the sketch itself by dabbing some clean water. I'm lifting the color with paper to show you can just leave. With your clean, damp brush? Just because it looked very, very intense of the moment and I wasn't very happy with the results. So don't worry, have a look at your own painting and just focus on it. If you feel like the colors are just with the perfect valid, leave it as it is. If you need to darken up at some more dark pigments or if you need to light them up, you can always lift some color. Just don't worry about it. The most fun part, I believe, I'll just pick up something. Brown score on. Those. Tiny little birds. Will fly from dog will go on top of the island. And it also suggests in life. So I hope the adult addition, it's making it a little bit more different than the others. And the very last moment, don't forget to add some reflections in the water from your tiny little islands. As they will have water reflection. Every single object will have water affliction when sitting next to water. I think it's one of the most important CCR. I'm just dabbing some more lemon yellow. Just having some fun trying to create texture. I'm here, I'm not really worrying because the myocardium alone, it's actually cadmium, lemon yellow. It's not just lemon yellow and it's quite opaque. Color is not very transparent. So it's covert him and I can lay it on top of the island is here you can see I'm just using some of the green light green mixture from lemon yellow and cobalt blue. And I'm creating that afflictions of the islands and the shadows. And pretty much that's it. Once you are happy, you can leave it to dry and we can continue with the next item. So now we can proceed with our last painting. And we'll start with some light wash of cobalt blue. We would like to keep in mind the rules of perspective. Or aerial perspective was telling us that the background objects will appear more. Code in bluish meal have a lot less details and we'll use more diluted colors. The foreground objects will have more intense colors. They will appear warmer and they will have a lot more details. So always keep that in mind. Depending on how far or close you would like to keep the object. We will use all of this roof. Here. I would like to show you how I'm adding a lot of a lot more details. I'm adding more colors that make the color that makes the painting look a little bit weird. So if you'd like to keep that, I loved all the further background. Make sure you have more diluted and lighter colors. And you'll have a lot less details. But just in order to show you the difference, I would like to add some more colors. So you can see how how different it could look like. As you can see, I added some darker details on the bottom of the island that was supposed to suggest some building. Buildings, perhaps. The background that will actually bring a lot more vibrant. But you can see that because of all of the dark colors, it looks a little bit more. Sorry for even though we are keeping the colors more blue and we're keeping the colors closer towards warmer. That islands to look quite weird. If you want to make sure that it will look further away, just make sure that you are using more diluted colors. And you want to make it dark. Exactly the same reason you can see how just rocks that are closer to the viewer. They are getting warmer and warmer. And D look a lot more realistic. So I'm adding the extra layer, which is glazing with some dry brush technique, some rocket texture on it. And I'm still dabbling with my paper tissue taken up the excess color as I would like to keep them still further than the the very foreground elements that I have. So data elements needs to be warmer with more details and with more intense colors. Just keep that always in mind. Once we are happy with the rocks on the right-hand side, we can proceed. We can make ourselves fuel mixtures. I'll start by creating quite a thick mixture of burnt sienna. Also, I'll add some burnt sienna mixed with yellow ocher in a second photo. And you can see that the paint is not really moving around. As the mixture is not very dry. It's with a medium consistency, but just not very watery. Awesome. I am. I will create a model, a model that will be with thicker mixture, whereas CMM, French ultramarine. And once we are happy, we can just add it to the foreground. Now once you have all of your mixture, prepare from upside, we'll start with the yellow ocher, burnt sienna, and we'll apply that color, the paper. You can apply it completely randomly and don't really worry, as long as you soften the edges closer to the water. Apply all of them mixtures or aluminum. Once you are happy that all of the colors are on the paper, will quickly get up our cling film and put it on top. Here you can see IoT data to the burnt sienna. And I'm adding darker, more dense mixture of French ultramarine with burnt sienna. That's my darkest color. I'm not really worrying how exactly looks like the clean film. We'll create the whole magic. So I'm just dabbing the color around. So once we put it on, we will have a lot of different movements. From there, the clean film itself. Here, as you can see, once I finish softening the edges straight away, I grabbed the cream film and apply it to the paper. I'm trying to avoid the waiting time. Also, as fast as we put the clean film will have a better result. Who want to make sure it sticks very nicely to the paper? I'm Daniel, leave it on the sides until it's completely dry. Here. I felt that the distant islands to look in semi realistic. So I just wanted to add some more darker and more intense colors just to show you how really off it looks like when they're so dark and intense colors on the on the background elements. I don't want you to do that. I'm just demonstrating how it can look like. So if you decide to actually apply all of the exercises, painting with me makes sure that you keep that belonged with diluted colors which are more bluish, more cool. I'm, they will have a lot less detail. Just add more details to the foreground elements. I just wanted to make sure that you will see the difference so that you will remember that example. Once you're happy with your painting Sunday are completely dry. You can remove the paper tape. When you pull on it, make sure you're pulling it, doesn't matter, it will tear the tape itself. You better take it a few times instead of ripping your paper. So make sure that you're putting out on a mango further away from the paper itself. And once you're complete theory do, we can jump into our next lesson where we'll learn different types of leaves in palm leaf trace. 25. Palm Leaf - Trees Leaves: When we are exploring different types of pine trees to incorporate in our work, we need to focus on three main things. We need to see different type of I'm Trace compare to the leafs that they have, compared to the trunks that they have, and how we can draw them. So in this first part, you can choose a loose piece of paper or you can grab your sketchbook. And I will explore the two main types of palm leaf traits. Keeping a sketchbook is a lovely way to refer back to your drawings and keep all of them at one place. But I would like to use an A4 piece of paper. It's wood pulp paper. And I'm choosing it in order to keep all of my lesson about family of trees. In the first worm, the left-hand side, you can see I'm writing pennate or feather-like trees. And on the right-hand side, I'll write palmetto or fan like fronts, which refers for the shape of the leaves by the end of the lesson, now realized that I write them on the opposite way, but that's not important. The important point is that remember that they are exactly on the opposite. So start by drawing the Power Automate or fan like parents, when we're referring to palm it leaves, they're referred to as fun pounds that have adjusting leaves. Leaf segments that are joined laterally to some of their length. They originate from a single point at the tip of the patriarchy, which often include a specialized for two brands holds. The faster. In order to understand that better, I'm drawing a single leaf here. You can see the long passed a law that I'm drawing first. And then from there I'm taking each segment and then joining it laterally to the length. Oh sorry, I'm keeping this part in real time. So make sure that you understand how I'm drawing each leaf. So you can do that yourself. Here. You can see the leaf is facing us in the minutes. Once I draw the first pinnate leaf, how come back and draw two different versions of the leaf, which will be facing just a little bit inclined and the other one All the face and the site. The other main type of leaves or the pin, or also referred as feather-like leaves. There are sometimes described as feather-like. Just because of the leaflets, I'm fairly separated from each other. They're attached to their H's. Hurry Chess itself is an extension to the pitcher, which extend into the leaf blade. Example of a neat leaves or coconut cream end date pumps don't work to remember all of the information itself. You can write it down and I will include it in the end of this lesson as file that you can screenshot and write down later on. Here you can see I start drawing first the rachis and then i'll, I'll draw each and every leaflet. Of course I'll stop until the very middle. And I'll ask, this is a very zoomed in drawing. Social would like to see different examples. You can go to the project and resources section of the class. You can find the link folder and Unsplash where I included a lot of different examples of palm leaf trees. You're going to explore each and everyone around. You can try and incorporate them to your own work. I will leave you now to enjoy the drawing part, and I'll see you in the next lesson where we will explore different type of trunks. 26. Tree Trunks: In this lesson, we will explore different types of trunks that palm leaf trees can have. As you can see, I started writing all of the information down, but then I decide that is so much better to have a look at different types of palm trees. In Jan of the lesson, I will just add a slide that you can refer to. You can write all of the information for yourself or you can just remember it. By color. The different type of trunks vary from smooth, slender, brown, orange, and bumpy trunks, which appear more grayish. Different type of trends, can be covered with fiber or husks, which we refer to Harry and spiky look. Some of them can be one can slender with a single toe trunk. And they're usually the very tall trees. They can also be short and fat palm trunks, which are usually referred to as dwarf. Some of them have a pineapple like drunks, or some of them may have clustered trunks with 34 or more short small chunks together. Some drugs have bushy Pinot France growing out of the ground without trunk. They can grow up to two meters outdoors and under one meter. When they are growing indoors. Drawers are usually perfect for indoor plants. I'm medium-sized. Palm trees can grow in the garden. The tallest one therefore survived the best in nature, and they can grow up to 60 meters tall. So keeping in mind that information, you can vary the types of trees that you are including your work, even though our focus in one particular type. So we're not getting confused when we are painting them in our final projects. You can still refer to each and every pound tree that who draw in the next lesson. So you can swap them in your works if you find the benefit. I'll see you in the next lesson where we'll draw some palm leaf trees together. 27. Palm Leaf Trees - Drawing the Trees: Welcome to the drawing part of the palm leaf trees. And here we'll start with drawing the Phoenix. In this case, I'll draw it planted in a pot. That will restrict the way how the roots grow. I'll draw the trunk quite tall and it will be followed by the base where the fruits are growing. The crown, the crown of the Phoenix tree is usually with pinnate leaf. But before I start drawing the leaves, Let's concentrate on the trunk. The trunk usually looks like a pineapple. So it will go from the bottom on top and you just can draw little triangles as I'm showing here. So overlap one by one. They will reach near to the Crown. I will also include the part of the trees that is connecting the trunk with the crown, where they usually the fruits are growing, but I won't draw the fruits and himself. Instead, I would like to show you how you can surely draw a trunk, which top is covered with fibers or have a hairy or spiky look. I'll draw it there. And also I will draw a separate part on the bottom near the hub where I will make it. You get a little bit bigger so you can see it better. I'll speed up the part where I'm drawing the leaves us for the drawing power to draw a lot of both P0 needs and found me please. The next type of trade up to explore is Washingtonian a little boost them. And the interesting thing about it is that it has pineapple trunk. So here I'll show you how you grow the pineapple like shrunk exactly on the same way. Like the phoenix poem, but it will be a lot thicker. And it's connected by two main parts. The upper part, it's looking like a taller and the bottom part is looking like an oval on the site. I know that here I'm repeating myself, but I think it's very important to continue keeping in mind that when we're drawing, we're drawing from big to small objects. We're drawing from general to detail and from light to dark. So we'll start with the big shapes. Then we'll concentrate to the small one, will use phenyl light lines. And then we'll go to the details, drawing each of the poem. Now, each of the scales of the trunk, one-by-one. One's happy with the drawing. You can darken the lines here. I'm using darker lines just to be easier for you to see. And just because I'm feeling confident in drawing it myself. Which in order to practice that better, start with lighter lines. In my opinion, this is especially important when you're drawing your final drawings or when you drink straightaway on your watercolor paper, us constantly erasing can damage the fibers of the paper and can affect the size of them as well. So please just follow the simple rules. And if you're not feeling confidence straightaway on drawing on your watercolor paper. Easy way to transfer your drawings is to draw them on a simple A4 printing paper. You can use either tracing paper or you can use soft pencil with which you can draw a thick layer on the back of the paper and then you can read, you can use it as a tracing paper. I'll speed up this part here where I'm drawing the crown of the Washington Europe booster. I'll also will draw another one on the left-hand side, basically in the middle of the two palm trees, where I will show you how it will look like if it's potted. So if it will be a little bit different types, so it won't have that toe pineapple life trunk, but it will have to hear it. Look. You can see how simple, medium-size trunk will look like. Affordances drunk here will explore one of the most common types of palm trees. They have very, very tall trunks and extremely low leaves as well. Barriers are lit with leaves and they can either have this base that I will draw here between the crown and the trunk where the fruits can be or they may not even have it. So you can have a straight line between the trunk and your beliefs can start growing from the trunk itself. I decided to add a second tree so I can show you interesting composition that you can create it. I think it's important to explore that as well as drawing. A single palm tree may not be always a desired outcome. So you may decide to add a second one. So in order to make your painting more interesting, it's just more interesting, darn, yeah, The tree mirroring the first one, you can leave some gaps between the leaves themselves, like I've done here on the crown. Even though further on, I will leave for smaller gap. I'm aware just draw him every single leaf flatworm by warm. I'm going to command them to take your time and draw each and every single one of these palm trees. So you can imagine different outcomes of paintings that you may decide to add them. Next we'll explore this interesting type of palm tree which have here a trunk. We'd have a very thick trunk. It's its characteristics are so interesting. It's easier to paint over it. I won't add too many details on the trunk itself. I would just suggest the hairy outcome. The trunk and you'll see the crown will be with me. It leaves, which are coming straight from the trunk. Just trace you can easily found on the beach near, for example, your front of restaurants that are near the beach. You can also see them pottage in front of different houses and they can add a lot of interests. They are paintings. Next, we will explore this interesting type of trees which have medium thick trunk. They will also have bushy structure and they'll have a very, very interesting parts that are chicken further from the trunk, which are looking like little needles, but they are still quite hairy. And the part where the trunk is meeting the crown, it will be a little bit more hairy. So C, As you can see, this part, I4, like a little oval. So there'll be some parts coming through there that will be really, really hairy, like remote. Found me, it leaves that have been dried. My opinion, this type of tree skin wrinkle up of character to your agents. They are quite uncommon for beach painting, but you can see them if I'm growing in the city. Also close to some sand dunes. I knew him. Also see them growing close to a tiny little mountains that are connected to the beach. Last but not least, I would like to quote one type of palm trees that have clustered trunks. This 1.5 more than phrase short smoked, drunk, and they're growing altogether. You can see the unusually Jones and they're very fun to draw as well. And with that, we're all done with the drawings of the pound trace. And we can jump to our first project where we explore tropical seascape. So let's start with the pencil sketch. 28. Tropical Seascape - Pencil Sketch: In this lesson, we'll explore how to create the pencil sketch for the first final project. Before we start, we will just stop the tape, our paper, and then we'll imagine that we're separating the sheets with three parallel lines, which we won't draw, draw just the bottom line, which will create our horizon line. When drunk, I would like you to keep a few principles in mind. It's very important to keep in mind that watercolor is transparent medium. Our pencil sketch should be very, very light, so it won't be visible once we start painting. So for that reason, I've added a copy of the painting on the site so you can see how the final outcome and just lightly at the shoreline, as you can see here, I'm just adding the little island. Ocean is very important that we start drawing from big shapes, small. We always see a white lines before we darken them. Then it's very important to keep the genital inflammation first before we go to specific one. So now you can see I've added the pencil sketch for the island, and now I can remove the horizon line from the inside of the island. This is the third biggest shape that we had. So we had the sky and we have as well the little shore and half the island. Now once we're happy with them, you can ask the first trunk up our first palm tree. And I think it's important to see that here in light painting, the trunk is not, the lines of the trunk are not touching the top line of the island. The best thing you can do is to draw the island either above or below the palm tree. That will keep your composition a lot more pleasing, imbalanced. Also good chunk to keep in mind is to keep the main elements of the painting are symmetrical or otherwise set just so they won't look mirroring each other. For example, in this painting, you can see on the left-hand side, we have one palm tree on the other side to have two pantries. Also, doesn't matter what my reference picture is. I made all of the palm trees to look towards the middle of the painting. And that's making it more pleasing. If the loop outside, they are pointing outside of the painting, that will make the viewer looking out of the painting. So they are losing interests a lot quicker. You can see, for example, now I will add the trunk. The higher tree on the right hand side. And the wild-type position it differently, not mirror in the trunk of the left-hand side palm tree. I will put the bottom one. Looking above. All of them are working with different direction. Also, I haven't drawn each leaflet. I have drawn only the ratios in each palm tree. So I have them on a suggestion and then we can print each individual leaflet. Wow, supersede the debate. When we're ready with a simple pencil sketch, we can lighten the sketch using me to tell you, sir, and we can jump to the next part where we will paint the sky. 29. Tropical Seascape- Paint the Sky: Lesson we'll paint the sky, will use the very first painting that was done in our exercise practice. And I will wet the paper only in the sky area. And I won't really bother about the tree trunks. Us, there will be a lot darker than the sky itself. I would just avoid painting over the island As it will have yellow parts. Mixing blue and yellow is making grids. So in order to do that, we're just switching the sky area. Then I'll make a watery mixture of cerulean blue. And I'll start putting it down on the paper. You want to keep in mind to keep the higher, the bigger clouds on the top of the painting and the small thin clouds on the bottom of the painting. As the upper part of the sky is closer to us and the bottom part of the sky is further away and it's closer to the horizon line. That means the clouds, there should be a lot. Here you can see I start with a very light mixture of blue and I will darken the clouds with every snare. Just this exact synonym, who's very, very light. So it's up to you. You can see in the DNA or the painting, it will have a nice vibrant blue, but it won't be very, very dark. So keep in mind that that will be one of the lightest parts in our faith. Also, if you by mistake, some pigments, some more pigment to the bottom of the painting, you can always soften it with clean, damp brush and just keep adding more pigment to the top of the painting. You can see in certain places I'm just lifting up some color with a clean, damp brush. And that's because I would like to keep some areas completely white. So we're using the white of the paper sharp for the layer of paint. Once you are happy with it, just make sure you clean the sides of the paper, the paint, and the water, one that I'm back and just start the pigment that is already laid on the paper. When you're happy with the results and the ones you wipe the sites, you're ready to leave the paper to completely dry. You can just blow dryer or later Jolson aside to dry nature. I'll see you in the next part where we will paint the C and the shore. 30. Tropical Seascape - Paint the Sea and Shore: Before we begin painting the seat and the shore, we want to make sure that the sky is completely dry. So here you can see now I'm just wetting the area where the walker will be. All of the SeekBar. I'm not really worrying about the pterygoid. If you can avoid painting over the tree, that would be amazing. You don't need to lift the paint afterwards. So I'm avoiding adding water the bottom part of the island. And I'm not adding any water to the shore of our other chemicals with me. I'm just evaluating it. I start mixing a little bit of cobalt blue. And you can see I'm just adding a tiny little bit of French ultramarine, but just the tiniest little bit. So the main part of this, cobalt blue in a separate puddle, I'm just mixing some turquoise blue. I'm applying it to the water area. I grabbed a couple more and I'm adding it as well. And I'll also add a little bit. The sodium blew. It will make the painting kinda go get them off nicely together. You just keep adding different types of paints here and there. Intensify the colors if you would like to keep in mind, to keep the colors towards the horizon while lighter and towards the viewer. Make them a little bit more intense and dance. As you can see, I'm also adding a little bit of viridian. I didn't a little bit of yellowish green color. I think it will make the water on Udot bit more vibrant and it will actually show that it's a real water here to go see or that they'll get more. French Ultramarine can just keep adding colors until you're satisfied. Also, just towards the edges of the water where it's meeting the shore and the ILO. You can always soften them if you change the outer getting a little bit more harsh, just use a clean, damp brush to lift the color and something. Once I soften the edge towards the shore, I'm just grabbing a little bit of yellow ocher and I'll start applying the shore. The good chunk about yellow ocher is that you'd want to make vibrant greens if mix a little bit with the blue color. So don't worry about it. Just don't mix it too much as it wants. Nice and fresh. And then once you are happy with the yellow ocher, you can add a little bit here and there, and paying a little bit of burnt sienna, which you can add a splatter. Or you can also add few lines with the tip of the brush. You can see how I'm lifting up a little bit of color with clean damp brush from the sea and intensifying the car where I think it needs to be told it's more vibrant. How all show up a little bit of splatters with burnt sienna for the show, I'm a little bit of splatter with Jim freshwater to the seaside. Here you can see I'm keeping my hand side. So Joseph's plotter some skin in the area that I would like them to be. I also have a little bit of splatter with the pseudonym blue. You can cover with paper tissues any area that you would like to preserve false platters. Here you can see I'm adding a little bit more splatters with videos and lecture quiz bowl. So I can append a little bit more interest to the painting. Now you can see I wasn't very happy with the vibrance of the shore exactly where it is making the water. So I decided to intensify the polar side glaze a little bit of yellow ocher on top. I'm using a little bit more of yellow ocher and burnt sienna to add to the shore and softening where my splatters are just jumping into the water. It will look weird. I'm just dabbing with a clean, damp brush and soften everything that needs to be filled with clean or something. You found lifting his brothers from the sky area would clean damp brush and dab it with a paper tissue before you leave the paper to completely dry. I will see you in the next lesson where we'll paint the island. 31. Tropical Seascape - Paint the Island: In this part we'll paint the island. So in order to do that, I'll just first apply clean water so it can paint it with MO, start with nice light watering mixture. So go to more thicker and more dense paint with the last mirrors up here. Once I'm satisfied with all of the all of the water added to the paper. I feel that just nice and moist without pH and I'll start applying a look at a mixture of yellow to the whole area of islands. Mofs, I'm happy with the car up a little bit of burnt sienna to the bottom part of the island, soften the edges of the burnt sienna to the water. So we want to create any harsh lines. Happy with the bottom of our talk, a little bit of yellow to the cobalt blue mixture that I have leftover. Now, just start dabbing dots here and there. I apply the paint without any particular patterns. That was also a little bit of lemon yellow to the sudo yum and applied randomly. Other parts of the island. Just makes sure that the premier, all the previous layers are completely visible. So keep mixing all the colors that we're using in the painting. Put them all together here and there. As you can see, I'm just adding more of the sodium, more lemon yellow and the code because your quiz and just keep dabbing just here and there. Without falling in powder. Also makes sure that the yellow mixture, that was as a base layer, it will be still visible sharing there. If you by mistake, until the pain on a site where you think it will look nice, just lifted with numbers. Here, I'm just adding a little bit of yellow. That will suggest some shadows in our island. Keep softening the edges on the bottom of die one so we're not creating any harsh lines. Just enjoy and have fun. Pick him up and a little bit more burnt sienna or burnt sienna mixed with memory. And so you can suggest some shadows. Just make sure you're not making them too dark of Ireland is still on distance. So that's not the focal point of the painting. Even if it is a little bit further away. So the short needs to be a little bit more vibrant than the island itself. I will add also a little bit of splatters our lives, a little bit of color. You can even add a little bit of splatter with the colors that we used to use for the painting itself. So here I feel like, I like it a little bit yellow. So that's why I often feel because once you're happy, leave it to completely dry MLC and then it's backwards. 32. Tropical Seascape - Add Final Details: In this lesson, just add the final details to our final project. We will start by using exactly the same mixture of paint that we'll use for the leaves. And we'll use a dry brush technique to apply the mixture onto the left, onto the darker sides of our palm trees. I will also use the same mixture. And using dry brushing technique, we will apply it to the sand area. But if we would like, when we're applying it to the anterior, want to make sure that we're making up a little bit warmer and lighter. So to do that, to add a little bit more water, and we'll add either more red or brown color to the mixture. So in our case, because we have used burnt sienna, the best thing to do is just to add a little bit more burnt sienna with a mixture when you are applying it to the sun area and make sure that your brush is really dry. So you have just a few scribbles there. And you can just suggest if few pebbles on the sand. And I know that here I'm removing the masking tape as I felt. Perhaps I'm already with the painting, but don't worry. If you feel like you need t to add the wash, just keep your teeth on and you can remove it once we applied the wash onto the area where we have tiny little waves. And when adding the wash. Just keep the mixture considerable, creamy and opec. We would like to also follow the same direction when we paint in all of the waves. So all of them look like they are full in one direction. In this case, I think it would be really good if all of the waves will bring the eye of the viewer to the island. So we'll start. So when we are, when the viewer is exploring the painting, they will first see the palm trees. Then they'll go back to the Sant area, underwater area as the area in the very foreground, and they're closer to the viewer, I'm using the waves of the sea will bring the eye of the viewer to our distant islands. This way will just suggest that we are using S curve in our composition, which is not our main composition, but we just want to make sure that all of the waves are following the same direction. And if they can lead the eye of the viewer to the islands, that can just improve our painting. Once you're happy, you can just sign your people or move of paper tape. I now assume the next lesson where we'll start by creating the princes cage to the beach sunset, which is our second class project. 33. Beach Sunset - Pencil Sketch: In this lesson, we'll create a pencil sketch for the beach sunset. We're still using our drawing, the rules in mind. The main elements of the beauty will be closer to the middle of it. Instead of going away from the page here. Also, I'll add some leaves coming from the right hand side, and I'm not replicating them on the left side. I'll keep a balanced structure that is not the be taken on both sides. That way we're avoiding creating our page and symmetrical. Also, I want to show you how I'm paying to the horizon line almost in the middle of the painting. So I'm suggestion that you added a little bit lower. So it will look a little bit better compared to the composition that I have created here. You can see that when I'm drawing the tree trunks, I'm not keeping straight lines, rather making them a little wobbly, but still keeping in mind that the bottom of the trunk, it will be a little bit thicker than the top of the trunk where it's meeting the crown in the leaves. When we start drawing the second tree, I want to make sure that it's not on the exact response compared to the first one. So what that should mean in my case, the distance between the left side of the paper, the first tree, won't be the same with the distance of the second tree on the right hand side. Also. Once we start adding the bench, we want to put it exactly in the middle of our traceroute, would either on the left or on the right side, closer to either one of the trees. Here you can see I'm adding it on the left side. I just thought this a little bit more pleasing. In my case, the sun, it will be on the middle. I'm not placing them both in a straight line as well. Here you can see I'm not really bothering. How does my pencil sketch the finished painting? Quite darker. So I will keep all of my lines a little bit more visible. So once I add few layers of paint, they won't be completely covered. And I can still see where I need to apply the darker paint for the bench. Because I'm keeping in mind that you know what color we start painting from the light to dark. So the benches, one of the darkest elements in our painting, as well as the dark leaves that are further away from the sun. So that will be the last elements that will paint an RFP or otherwise it will still start painting. I'll leave with the lightest color, dark and slowly increasing the tonal values. When I draw the bench, we want to make sure that the plan to follow the same angle of the horizon line instead of following the same angle as the seashore. Oh, so make sure that the bars holding the planks of the bench or not in straight line with the legs of the bench. In the front legs are shorter than the back legs. I won't be drawing the lines suggesting the rachis of each crown of the tree. So put your pencil. The next part where I will create the first wash. 34. Beach Sunset - First Wash: In this lesson, we'll create the first wash. But that's one of the most important parts of the painting was here, will create the summaries from the background and also their reflection in the water. In order to retain the moisture for longer, I'll use my mop brush by Princeton. Apparently. That's just 1.5 inch. You can use any brush. I want to mention here that even though the watering of my paper a minute, the process, I speed up here about five to six times. So it took me almost 56 minutes to await the paper completely and makes sure that it will stay wet for longer. You can see I'm adding layers and layers of water. And I don't really worry how much water is in there. I want to tilt the board in all directions and I want to ensure that my paper is completely soaked. The fibers will absorb as much water as it's possible. So just take your time and the water you're paid really well. If you really want to go even further, you can get a plastic bottle to wet the paper both sides. Or even so-called your paper in the bath for five to ten minutes and put it on a plastic sheet of paper. You just really want to make sure that you can paint wet on wet as long as it's possible. In my case, I kept the painting tip to the board. So it will have similar look with the other three projects. Before I start painting, I'll make myself look puddles of paint. The first one will be with cadmium orange, and the second one will be with French Ultramarine. Here you can see I'll create a little puddle of the cadmium orange, allow lots and lots of water. I want that mixture to be very watered down. Here. I'm doing exactly the same with French ultramarine. I want to make sure that I have a lot of water, but also that the pigment concentration is quite high. So even though my puddle of paint, It's quite big, I will still have MF of pigment. I'm not applying it 16 times in each place because we want to keep in mind that much moisture there is on the paper. When you dry, it will dry a lot lighter, so the pigments will feed. I know that this is a standard true for watercolor, but when you have so much moisture on the painting, the failure is even higher. Kelsey, I'm wetting the paper once again so I can prolong the drying. One of the most important roles for me with so much water is to keep the sides of the painting dry. Time, always wiping the paper tape, or in my case, the Magic tape. We applied the pigment to the paper. It won't be pushed back and create cauliflower effects from the water and the pigment that is on the sides of the painting. I will start with watered-down paint and apply it all over the paper to retain the moisture for a longer. Also, I will use my medium sized round brush, being clean and down so I can soften them dangerous in the middle of the sarcomere because the paper is very wet and it's creating cauliflower effect to the middle of the face. You can see all the fuzzy edges on the other side. Here, I decide a tiny little bit of cadmium yellow. Just sat on the circle. I just suggesting. Remember outer sites. I'll continue painting with cadmium orange. Create very nice and big circle of cadmium orange and then make some lines that will suggest the summarise. Keep applying more pigment and water to the paper to intensify the color of the orange. And meanwhile, don't leave too much time. Paragraphs or facial trauma and go from the outer angles of the pinching inwards filum, all the gaps that we created by painting with your orange outwards. Pay attention to the movement of my hand and how I'm moving the brush on the paper. I'm trying to be very gentle. Hello, I'm not going really deep into the orange with the French ultramarine. I'm just stopping where the two colors suddenly. I'm using gentle sweeping motions using the French ultramarine arrow and you feel that you don't have enough pigment anymore on your brush, you can just go back to your puddle, pick up some more paint, and continue painting. Always start painting from the top, from the corners, from the sides of the painting towards the middle when you are using, you can soften the edges exactly what I'm showing you here. Soften all of the cauliflower effect that coffee created by me, Jim Bob colors. Don't forget to paint on the bottom part of the painting as well. Here you can see a modern to the very bottom of the painting. I'm not really worrying how smooth is it? Through 2.5th here, and that part will be very, very dark. I'm not really bothered how dark or light is it exactly now. Also, I'm grabbing some cadmium orange. I'm making sure that the inside part where the orange was still very famous and it will leave it to dry. Mattel, step out, continue adding to the orange bars. So I'll keep it moist. Here you can see I'm using the exact opposite movement compared to the movement I was using. So I'm grabbing my orange paint and I'm having sweeping motions of the page. If you feel that you have contaminated the color on your brush, just clean it up a little bit more paint from your photo and then continue. Here you can see I'm adding more pigment to my cadmium orange puddle. So I am increasing the density. I'm making the pigment more vibrant. Keeping in mind that my paper will dry lighter than what I can see now on the painting. Here to see that I'm increasing the density of my french ultramarine. And I will apply it from the corners inwards as well. Exactly the same with both colors. I'll start applying. It. Avoids him going over the orange. The summaries. I didn't even more facial trauma. Does the gosh, I'm feeling like it's not the vibrant color. Hello, We'll go over all of the parts that we have applied, the color and the very first place. Just keep doing that until you're happy with the vibrance. Just keeping in mind that he should not be very, very vibrant and dance. Syngenta, the way basketball, the focal points. So this is just the background. Here you can see, I imagine monitor the differential. But does the paper start drawing? The paint is spreading so farther away. Keeping the drying time of the paper in mind, it's one of the most important ****** when we are creating watercolor paintings. We will always want to make sure that who want to create cauliflower effects, especially when we're creating the background washes. For a more defined painting like that. Of course, when you're creating more expressively and when you warm the deliberative. Norms, then that's perfectly fine. But watercolor control is very important in case if you don't want watercolor blooms. So we want create them by mistake. Also. I just want to let you know that in this case where our painting is very, very wet, we can always get a soft brush and try to soften the edges even if we create a little bit of cauliflower effects by mistake, if we drop a little bit of clean water where we don't want it to be. We can always grab a soft brush and try to soften it. You are happy with the creation of the assemblies, with the whole sky. And you've got all of the colors are vibrant enough, but you are not overdoing it. You can create a little line that to suggest to the horizon line. But you want to be quite soft. Spheres drawn with the horizon line when I watch it. One very harsh. Especially in the painting. You don't want that harsh lines are going away from the floor. Here you can see my french ultramarine is so thick that just staying on the paper is really thick mixture. I mean, when I'm applying it to the paper, It's almost not sprayed and nice, Justine, where I'm putting it. That way I can create really nice and sharp lines and creates the beautiful summarise a little bit more defined. Now once I'm happy with this, I'll get up a little birdie CMA, mix it with cadmium orange and place it on the shoreline where I already have some French ultramarine blue, grayish brown color. As you can see, the brown, blue is creating beautiful gray color. I'm not really worrying to make it so dark. I know that will create a second wash as well. Just want to show myself where the shore over here. As you can see, where all they do lose in the lives of our pencil sketch. So that was the reason that we create them a little bit more. And then we'd give them the excess graphite when we was created to me. I will just soften some more lines that I feel in my teachings. Wait till you find me. Lift them up and filled with a color that is close to the shore. Here I will create a little bit more dense mixture of cadmium orange, and I will apply the water. Using the same mixture. I'll start painting clouds on the bottom of the sky. And after that, I'll up a little bit of burnt sienna to the same clouds. If you feel that your French ultramarine to dance there, you can lift them. But you can see that I'm not really worried. Here, orange brown mixture, which is covering the French Ultramarine. I'll also add little bit of carmine, and afterwards I'll add a little bit of fruit. So that way, I will create different types of clouds that will add a little bit more interests to the sides of the painting where we won't have our palm trees or we won't have any objects to create some added interests to the painting. Just don't overdo the clouds to make sure that they will be nice and subtle. Some of them will be lighter and some of them will be darker for close off, making them female. If you can, compare to the thicker clouds that we remember, our steam in the top of the sky that is closer to us. This part of the skies for better way, as it's closer to the horizon line, the clouds should remain smaller as well. Also, don't forget to create the same clouds, but afflicting in the water area. But don't be really worried about making them exactly the same. That's not our focal point. Here. You can see our margin, a little bit of orange generate the middle of the painting, even though I will lift some color. So make sure that the colors that you're adding to that bottom part of the water. One be really dark and older pigments will be easily miscible. Wound lift so reflections in the water, they're just intensifying the color. And cadmium orange in the sky. As I feel that it's already locked him when we added the clouds. So just make sure that your mom disturbing the pigment move sure that you're adding them gently soften in older ages. This part here will clean our brush very well. David Miller, cotton towel or paper towel, it will start lifting color. You can see that I leave some color on my tissue. Also add a little bit. They'll continue lifting paint so you don't have to add the color. Now, as you'll see in a minute, I'll just punch in your literature. So just concentrate on the left-hand part first. Then you fulfill that you would like to add a little bit of color. You can just grab a little bit of cadmium yellow and add it there. You can see I'm moving my brush around. If any part of my brushes contaminated with the lifted paint, I'm not choosing the same part of the brush to continue to live in state. You can clean your brush, wipe it on your paper tissue so you can remove all of the excess paint. I'm cleaning my brush. A little bit, tiny little bit of cadmium yellow. Light on fire allow continuous software. Where I'm like, I need to see how dry my brush is, literally page and that shape. So it's really, really dry and it's a lot easier to lift some paper like that. Just keep doing that until you're completely satisfied and then you can stop the dry there. Awesome. And it will get a completely clean paper T-Shirt, putting it a little bit more of pain. So I can get close to the white of the paper tissues, create a very harsh lines. I'm just grabbing my brush and softening. Just follow your intuition and focus on your own paintings. If you need to keep lifting color, keep doing it. If you want to stop, just stop and leave it to dry. Just keep doing that until you're satisfied and don't overdo it. It's very easy to go into overdoing the painting. Each action you can see I'm trying to solve them. You want to make everything perfect, but just little, somehow get about perfection. You better. The same thing. Instead of even for friction each page and share out as you can see, I realize that the lifting was way too much. So I just grab a little bit of cadmium orange and just soften the edges. Dragging my brush from left to right and from right to left. Just making sure that our make it appear in a little bit more natural. You're happy with your painting, can leave it to completely dry your mouse you. In the next lesson, where we'll paint the second portion of the FIT Ground and the remainder of the clouds. 35. Beach Sunset - Second Wash: Before I continue painting, I want to give some credit to my favorite skill that I've grown in my painting journey, observation between each step. What else is happening or a union of paper and act upon him for it. My case, I changed the water as it was very dirty and I feel that my horizon line have disappeared. So I created the white line, please myself. Before I start painting the clouds. When you start painting, then you can either wait the whole sheet of paper or use a clean, damp brush to soften pages where you feel you need it. Also, you can do what I just use my painting. I'm using a little bit of water to wet the area where I'm painting. We just need to keep in mind that your paper needs to be completely dry before that, you really need to use clean water. So you're not smudging the layers that you apply before you want create harsh lines either. Here you can see I'm just grabbing my large size of wealth. Black Hills. I am applying a little similar code, the folder. It will be a lot easier for my clouds. They all spread around, but they want to further away just because I add just the tiniest little bit of water. Also make sure that you're dabbing paint on your brush, on a paper tissue or your cotton rag. You can see that I'm switching to a fine synthetic brush. I want to make sure that the paint is not present. The farther away. I want to keep in mind that I want a vibrant clouds, but I don't want them to be very big. This part of the painting is for a better way as it's closer to the horizon line. Here you can see I've missed some places, some using a damp brush to soften the edges. Have I can continue painting little clouds which are red, orange, and brown. When I want the color a little bit, can just grab it and tag it with orbitofrontal so I can make it more. Here. I might do a little bit darker clouds with more French ultramarine, little bit less burnt sienna. So I will create a more dramatic effect. Then keep softening the edges where you feel you need. Keith, Pardon clouds where you feel like your knees. Just keep adding a little bit of darker. I'm alive. The Cloud. You can use any of the mixture. It's completely up to your openness, more red or orange color. You can up a little bit of more bluish gray clouds by Nixon mode for a true memory, or the grayish clouds chicken feet. By using French ultramarine and burnt sienna. Can you can make them cooler if you add more French ultramarine or warm, or if you add some more burnt sienna. Repeat the same exercise on the other side. And don't really worry about the reflections. You can add a force on it over the water. I see usually all the clouds reflect and they'll be exactly the same in the water. But I don't feel like in this painting is completely necessary. You can just add a tiny little bits here and there. So we'll suggest that affliction of the clouds. But that's not the focal point of our page. So you want them to be completely defined. Here, you can see I'm adding an integral. Where are you from half a list on the left or the right side. Just tried to make sure that they are not exactly mirroring themselves. That will make the painting look a little bit more off. She had I feel like I'm satisfied with the ballpark of the painting. I will leave the site. Allow stop working on it. I'll add a coat of clear water to the bottom part of the painting. And I'll try to do weighted evenly. If you have painted the reflection of the clouds, the water, make sure your paper is completely dry. Before you start this tip. You can add a clean coat of water, exactly like I'm doing here. I'll start painting the second wash of the water and the shore. As you can see here. I'm using very gentle sweeping motions to add the water to the paper. Any of them though I'm using they're very soft bristle brush. I'm still more remanded orbitals the pigment that was already due underneath. So keeping that in mind, be very gentle with your paper. Don't disturb the pigment too much. Make sure the paper is completely dry before you're done with the class again, Porsche, I'll put my brush cleaner below the upper part of my painting so I can create a smoke at my rule flow downwards instead of going in all directions. Now, I'll create a medium density of a mixture with burnt sienna and ultramarine. I want to make sure that I have enough water in my mixture so my paint flow nicely on the paper. But also to make sure that I pay half and laughable pigment as well. So it's really nicely visible and I don't need to apply so many layers. I start applying the paint from both sides towards the middle where I'm lifting up my pain with quick sweeping motions. Here you can see it wasn't increasing the density of my pin. It applied, it will pick a mixture. Makes sure you're skipping the middle part where we left off the paint to create the glow in the water. And if by mistake, your art, a little bit of paint to the sky area, you can easily remove it with your paper tissue. We can see here I've added that afflictions of the clouds in the wolf or I'm using exactly the same niche chance of orange. Brownish, gray. Looks really worried how accurate they are. But just want to make sure that the same course will appear both in the sky and the water area. Here I'm increasing even further the density of my page. And I've applied it to the shore area. If you feel like you need to lift off, so use your second brush, make it clear that he could easily lift the excess paint, apply the same mixture to the shore at it, keep it densified the clouds until you're completely happy. Once you're happy, leave your paper to completely dry. You can either use hairdryer or the regular site. And I will see you in the next part where I moved the short and the trunks of trees. 36. Beach Sunset - Shore and Tree Trunks: In this first part of this lesson, but we'll create the sun grow in order to create a subtle glow, will make a thicker, more dense mixture of a brownish color using all of the colors that are already on our palate. When applying the paint, the paper, use the belly of the brush to lay the color and why you're closer to the mic, faster to sweeping motions. You use. The dry brush effect. Start every brush stroke from the site of the paper. Towards the middle. Is that regardless of cow coffee, you feel your brushstrokes. I want you to take the fast sweeping motion just to observe for tab group. Right now. Yeah, I'm moving my brush quite fast and I moved with my brush even faster. What I'm closer to the sun glow. Just keep the brave by Fred, it create exactly the sea beds if the water from the right hand side towards the middle as well. If you would like to avoid any harsh lives, make sure that you start you have first above mixture prepare for me and you'll start to fog the site of the paper towards the middle. That's the best you can do to avoid any harsh lines. Because of the dry paper. For exactly the same reason. You can see how I was struggling here. I could try it exactly the same mixture. So this is one of the first rules of painting with watercolors. Always make sure that you have enough of a paint palette before you start applied it to the paper. Here I've tried to very, very fast use verse here, afraid to ultramarine blue and cadmium orange. As you can see, I developed, created exactly the same shade of brown. I just needed to apply it all over again at Diggs got I had a little bit in the middle of the page where I created the sub glow. So it would look lately off. The cost of mixture is a little bit more thicker that the first one, it will cover a little bit that I thought I had to list page. Because you how fast I've tried to apply it to fade out. Just because we are using the dry on wet technique. Also make sure that you are paid to be completely above so you can cover up the shoreline as well. Hey, the way your'e do, just leave your paper to completely dry before we proceed to the next part of this lesson, where we will draw the shore at the trunks. Bow whilst your paper is completely dry. We can proceed with the next part. I will create three products of the first word will be worth a lot of cadmium orange because who use a lot of it, right for the trunks. Beliefs of the pub tree's. Also, I'll hopefully love for why this takes about vacant. For our third photo of page will be burnt sienna add fridge, shrubbery. Of course, I will provide this takes three the way so I will create it was, I started painting the cadmium orange. Here you can see I will create quite a bit of cadmium orange about reuse a lot of pig. But the big point of doing that is that the cadmium orange itself, it's quite opaque, color. That will be, it will be visible over all of this dark color. Stop it already powerful our paper. Here, I'll show you that I prepare myself to shoot so I can buy things. About grabbing my video size, brush. Size. The middle was I couldn't eat the bursae, the mixture. I'll stop sharing. Even though I had a little bit of trouble. This is my lifetime, which turns out that I'll have. But I have so much of a big bet with burnt sienna that the fridge fruits are worried. It's almost disappeared in the mixture. So let's say we have like 3% are free to trigger it. It is like by two. So you could do exactly the same phase if you are just really have to worry, do halftone dots and federal strawberry mixture. Please, before you start, make sure that you create also your fridge or strawberry and burnt sienna mixture next to the bleacher. Orange. So you don't have to worry every week. Julie stopped pages. So we will avoid what happened in the previous part of the message. Because see here I got up the tidiest little bit of burnt sienna, mixed it to my cadmium orange. But it's not completely necessary. You can be perfectly fine even if you are using just cadmium orange chair. I just try my car on a separate piece. Both stroke. I've tried to create the trunk of the tree. Here you can see I'm not even to make it straight line because it illustrates, anyway. I've seen about the tree with more cadmium orange, just intensify the color. Make sure that the bottom part of the trunk will burn it up. Here. I'll mix it with a little bit of sienna and keep added the burnt sienna on the left-hand side of the tree as the glow of light on the side or the right-hand side of our tree trunk. Here, I've just added a little bit more part of the tree. Let me share it or five and see me creating the deep brown mixture. Start applied the mixture to the left-hand side of the trunk. Mix it with the shore. We are creating harsh line where the trunk is connected to the shore. You can use exactly the same mixture to outline the shoreline. So you're following some guidelines for yourself. Once your outline gently yourself, you can start filling up the shape with exactly the same mixture. Makes sure that you leave a little bit of gap where the trunk of your second part of the tree. I'm going to have a little bit of burnt sienna and I'm grabbing a little bit about the dark brown mixture as well. To apply to the shore. I'm trying to work rather fast because I'm still working with wet on dry. And you can see, well, I continue moving my brush sometimes I'm just creating some dry brush effect. We discussed that earlier. In order to create dry brush technique, we need to have rather creamy mixture. So as you can see, I have a little bit of water inside. So when I'm dragging my brush, it's keeping some of the places just because we're using cold press paper. It will do exactly the same ***** if you're using a lot of texture paper. But it will be more bumpy, so it will create even more texture and more dry brush technique. You can see I'm skipping the place where the tree is. Lamb continue adding shadows under the waves. If you feel that you are creating a lot of dry brush technique and you don't really want that. You can always add a little bit of water. You can see on the right-hand side, I added a little bit of water and I'm just using the dry brush technique here and there. And then these little tip of my brush, just T8, just dark shadows on there, the waves. So that's why I added a little bit of water. So I don't have so much drivers to rule. Would like to have some balance. If it's everywhere, it will, it will be too obvious. So it is one of the interesting anymore. Here. I'm just mixing some cadmium orange and I'll start painting the trunk of the second palm tree. You can see here the code is not very covering. The mixture is not very thick, and I'll add a little bit more of cadmium orange, a little bit of burnt sienna to the right-hand side as well. Imagine that our brightest part will be in the middle, where the sun is glowing. Both of our shadows will be on both sides of the sum. In this case, our, alright, hit our tree on the right hand side who have the shadows on the right side and the tree on the left. We'll have the shadows from the left-hand side. This way, we're just suggesting that the sine is between the trees. Before you opt in shadows, have a look what's happening exactly. If, if it's exactly the same case, follow the same rules. Otherwise follow what's happening in your painting. If the sun is, for example, on the right-hand side, both of the true half their shadows on the left side and opposite. You can see here, I slept my brush on the middle of the paper and nothing to worry about. I just pick up the excess color with my tissue first. Then my wife's to pay a little bit. I continue picking up. After a few times. It's completely myosin. When I start painting, I felt like all know that my Bluetooth and I cannot fix it. I need to get rid of the whole thing. Don't worry, just take your time and that's why we practice all of these techniques. How we can lift the color paper tissue. Lift the color brush. Just use all of the techniques that you can so you can improve your painting. You can see that in the middle, I already pick up the extra color in my glory and some flexion of the lower sum is looking almost the same like before, that. Teratogen CIF, and with a little bit more of cadmium orange, I continue increasing the shadows using burnt sienna and burnt sienna with Rachel extra. You can see I'm just using the side of my brush very gently. You can use the tip of your brush. Just make sure everything is. Everything depends on the size of your brush and amount of water that it holds up. In. My mixture is rather thick and they're very dense. So when I'm in this case, the right hand side of the tree is not flowing too fast. In both places, both in the tree and here on the foreground. My, you can see how the paper is dry and my brush is semi dry. So that's why I think the the dry brush technique. Before I continue paying chim, take your time and assess what else you can change or what can make your clean. In my case, I Forbes that top of the tree where the trunk is meeting the crown of the tree? Well, it looks a little bit more interesting if I add this thick apart, where if you have for it, for example, in your palm tree, the throat will be connected to that part out a little bit of cadmium orange with the burnt sienna. And I create, once again a thick mixture of burnt sienna and ultramarine. Now continue adding that I can tell you truth. I felt that shadows are not strong enough. Compared to the foreground of the painting. I just decide to increase the value of the shadows and the choice. Before taking any action, just make sure that you're looking not only know what I'm done, but you're looking in your own thing too. I know what's happening there. Do half and half shadows or do you have enough of a bright side on your own tree? Here you can see I'm adding more shadows. But to be honest, after time when I, when I have a loop itself, I think that this was way too much. So if I have a second shot, I will use less shadows on the right side. I could pick up a little bit. And I know that I could paint the second time and show you everything with less mistakes. What I fought. Very good. In that case to show you everything that can happen and how you can if you create any type of mistakes in your painting. And here I will start painting the first layer of leaves and the palm trees. And straight away, I can tell you that I felt a huge mistake that I didn't take the time to dry my painting. So if I can give you on advice, Stop now, dry up painting and then start painting the leaves and the plant trees. That will help you a lot. And you don't have to hold your hand in the air like I'm doing here. That was very uncomfortable and not very pleasant. So in order to have the best experience whilst painting, just blow dry your painting, or just let it dry and then start painting once again, once everything is dry. And once you are happy in bridging because dry, you can start painting the leaves one-by-one. You can see I started with my first white layer of cadmium orange. I will take my time to paint all of the leaves. Share you can see I just added the paper to show to help myself avoid covering my hand with some paint. But this way I'll move some of the vibrancy, for example, in some of the colors that are on the tree. You can see that my tissue is picking up the color. I'm not feeling like a very big mistake just because I wasn't happy with how dark shadows some material where it is. I don't mind that, but you should pick that color. But New York case, I'm really recommend just dry your paper and then start painting the leaves one-by-one. So this part here is scenario times. So you can see how I'm really taking my time. In my opinion, this is one of the most meditative process while you paint in palm leaf trees. But in order to save some time, I increase this part here 300% or three times the speed. The actual painting that I've done. Just so I'm not wasting time. If you'd like, you can have a look watch part here. So I'll pay each layer one by one, and I'll wait for the previous layer to dry before I start the next one. So just take your time and you can mix your colors and start painting one by one from the very first to the lake. Every following layer makes sure that you're keeping the previous one visible. I think it's very important to pay attention that the leaves that are closer to the sun, I will leave more orangey and I'll darken the most, the leaves that are further away from the sun. So here I'm still using the first cadmium orange mixture and I'll cover all the leaves with it. I'm not really worrying how precise the leaves on the right-hand side of the first three are a bit darker blue with the very last mixture I got exactly the same, the second tree. So the leaves in the middle where that, that are closer to the sun, the lighter orange, that's part of that will be the main color that really visible as needed from the sun. So they will appear lighter and beliefs that are further away, that will be on the right-hand side of the sacrum tree. There'll be a lot darker, so I wouldn't really worry about the leaves that are further away. Something is so complete your own. It can always be covered with the dark mixture. Once you're happy with the first layer of paint, how suggestion to follow exactly the same. So instead of just drawing the palm leaf trees, you can just paint the bench, follow the outlines. And if you cannot see they're very well. Refer back to the pencil sketch. Otherwise I can see outlines of my pencil sketch. Some following with a thick layer of paint. I started with the bar, so it's easier for me to follow the pencil sketch and then just fill up the whole bench with the Vaticanus chart, a French ultramarine. Once you are happy with the bench, you can just leave it to dry. Meanwhile, whilst my bench and palm leaves are dry, I'm just adding more warm right here. You can see I'm using Moodle be from White Nights to add to my burnt sienna mixture, but you can use any warmer it. So instead of choosing orange or red, orange, just make sure that you are using a rate that is very, very vibrant image. So for example, if you're using Daniel Smith, a very good choice, spiral or it, if you're using a revisiting of them, Cotman series is cadmium red deep. In my case, I'm using a little bit from White Nights. Either way, it will create a nice brown with which you can see I'm covering the second layer of paint on my palm trees. Here. I'm still making sure that the first layer is visible and it's more visible in the medulla to where it's closer to the sun. And I'm not really bothering with covering the orange paint on the right-hand side, on the outer side of the palm trees. Once you are happy with your second layer of paint from CMM little bit, we'll apply our layer to the palm leaf trees. You don't really have to bother how dry the paint below us, we will apply thicker, more dense mixture burns, CMR as our third layer. In the next lesson, we'll paint the remaining up to the leaves with them, CMA, up the final details to the piece. 37. Beach Sunset - Final Details: This part here we'll continue adding the burnt sienna to the palm leaf trees. As you can see, our margin, a little bit of burnt sienna mixture, even to the inner leaves of the palm tree. I'm just adding a tiny little bit. So I, I wanna make sure that the orange mixture will be really visible in the mixture that who have CMM little bit also very visible. The pool still concentrate the burnt sienna mixture to the outer side of each palm tree. So you can see here on the second tree, I'm painting the outer side. And also I'll add a few leaves that will come up from the left-hand side. That will suggest a tree that is standing on the right side, but also just a tree that standing on the right labs we cannot fully see what you can see few leaves that are visible. I'm, that's suggesting that there is a tree that we cannot fully see, but that's adding a lot more interests to the painting and also is making up a little bit more balanced and interesting as we are adding the leaves on the right hand side, following the rule that we discussed earlier, that we don't want our painting to look too symmetrical. So that will make it look more interesting by keeping the leaves on them one side of the painting. Once you're happy with that layer, we can start mixing a big batch of our burnt sienna and French Ultramarine. And we really want to make sure that you have enough paint to cover all the leaves. So you can see I start adding the darker mixture, the first tree, and then I do a lot of darkness to all the leaves that are on that I can cite. So keep in mind the same rules as before. And we'll just add the mixture, the darker mixture on the outer side of all of our palm trees and also at the same darker mixture to treat that is not visible. So just for the few leaves that are showing up on the site, the inner reliefs up just a little bit of the same mixture, but literally the tiniest little bit. And if you feel that they are not fix them off and they're different by beliefs that are further from the sun. You can add more of the burnt sienna mixture to them just to make them a little bit thicker. Or even having orange and burnt sienna with Ruby. But don't really know or you don't want all the leaves to look exactly the same. So some of them can be a lot more bulky and some of them can be a lot. Also, I did not have a lot of mixture. I managed to calculate how much I have been trying to match the exact same color. By mixing again, french ultramarine, burnt sienna. It's not exactly the same, but it's close enough. And then continue adding it to the outer edge of the page here. I'll add a few suggestions for detail some of the trunk of the trees using the dry brush technique. Here you can see I'm just exchanging some of the leaves. They are overlapping and they are not creating tangents. In nature. That will look a lot more interesting. If you see some of the leaves overlapping the others. Here either I just add a little bit more of the mixture beneath that is closer to the trunk. I add one more leaf on the right-hand side of the trunk. Him because I felt that I'm lacking a little bit of interests. I decide to add cadmium orange over the top of the darker mixtures. And this is the most important property. And choosing to use exactly cadmium orange over in Yad orange. I'm making sure that the orange in our pinching opaque or semi-opaque, so it can cover nicely over the dark colors. Once you're happy of how your painting looks like, you can use a thicker mixture of cadmium orange to sign your painting. Once you sign your paper, you can start removing the tape. I'm just make sure that you're pulling it and the Mongols. So you want to rip the paper. Here you can see some of my paint bleeds for the paper tape. So I will just use some white gouache to fix that. I'll use a very thick mixture and I'll use my synthetic brushes not holding a lot of water. Here you can see I just clean a little bit of space on my palette for the white wash. And once I'm ready, I can switch back to my synthetic brush so I can make the mixture re different, the coverage. I'm using, the Winsor and Newton. Gosh. I tried quite a few for the years, but this is my favorite go-to time and time again. I'm just getting myself this exact size of white wash and I'm pretty happy with that. I'll see I just add one or two droplets of water just to make it a little bit. But still quite thick. I'm trying to use fast sweeping motions. Cover the pain. If you need to keep it on your table, do it, just make sure it's nice and calm. From my suggestion is that you use quite fast movements are slower, you are, it's more easily make mistakes and pick the formula lines. I'll cover them at all and it's this big spot. But any small speckles of that bit further. This way I'm keeping it nice and sharp line. And then beautiful white frame around my page. I hope you like reaching this project with me. When you read, you can post it into the project and resources section of the class. And I'll see you in the next lesson where the pencil sketch of our projects, both in water. 38. Boat in Water - Pencil Sketch: Hello my friends. In this lesson, we'll start with the drawing, the pencil sketch for our boat in the water being. So first we'll start applying a very light lines as light as it's possible. So we can continue correcting the drawing. If you're not feeling comfortable drawing straight on your paper, you can alternatively use a simple copying paper and then transfer the sketch. I know that many beginners feel like by transference sketch from one paper together they are cheating, but more professional artists use all kinds of tools to transfer their sketches from simple graphite on the back of the paper using graphite paper, white box, and even projectors, depending on the scale of the painting. So just use all the tools that you have so they can help you create better art. With that said, I'm not saying that you should not practice drawing. I still believe that this is one of the most valuable skills that the artist can build. If you haven't invested your time yet, learned how to draw at least some basic knowledge about Joel. Then I highly suggest that you spend some time practicing. Okay, now so let's go back to our pencil sketch. First. As you can see, I apply horizon line. All have our horizon line visible just on the little part, visible next to the bush where the water stops. I decided to add a picture of the finished painting so it will be easier for you to visualize as I'm using a really light lines here, I'm not committing to draw him any hard lines before. I'm sure that I'm happy with my sketch. Once we have our little horizon line, we can draw a little bit of the island, which in this case it's not that further away. So that's why some of our trees will be very distinct. And we'll have light and vibrant colors like the bright yellow, a little bit of greens, and even warm, sandy color. Despite the fact that it's further away from the boat, will just imagine that our island is considerably close to the viewer. It's very important to imagine that we'll have separate our paper three main parts. We have the sky area, little bit of the water, which is closer to the horizon line in the island, in the upper third of the painting. And on the bottom third, we have our boats. And we'll have the water that is closer to us. And also as you can see, you have the shadow from the boats are this is the third element that we'll paint whilst we are painting. Our focal point, which in this case will be the boat. So the most important thing is to get our sketch off the boat, right. That will be the main focus of the painting. Here you can see I tried to draw the bolt few times and I want to imagine it in perspective. The further away parts of the boat will appear smaller because they are further away from us. And the front of the boat who appear wider. When I start painting the boat, I want to keep in mind the main shapes. So I'm not imagine a complex subject like a boat. First time imagining that this boat, in our case, look like a very long oval. So we have a very oval shape which has some little bit pointier on the front. I'm a little bit pointier on the back of the boat. Show start painting the oboe and make it more narrow, closer to the horizon line and then a little bit wider towards here. So in order to make sure that my pencil sketches looking alright, I'll start by drawing the axis line of the oval. You can see I wasn't very happy with my first pencil sketch and I raise it. And this is the main reason that we are keeping, we are keeping our pencil sketch very, very light. Before we commit to any lines in our drawing. I start with the axis. I will draw our boat around it. I'll start by drawing one of the sides of the bolt. They'll connect the shape on the other side. Also, once you are happy with the very first oval, you can add the line that is suggestion, the site. On purpose. I kept all of the drawing process. So you can see that I'm not really too short for Z lines. I'm trying to create one long, slightly bended line that will suggest sight of our boat. Pay close attention to the way how the finished painting clockwise. You can see that the line on the right hand side, it's a little bit more straight. Compare to the line on the left-hand side of the boat, which looks a little bit more, bend it more curvy. Happy with the general shape of the boat. We can add the inside the inner lines on the boat itself. I won't use any specific names. I know I can Google them and tell you each part how it's cold and so on. But I think that just for the sake of painting it and to be comfortable for everyone to understand. I'll just keep it very simple. And we'll refer to each part as a line, straight line, bent line. For example, this part here, I will just create a straight line with a ruler that will suggest the first, the first tick, which is completely straight. So once we are happy with the positioning of the first form, we can go any margin. The second one that is on the back. We can see where is the axis of each of this text. So you can see that on the picture that I'm using a reference, I saw that in the very end of this check we have a little bit of a curvy lines, but except that parts, the main part of this stick is true, straight lines that are pointed. 39. Boat in Water - Apply Masking Fluid: In this part here, who applied the masking fluid to our boat? I am the first most important throughout I want to share with you is to cover your brush well with soap before using the masking fluids that can really protect your brush. And always use cheap synthetic brush, not your expensive brushes as masking fluid can literally in your brushes what time? And clean them immediately after use. So always, once you finish using them, go audience them nicely and leave your painting to completely dry on its own. Before I start painting, the muscular fluid can not only on your brushes by tomorrow in your paper. Before you start applying it to your finished piece. Just make sure that you have scrap piece of paper off exactly the same type of paper. Us each paper behaves differently in contact with masking fluid. So for some papers, it can be easily removed without making any damage the paper. Some papers can really tear a lot when you apply masking fluid to them, doesn't meet the way that you remove the masking fluid. But most of the professional high-quality paper will be absolutely fine with masking fluid. As long because they are sizing is still well, they are not very old. Just just to be on the safe side, makes sure that you'll make one of those tests before you start applying it to your finished piece. Also, you can apply it. It's up to you to life to apply a philosophic layer. Just make sure you don't have any gaps us. The paint and water will flow everywhere where there's no there's no applied the masking fluid. So here I'm covering the whole boat and I'll also cover all of the chicks that are connected to the boat. And if you feel that you apply a little bit more of masking fluids to some *****, Don't worry, once it's completely dry, you can manipulate it with some sharp tool. Just make sure that you are not scoring watercolor paper, but you can definitely move for little bits of the masking fluid once it's completely dry, just don't smudge it whilst it's worth keeping in mind that a flicker is the layer of masking fluid. It will take longer to dry wash your masking fluid is completely dry. I jumped to the next lesson where we'll paint the sky. 40. Boat in Water - Paint the Sky: Hello friends. In this lesson, we'll paint the sky. Before we start painting, we want to make sure that our masking fluid is completely dry. So I'll merge it on our goods. Bristles of flower nice brushes just can really damage them. So once we're happy, we can just grab clean finish water. And that will assure that our colors will be nice, bright, they're fresh and very clean. So we'll want create any modulus in it. And we'll apply nice cold water. You don't have to overdo that part just because the sky area is considerably small. And once you are happy and have a nice sheen on the paper, I grew up with a French ultramarine and start applying the sky color. In this painting. I'll also leave some gaps for white clouds where you create in sky that you'd like. Just so in my case, my boat who? Bluish purple. So that's why I want to make sure that I'm creating. And I will be using the same colors for the whole painting. Here I'm applying French ultramarine for the sky. We feed our light granulating colors. You can, you can get up cerulean blue for example, or the lute very lightly, failure blue and add them to the sky. But if you'd like my screen relation to your sky, you can use French ultramarine, or you can use cobalt blue as well. And if you'd like to add a little bit more interest to the sky, you can always add a little different three undertones to the bottom of the clouds. That to create even more interests to your painting. Here to Garcia, I'm using just very light mixtures of paints. I'm switching between the large and small brush. So the small brush I'm using just to soften the edges and it's Merck loaded with lots of water, but rather it's nice and damp. And if you feel that you are lacking some of the boot color to the sky, you can always intensify. Just always focus on your pinching on what you consider front of you. Is it to light to dark? Take your time and maybe not so much time. So the people start drying and you need to fight with the drain tile. But still, whilst you apply your strokes, tried to have a look and see what you like and what you've done like on the outcome that you have currently. In my case, I want it nice white fluffy clouds. So that's why I'm softening the edges so often. And I'm applying just a blue color and skipping gaps to create the white clouds like in our first cloud exercise. Here, I'm just intensifying the blue color on the top area of the painting. Just part of the sky. Closer to us, closer to the viewer. As it's further away from the horizon line. I know that I'm repeating myself. Bio, just want to make sure that you're keeping diarrhea perspective in mind in every painting care creating the top area of the sky will be a lot more intense and dark because it's closer to the viewer and the bottom part of the sky will be lighter and softer as it will be further away. Once you're happy with your sky, leave it to completely dry. Collect the water and the paint on the side of the painting so it will flow back to your sky and disturb the pigment. And I'll see you in the next lesson where we'll paint the sand and the water. 41. Boat in Water - Sand and Water: Hello my friends. In this part we'll paint the salt and the water or the salary part of the island, the water. And we'll start by applying even coat of water. But we just want to make sure that the bottom part of the painting will be very, very nicely soaked. It who holds? Wait for longer. We don't really bother about the upper part where the sand area is. Us. We'll spend just a little bit of time there. I assume this part we want to paint on the water to paint the reflection of the boat in the water. So I will start by applying a little bit of yellow ocher. The Sunday part of the island. As you can see, the yellow ocher mixture was very watery. So it's very, very nice and light. And I'll also mix it with novel's hero yellow or a cheat way. If you don't have this exact shade, you can substitute it with any color that is shred or burnt sienna, even out a little bit of your yellow card for just any other one? Does. So it will be a little bit more pink. So it won't create green color to the warp our area, even though yellow ocher is not creating a vibrant, it looks pretty blue. Would just want to make soft sandy color. Naples, yellow or red shape is the perfect color, in this case. To make your painting a little bit more interesting, make sure that you have some parts with more yellow ocher and some parts so that you have increased them apples yellow or to cheat a little bit more. And then we can start painting the water area. First. I will paint the water area that is closer to the horizon line, or it's basically above the sand area, our island. And I'll paint very nice and gently around the bush that will have on the left-hand side of the island. We want to make sure that this, this part will be very nice and light. So we are applying very nice lights, mixture of cobalt turquoise light or cobalt blue. And we'll just want to make sure it will be nice, light and airy color. And once we're happy with and just blend it gently with the yellow ocher and maples yellow audit. Once you are happy with the water closer to the horizon line, you can start applying the cobalt, your quiz. The remaining part of the water and blending gently with the methyls yellow, that is for our sand area. So we're not creating any harsh lines. So this is one of the reasons that we're using a 100% cotton paper. And if we are using for some reason wood pulp paper, you just want to make sure that you work very fast so you are not creating any harsh lines. Would pool paper can dry a lot quicker than cotton paper and is giving you less time to work on it once you are happy, blend in the area where the something, the water and Meacham. We just want to make sure that we will use our cobalt your quiz to the remaining part of the water area. We can leave tiny gaps of white here and there to suggest the lighter areas in the water. But we just want to make sure that as closer to the viewer, we're gauging the sheets that we're using of cobalt blue, it will be a little bit more intense and denser, thicker mixture. So we're keeping our aerial perspective in mind. The war and the water park closer to us will be a little bit more intense. And it will be a little bit darker as well. Don't expect miracles. So if you're a cobalt turquoise light, as it's really light color, so you can opt wherever you do, you cannot really make it that dark. So in order to do that, to just apply more cobalt blue to the mixture. And this is the way that we can make sure that the water closer to us will be a little bit more vibrant. So just take some cobalt to color and mix it nicely with our cobalt turquoise. And as well, we will paint the shadow under our boat. You can see I'm using mainly just pure cobalt color here. So that way I will say by h and the shadow of the boat off the water itself. Forget also to opt out of it. Ripples into the water. And it's very important that you create the shadow from the stick on the right-hand side of the boat. And that will give you more three-dimensional look here painting. And you can feel that your shadows are still very alive. That you can always intensify the color with Eigen more cobalt. Pay attention that I'm using not only the belly of my brush, but I'm also using the tip of my brush. I'm making jag it, not even lines. So the reflection in the water world look like a straight line, but rather it will look like zigzag lines, one mix together. To make it a little bit more cohesive. I'll also add a little bit the French ultramarine mixture. Here you can see I'm just using the leftover paint on my brush to create the very first suggestion for a flexion of the stick into the water. And when I'm happy with where the line feels like I can intensify the color on my brush. I'm gonna plot the paper. Well here I just switched my brushes. So when the size eight, full-size 12th because I don't feel like covering large areas anymore. So I can just take my middle sized brush up and it all with mortal French ultramarine, cobalt blue and start reaching jagged lines. Further flexion of the stick. When you create shadows, always make sure that your light source is facing the same direction. So in my case, my light source is on the right hand side and that's why the shadows will be a little bit more on the left side compared to the position of the bolt. Then once you're happy with the reflection of the stick on the right side, you can add affliction of the stakes that are up in the air that are connected to the boat itself. And that will make our painting a little bit more believable. Keep in mind that all of the lines should be gently fuzzy so they won't look straight. And we're the water will make them soft and fuzzy. Once you're happy with the reflections of the boat in the water, you can intensify the colors of the water closer to the viewer. I'm to. Before you do any action, always assess, Take your time. Have a look at your painting. Is there any glare? Is it the papers too moist? If it's already starting to dry, just let it dry completely before you do any action or you can create unwanted cauliflower effect. But in my case, this is a desired outcome. So I'm grabbing clean water, drop in some splatter. Also. I'll take some of the paint and drop some splatters with the paint and I'll soften the edges of my son's area, as you can see, because it's on top of the painting, was with a little bit less water and paint starts drawing and start creating cauliflower effects there that I didn't really want it. I'm just using a bit more of Naples yellow, and I'll just drop here and there a little bit of color. So I'm making the paintings more interesting and I'm taking the attention away from the cauliflower effect that was created underneath. If you feel like you can always get up a little bit of yellow ocher as well. Just so you can add more interest to the painting by using different colors. But just not completely necessary. Just have a look what's happening on your painting or aging. And now, after assessing, makes sure that you are following what you feel look better for your painting. My case, I felt that I'm lacking some more. So I took a little bit of cobalt blue, cobalt turquoise blue, Sorry, mix it with a little bit of cobalt blue and start applying it to the shadow of the boat and water so I can make it into a little bit more vibrant and distinct compared to the other side, the other parts of the water itself. As you can see, I'm not focusing on one area at a time, which instead, I'm trying to work for the whole water area assumed slip. So I just want to make sure that I'm keeping i what's happening with the painting as a whole. I don't want to have some parts that are, that are lacking color compared to other parts that are very, very vibrant. I just wanted to make sure that all of the parts of the painting look nice together and they will all make sense when you look at it. When you are at opposed to the water, just make sure that the ripples that are closer to us, we will also appear bigger and just run that are further away, will appear thinner and smaller. And also they'll put it over to lighter. Just keep your eyes on the painting. And when you start feeling like you're 70% happy with the outcome, just stopping to add in more details to the water can move in a little bit more interesting. Some splatters on all kinds of techniques can make it nice and fun. But you don't really want to over work it. So once you're feeling 70 per cent happy, once again, just stop. Teacher time. Move away from the painting. Unlimited, completely dry, unshared, or you can use either hairdryer or you can let it dry on its own. I'll see you in the next part where we will paint the islands. 42. Boat in Water - Paint the Island: Hello friends. In this part we'll paint the island. So in order to do that, I will separate it in two parts. In the first part, who paints the bushing? Second part, rule pains trace. Here you can see I'm mixing a little bit of cool and warm yellows. In my case, I'm using lemon yellow and cadmium yellow. I'm grabbing a little bit of the local colors that we have in our palette. So in my case, I've got on my palette leftover. Cobalt, your quiz, a little bit of cobalt blue, I'm French ultramarine. I'm just taking them lightly and dropping them into the little bush. Here you can see I felt that I don't have enough pigment into my mixtures. So I grab a little bit to fresh ultramarine from the palette I added to my puddle and I start applying it to the bush. And you can see that I add a tiny little bit into the sand area, which I did a desire to do. So that's why I clean my brush and my smudge it lightly. I'm trying to add shadows underneath the bush, applying the wet on dry. I'm just I just add shadow and then I soften the edge. The bottom edge around continued dropping more lemon yellow, more French ultramarine. And I also a little bit cobalt blue. And keep in mind that even though the bushes very close to the forest will still have light and dark places. So the light will be where the sun or the light is hitting the bush. And in our case, just because we're mirroring the same shadow, Shannon will have the shadows on the left-hand side of the bush. And we will keep the lighter parts on the upper right side of the bush itself. I'm mixing a little bit the French ultramarine blue. It's a tiny little bit of yellow and you can see like it's more of a blue, green compared to warm green. And I'm keeping in mind to use all of the local colors. So I'm also mixing with the French ultramarine and the one yellow with them oppose yellow, red. And I'm also adding cadmium yellow. I'm using all of the local color, so I have lemon yellow, cadmium yellow, French ultramarine, cobalt. Cobalt, your quiz. I nipples yellow on it. Just keep in mind that the lighter colors will be on the right-hand side, on the top, and the shadowy colors will be on the bottom, are concentrated on the bottom and on the left-hand side. You can continue Arjun lighter colors. And don't forget that. Even though the color is lighter, the most important just to keep the values lights not on the color. So if our color is very intense, would just can drop a little bit the floor dark dilute the paint, but don't add too much water because it can disturb all of the pigment on the brush. So just try to be gentle with it. Now once we are a little bit more happy with the Bush, we can start applying the same mixture of lemon yellow and cadmium yellow to the upper area, a flower, a little forest. In this part here I'm still not really bothered about shapes and forms. I'm just dropping some color, some suggests in sunlight hitting hearing there. If you feel like some of the lines are very hard, you can always grab a clean damp brush and just soften them dead. My sunlight. It can continue intensifying the color in some areas, but keeps her from areas. Also with very light diluted paint. You can create interests by using different values of our different shades of yellow. You can see that I'm varying the color here and there. So instead of going places, I'm using more of a yellow lemon. Some places I'm using cadmium yellow, and some places I'm using. Yellow ocher, if I just want to make them a little bit warmer. That's making our painting look a lot more interesting. You can see I'm using just the very tip of my brush. But if you don't feel confident using such a vivid brush to create the suggestion of leaves from the palm trees, you can always switch to a smaller synthetic brush and do exactly the same procedure. And I add the first layer of yellow ocher to the trunk of the tree. In some of them I'm making why thorough with more watery mixture and some of them are making more sense using more yellow ocher and even some of them apple CLO, right? I'm that to bring even more interest to the painting. And we're still using some of the local colors. Can see I'm just using exactly the same mixture. I'm trying to use more dryer brush and just dab the paint using the side of my brush. So I'm not fooling if I'm just tapping the brush onto the paper, creating this brush marks into the sand part. And that's bringing more three-dimensional look, the sand. So we'll have four leftover of steps where the people would walk in. And you can also use a little bit of French ultramarine. Down though, mixture of things. That was with a little bit yellow, red and yellow ocher. So that's that's having a greenish blue tint. But I'm putting it on the back of the tree suggestion there is some shadows so that we cannot really obscure and we can say from where exactly they are coming. Here in some places, I felt like the color was very, very strong. So in a minute I'll come back and lift some color. But just follow your gut to keep, keep assessing your own painting. Keep warm eye on how it look like. You can just follow your intuition and see what you like better. Here I can see I up a little bit of turquoise, blue from White Nights. And that's creating a little bit more green of a mixture. And I'm keep adding it. I add it to the show parts and I'm also added to the leaves of the trees. So I can make them a little bit more interesting. You can add some more leaves here and there, some more palm trees. And you can see them keep using all the colors that I have on my palette. And just have fun. The exactly the same. You don't have to follow a certain pattern. I think it will look nice regardless of what color still slop. They're just really have fun. Makes sure that if you have really dark colors already on the paper, you can always lift them up a little bit with a clean, damp brush on a paper to show. And we'll keep adding some more power trees. If you feel like you need it. If you feel like your island looks nice and cool as it is, you can just stop wherever you are. Take your time, have a look. If you are happy, leave it to completely dry. And jump into the next part where we will paint the first wash of the bulb. Otherwise, keep watching the video and pay attention to what's happening. What I'm writing here in there. You can see that some places in some more greens mixture, I'll also add a little bit of burnt sienna and I'll be more brownish shadow. I just want to make sure that in GM from the VMI pinching formed too dark or too light. So please make sure that you are stopping from time to time and taken taken time to observe what's happening on my paper. Coupon, am I on the brush strokes that I'm using them as you can see, the lemon yellow I'm glazing over the bush on the upper and on the right-hand side of the Bushman. And I'm also using mostly the belly of the brush using considerably thicker mixture. So they have a lot less water. And I'm trying to use a lot of dry brush strokes. So I'm dry brushing here and there. I'm not really hurrying up with the way I'm painting. Before I continue do anything else. I just wanted to make sure that my painting is completely dry. But here finally I'm showing you, I felt that the bushes and the darks, right there are very, very dark for my liking and for the way how I was expecting this photo to look like. So I'm using gentle main brush without holding a lot of water. I'm dabbing it on the paper. I'm lifting the color with my paper tissue. Seems the next lesson where we'll paint the first wash of the bulk. 43. Boat in Water - Paint the Boat First Wash: Before I start painting the boat, we need to just remove the masking fluid and I will use a rubber cement pickup. I sped up this part here four times. So for some reason my camera was neither shaken a lot. I didn't want it to get you any headache and I much rather just to remove the masking fluid quickly. And boy, if you don't have a robot smells, you can also use your finger to rub. Just make. Keep in mind that it will leave some oil on the paper. Or you can also use a paper tissue or lung cancer. Ok. Just curb it gently so you won't tear your paper. And also before you start creating the first wash off the boat, makes sure that you change your water. So by using clean water, you assure that you have nice, clean, vibrant colors for your boat. This is the focal point of our painting. And to paint the boat out, we'll mix carmine, but you can use any cooler red that is closer, is pink, that is closer to the blues. So you can have nice and vibrant purples. And I'll mix the carmine with cobalt, turquoise by White Nights. It's the very light turquoise color that we used earlier for the water to make it easier on yourself, you can create tiny little puddle of carmine. And also you can create a little photo with cobalt turquoise light. You can always intermix them in the middle of your palate. I felt like my pencil lines have disappeared, so I just decide to add tiny little outline with my mechanical pencil. But if you're outlines are still visible, just skip that step. Here you can see my struggle with the front of the boat is still quite big. So I'm just trying to make the best possible shape before I start painting. And I'm finally happy that my painting is looking a little bit more pointy and all dots around, I can start painting the very first store on the boat. First, we'll start with water and luxury of carmine. The outer stick, this one that is closer to the island. I'll skip a little gap for the sticks that are sitting perpendicular on this first one. But if you feel like this is very difficult for you, don't worry, just keep adding Carmine them as well and extend them to the other side of the boat. So covered all of the texts with the light mixture of carmine. If that's a little bit easier for you. Later on, we'll add a little shadow on the bottom side of the stakes that are perpendicular to this one. So that will also show us that they are separated. Here. First, I'll start I then how about your quiz with a colleague of mine? And that will create very nice light purple color. I will apply it to the bottom of the first step. And that's showing us that the light is hitting from that, I can just take your time and use the tip of your brush. You can see I'm using my synthetic brush. It's holding less water and it's easier to control. Calcium also add in certain places, so the mixture with more carmine and certain places with more cobalt, turquoise blue. Just where I'm creating a little bit of variety. It's blending very nicely and gentler just because the stick was still wet from the previous mixture of Carmelites. Next I'm switching to my medium sized round brush. Then I'm starting to create mixture of carmine with French ultramarine. And I'll also add a tiny little bit of burnt sienna and cobalt, your quiz from White Nights. And this way I will make a little bit darker and more purple. I will use the same mixture to apply the darker parts of the shadows on the stick. Just because I felt that I'm walking darkness and richness in the color. And also, I will use exactly the same thick, dense and dark mixture to paint the ropes. So they're distinct by the six themselves. If you feel difficult just to create straight line, I'm suggesting that you paint one straight line instead of dealing with small, tiny lines which can create for the lines. And I'll continue using the same card dark mixture to create the shadows. The bottom of the chick that is closer to the real. Next, I'll add more water to the purpley mixture. So we'll create a lighter value of the same color. I now start doing exactly the same exercise with meanings too. Here as you can see, I decide that instead of painting them one-by-one and to be a lot easier for me to paint them both together. A very small area to cover with paint because I'm using a cotton paper, it will remain wet for longer. So I'll have enough time to paint them both to get up. Now I'm using still quite watery, but a little bit darker mixture than the very first layer that we applied. I'll start adding the color to the bottom part of this tip. I'm going to be the same option with the second one. Curator can see that I decided to add a little bit more dimension to the shadowy parts of boss checks just to make sure that I have more control over my brushstrokes. I switched my small brush, which will give me a lot more control over my brushstrokes, just because it's holding a lot less water, even though it's whole unit less pigment. The main idea here is that because it's holding less water, it will, I can continue working only with the tip of the brush. Here I start creation of very light and watery mixture of carmine with a little bit of cobalt, turquoise. I'll start applied to certain areas of the boat. I am just creates a flat layer of paint. Carefully painting around the sticks on the boat from making sure that I'm using enough water. So in a minute too warm, so I'm happy with place and the flat the flat colors. I can drop a little bit more color so I can make them a little bit more interests. So here I'm happy or AG, place and the flat color and I start grabbing different shapes, different nuances of purple, some with more blue, somewhat more French ultramarine. You can even add a little bit more cobalt your quiz. And you can even use chocolate is blue from White Nights, which is a little bit more each color. Keep adding different shades of purple to the flat layer of color that he added. I want to make sure that our ad, the more bluish colors on the right hand side, once we're happy with them, leave the boat to completely dry. And I'll see you in the next lesson where we'll paint the final details. 44. Boat in Water - Paint the Boat Second Wash: You can see once the colors dry day Local of lighter. But this is a desire to resort for us as who'd like to keep the inside of the painting, in this case a little bit lighter compared to the bolt itself. So we can keep the bulk of the focal point and the inside part of the boat a little bit lighter. So start applying color to the white of the paper that all of the remaining of the white of the boat. And I'll start with watery mixture, very watery mixture of purple. If you cover some area that you chunk, it should not. You don't want your color to flow there. You can pick up the color which are paper tissue and try to use more quick, confident strokes. Here I sped up a little bit the process, it's very easy and the very simple. So we're just covering all of the remaining of the boat with this first color. And all start dropping darker colors on the left-hand side of the boat. And we'll add a little bit of dark colors also. Just on the edges that are on the right side of the boat. Just to suggest That's the handles are a little bit lifted. I'm perhaps we can see the shadows that are cast it from the site of the bolt to the inside part of the book. You can use also clean damp brush to soften the edges. Where do you feel that it would be helpful? And leave the paper to dry before we start darkening the left side of the boat. Now once our paper is dry, we can start applying the darker mixture, some grabbing some French ultramarine carmine. And that will give me more dark and intense color. I'm adding water, but I would like to still keep my mixture considerably and keep adding cobalt, turquoise, blue, just because I would like to keep all of the local colors. The painting for startup line, that's dark mixture to the left-hand side of the boat. This is basically the side of the bowl that we can see. Paint very carefully by skipping the sticks that are on top of the boat. And makes sure that you are using the same mixture to the whole left side of the boat. The whole site will be exactly the same column. Also makes sure that you paint carefully around the front of the boat. And you fulfill that. You would like to add a little bit of the darker mixture to the right side of the boat. And if you're not feeling confident using the tip of your brush, which are medium-size brush, you can always skip to a smaller brush. Just make sure that you can. You can keep your strokes very confident. You can. You can work quite fast as well. Also, as you can see, I felt that I'm locking darkness of the same mixture. So that's why I decided to apply it also on the bottom of the sticks and also on the notes on the ropes. For this part here I have an addict pencil sketch. By default, it will be interesting plot, tiny little detail on top of the chicks. So we'll attach them to the boats with this little lines that will suggest some plastic or perhaps a ropes that are holding them to the boat. I will also use semi dry brush up a little bit of texture to the inside part of the boat. And if you feel like it's too much, you can always soften it with a clean, damp brush. But I will continue using dry brush technique just to add more texture here and there, just where I'm feeling like it needs a little bit more interests. And if you'd like to create Finn lines, you can use the tip of the brush and you feel would like to create both dry brush techniques. You can use the sight of your brush. Just make sure that you are doubling your paintbrush on the site before we applying the paper. Also, as you can see, the colors that I'm using are easily liftable. Where I'm feeling that I painted over areas that I don't really like. I just lift the color with my paper to show. I'm going back with semi dry brush just to add some more texture to the boat. Here, I felt that it would be nice to add a little shadow under the plunk on the boats where we will use seat. So that will suggest that the plank is two-dimensional. It's not just two straight lines that we don't know what they are for. But this is ideal Planck. And I add a little bit more cooler to the front of the boat. Just play with it and add color where you feel that you needed more. Keep our session which our own pinching and you fulfill that you are happy you can always stop. Move around and leave it on the site and don't worry, you can always come back tomorrow or the day after. If you feel that you want to add something, something else, you can always add it later. The thing is like once the paper dry, it very difficult to lift out the car. And you can ruin some of the other layers of the painting as well. I am the very last chunk I'll do for this painting. I decided that even though I have shadows under the boat dot there in the water, that could be also a reflection on the sand where basically the sun is looking a little bit darker because of the shadow on the boat, onto the wall. But I feel like the shadow is too far away from the bolt itself. So I decide to add also personal shadow, which is on the surface of the water. And just to make sure that I'm making it more realistic, I'm creating the lines softer, but also I want to make sure that I'm adding the shadow underneath from a zigzag manner. It'll look more realistic. Once you're happy with your painting, you can choose one of the local color or make a thicker mixture and you can add your signature. The bottom of the beam check. In my case, I'll use car my french ultramarine cobalt turquoise job because I feel like that'll look nice on the right hand side of my page. Then you can remove the paper tape or in my case, the Magic tape. I, and that's it. We're done with our third project. I hope you liked this project and once you create it, you can just go over to the project and resources section of the class and upload your project. You can add any notes to it as well. And I can leave you my personal feedback. I'll see you in the next lesson where we will start with a pencil sketch for the fishing boat. 45. Fishing Boat - Pencil Sketch: Hello my friends and welcome to our final project where we will paint this fishing boats. Before I start painting, cool, start once again with our pencil sketch. And this time it will be a little bit more complex. So who establish the horizon line almost on the very top of the painting. I'll leave a little bit more space for the Sea area. You can see I've made a crucial mistake. Maybe not so crucial for beginner, but for intermediate artists. You can definitely see the error in my final piece. If you'd like to create a better composition than what I've done here. I'm suggestion that you'll place your bolt and the palm tree in the lower third of the painting. I was so confused once I added the sky area and the water line. And I just didn't realize how the bolt and the tree or position almost in the middle of the painting. And once I finished the painting and start assessing, being curious what I really don't like on the painting there, I have a look. And after taking a little bit of time to sit on it, I realized that the boat and the palm tree a little bit higher. If you'd like to make a little bit better composition. What I've done here, just place your boat and the palm tree a little bit lower. Just keeps, makes sure that you will keep in tangents. Once again. So if your tree is lower, makes sure that the top of the tree where it's meeting the crown wants it on the same line with the sea or with the mountain, but rather all sits somewhere in-between. Okay, and now let's have a look what's happening with our pencil sketch. And you can see that I already start drawing the bolts. And I will start by creating the access of the bolt. So I want to make sure that I know which is the middle line of the bolt way, the boat who lean on, in this case, the axis of my middle line is ln 110 degrees angle. So I just wanted to make sure that I have the correct angle first of the bolt. So it's not looking like it's a little proper fall down on the sand and it's not looking very straight. So we still want to make sure that it's laying gently on the tree. I know once we know that we can establish the first line, we want to make sure that both of the sides of the boat will be exactly the same size. They will mirror each other. In order to do that. And to be easier for us, we can create one side. And then using the middle line, we can make the shape of infinity on top of the bolts. Of course, I wasn't thinking about it while I was creating the pencil sketch itself. But if you pay attention to the finished painting on your right-hand side, you'll see how much easier it will be for your procreate, that you could just create the shape of infinity. And then you can pull the sites of the bolts towards the middle. That acts towards the bottom of the axis line in the middle of the bolt. Also makes sure that you won't make the sides of the boats very oval or you want to make them very straight. Either. The bottom, for example, of the bolt, will look more narrow, but also it won't be very shuttling. Having very sharp angles. Just take your time and you can observe how I'm creating the pencil sketch from the beginning to end. And you can follow me step-by-step. Or the better way is if you just take your time and create a pencil sketch yourself. Once you watch the whole video, you can, you can take a screenshot of the Finch pencil sketch and then you can create it in your own face. It will be easier for you to understand which element is going where exactly. I know that I could clubs the parts that I'm erasing by fault is very important for me to share. That. Doesn't matter how many years of experience we have. We still need the time to practice drawing. And how important is the drawing? Final, for the final painting. And not only for this painting itself, but drawing is one of the most important skills that you can build as an artist. If you would like to master your drawing skills, some highly recommend him to double check the basic skills course from the series, the art and science of drawing, vibrant if stone. And you can watch it here on Skillshare. So now once we establish the main shape of the boat, we can start adding some of the details. And we'll start by creating just tiny little parts here on the front of the boat, which will be mirror image on both sides. Site will be exactly the same on both sides of the boat. This is perhaps the easiest part, so you add just a tiny lines on both sides of it downwards. And then you connect the shapes. And also slight slope on the back of the boat will start creating the cross. That's one of the easiest elements. That could also be just straight, parallel and vertical lines that will create 9s degrees, angles. All sides. You can decide for yourself how thick or thin you'd like, and how long the bus will be as well. So in my case, the right hand side of the middle horizontal bar, I will extend a little bit further than the middle power part of the boat, so I'm avoiding tangents. And I will keep the left side of the bar just before I touch the middle or the end of the paper. But it can also extend it further is not necessary to finish in the outlines of the painting in the end of the day, this is just part of the view that just in front of us, once we created the straight lines for the cross, we want to make sure that we will add tiny little outlines on both sides of each bar that will suggest that there are three-dimensional. So you have just two sites that are facing us that will create illusion, that actually metal bar thick and bend it and it's creating a hollow part in the middle. And we want to make sure that we will do that for both of the bars on our cross. I'm making more prominent the lines on the top of the boat. Where we'll also create this just to wavy lines from both sides that will suggest either row or just something that perhaps this is making it easier. So hold the bolt whilst you're pushing it in or out of the water. In this case, there will be a good change some both sides of the bowl. Also, before I start creating this metal stick, I want to make sure that I know where exactly is my shoreline. I'm also not creating fundraisers once again, just to make sure that I'm keeping everything simple, I will make the lines off the shore a little bit more prominent so I can see them but not that dark, that will be visible once I paint with watercolor. And it's completely up to you. You like, add to that metals to your painting called you like to omit that detail from the painting completely up to you. I think it's just adding to the painting. And I don't mind, I didn't lose detail is giving me one more reason to create shadows on the boat will have basically cast shadows from that little metal. I know have cast shadows also on the boat from the metal cross that will help sites. And now we'll start painting the planks, boats, which I think is one of the most interesting part of the painting. And he's bringing very intricate details the painting itself. So for me, it's very important to keep in mind that the planks on both sides of the boat will be inlined. And they will add a lot of interests to our boat, which is the focal point. Our painting. Here, just take your time and draw all the plunks one-by-one, and tried to make sure that they are Miriam and the right-hand side of the bowl. Once we add all of the lines for the flanks, we can go ahead and add the sides of the blanks so we can make them look a little bit more interesting. And that will also make our boat look more realistic. Follow the same step for the other side of the boat as well. And you show our lines to look very dark and permanent. Use them. Always liven them up with kneadable eraser. If you really don't have one, you can always use just a simple eraser and just make sure that you want to remove the shaver with the palm of your hand, but you can use a brush to remove them. This way you avoid any oils from the palm of your hand, your watercolor paper. Because this can affect the way how you behave on the paper. And the final outcome of your painting. Happy, which are both we can proceed to the next part of the painting. And even though I'm drawing once again the shoreline, I'll erase the right hand side of it. I don't want any lines to be shown through my palm tree. And also on the upper parts on the horizon line itself who create some distant mountains. But it's completely up to you, or would you like to have them in your painting? You can omit them and just take your artistic license. Gets, but they exist. Fighting. It's interesting exercise to add the distant mountains. So if you'd like to practice that, you can add them to your final painting. You can just practice them on a separate piece of paper. Just when drawing the distant mountains, keep in mind that they won't have very sharp tops of their very far away from us. And we don't want to mirror both sides of who don't want to mirror the way, how the mountains look on both sides of the paper. So in one side, one side of our painting, or they can be higher. Yeah, This idea can be lower. If you'd like. You can always position them all on one site of the pain tooth and leave the other side completely blank so there is no distance mountains on the other side of the painting. It's completely up to you. How would you like to do it? Once you're happy with that, we can start painting the trunk of our tree. In this case, the top of the tree I make thin, but the bottom of the tree I make it thicker. So it's a little bit more stable. This way. Looks like the tree is leaning towards the water and it's going basically further away from the boat. And also further away from our viewer. It's completely up to you. Would you like to keep the tree with straight lines or you can make them a little bit here and there. It's not completely necessary for the palm tree for prostate lines. So you can always make it even Lehman up towards the left or right-hand side. Perhaps in this case, it would be a little bit better if it moves towards the left side of the painting. This is where our focal point is. Also we won't draw in your roots. So imagine that the bottom up our tree trunk is just covered with sand. And we won't really worry about seeing the roots of our tree. Also, for the, this palm tree will create a crown shaft. And this is the part, the fic part of the tree where the top of the trunk and the crown or micelle also add few lines suggesting the PTO and voracious. But we won't draw in individual cells. Once you're happy with your pencil sketch, you can jump into the next lesson where we'll add our first wash of paint. 46. Fishing Boat - First Wash: Hello friends. Before we start painting, Gu want to make sure that we have both flower charts with clean water. And I will start reaching a plateau of French ultramarine. You can see that I'm taking a lot of pigment. I will also add a fair amount of water, but I just want to make sure that I will have a good amount of pigment as well. And I want three away to the sky area. I will just speak French, ultramarine with my brush. I would choose it. But it all become a site like that. So the paint around them downwards and the one in harsh lines. Just to make sure that my sky will stay a little bit. Wait for a little bit longer, I add a little bit more water. And then I can go back and grab some more pigment to add to the sky. But if you have a very nice watery mixture of French ultramarine full of pigment, makes sure that it won't be too weak. That mean that you need to paint your sky once again, then usually there's just not a very pleasing. So in my opinion, the best thing you can do is to paint it. One, makes sure that you have a nice thick mixture of mine before I start painting the sky. Also to make sure that I'm keeping the trunk of the tree. I'm not really bother and where the corona of the trees, what I want to make sure that the trunk of the tree will remain light, also will have a light. The colors like yellow, ocher and burnt sienna, which if they are applied, they may not color the trunk itself. I need to paint over the trunk. You can always lift the color which our brush. Just use a clean, damp brush and make sure you are not in particular, some more water up to the sky and that can create cauliflower effects. Here I prepare myself a mixture of yellow ocher and this time I make sure that they have plenty of water. And I will have also paint pigment. And just before I start painting with the yellow ocher, you can see my magic hand to my niece was in the same room when I was painting this painting. So she'll pass me the buffed and buff titanium. I will use the paint job from Daniel Smith. But if you don't have Buff Titanium, don't worry. You can use, for example, are all unbounded. Just water it down a very nice knee or you can even use sienna. There are also very nice and beautiful sound colors. This time I felt that this color will go absolutely beautiful for this particular painting. So I just wanted to really use it. So you can see how it looks on the page. So if you've never used buff titanium pigment, white sex column one, which ultimately mean that is made from white pigment. But it's not only white, it has a little hint of Beijing. But I love it. It's beautiful sand color. If you like to pay my opinions, marine painting or as well, if you'd like to paint cityscapes, I think it's a great color half in your collection. Here you can see that I'm pretty awaiting my paper this time just because I want to make sure that it will remain moist for longer. So I will have longer time to paint on. And I will just make sure that I keep adding water over over my boat, over the tree trunk. And I'll also avoid adding water over the rustic corrals. If you're not feeling confident, which in this tiny detail around just tiny details which are big wash brush, makes sure that you are using both of your brushes so the big bushy or use them to cover the larger areas. And you can use your medium size brush to wait around this fine objects. So if you pay attention, I'm not adding so much water. Like for example, in our second final project. I'm just adding enough water to remain moist. And I always made sure that I don't have any puddles on my paper before I start painting. Because this can really affect the way that you are painting. Can it can create cauliflower further down the line. Share, I'm just grabbing some buff titanium and I'll make a little puddle. Buff titanium with my large size 12th silver black velvet brush. Here you can finally see how the color looks on the palate. And that's why I like this particular palate. So just because It's showing me how the color will look on my paper as well. And this is one of the perhaps most interesting about painting with watercolor. And the biggest difference with painting with oils. When you're painting with oils, a lot of artists are using three pallets so they can see more accurate how their color or slow flight. Because watercolor is transparent medium, the best chimp we can use for what the course is to use white palette to mix our colors. Here I start applying the first layer. So I start painting, painting with the buff titanium. And this is the lightest color I have in my palette. Just to make sure that I will have it in any area that I would like. You can see I'm applying it almost everywhere on my paper. I'm not really worrying that it contains a white pigment. Us it will mix with all of the other color samples. Chill, look very, very good. While I'm speaking about it, I really want to warn you once again that it's really important to mix your colors before you start painting your final projects and your final painting. And see how they behave together and how they behave on your paper as well. Here I add a little bit of raw sienna color in-between, yellow ocher and buff titanium. And I'll also grab yellow ocher now, by using all of these different colors, I'm just adding more and more interests to the painting. And I want to make sure that all of the colors that I'm applying, it will be visible on the on the sand area, or otherwise said, once I start applying the next layer of paint, I want to make sure that I'm skipping some places where the previous color are still visible. Here I'm carefully painting around the tree. Even though you can see that I have visible outline between my shore in my water. You don't have to really worry. I create him straight line does because the shore usually don't have straight line, but it's a little bit more wobbly. If you create a little wobbly line. And also don't worry, if some of the colors that you are applying now will mix with the blue, they won't create green either. One of the car stuff I'm using currently will mix with the with the blue colors and they won't create any green. And also some unhealthy umbo that will create even more interesting or painting. So I'm choosing all of these colors which are very close, so one next to each other. They mix very well together. You can concentrate the more vibrant colors closer to the viewer and don't really worry how the colors will look exactly closer to the shore. We can always mix them with the seaside. Well, I'm happy with that. Or umber, I'll just grab some burnt sienna. I'll also add it into our show. Keep in mind that the foreground should be more vibrant than the middle ground. You start applying more vibrant colors and also darker. Makes sure that you're applying them closer to the viewer or closer to the foreground of the painting. The colors in the middle ground will mean a little bit lighter. I'm not that vibrant. Instead, we can just keep the muted colors on the middle ground. Also out a little bit of splatter. You can see even a little bit to the middle, ground out more water there. And I can pick up some of the paints when I feel where I feel that it's way too much. If you feel like you can also add splatters with any of the local colors that we use for our painting. So in our case, you can add splatters with buffet team, yellow ocher, raw sienna, or burnt sienna. Just keep the same rules in mind. The more vibrant colors will be in the foreground. And also, we want to make sure that the most interests on the foreground, the middle ground rule, will keep a little bit more empty. So the most of the interests will be concentrated on the foreground as well. You can grab some splatters of clean water and slapped him there. They'll push the pigment away and it will create even more interests before we continue. If you would like to avoid I didn't some splatter into the into the boat or into the sky area or water area. You can always cover them with paper tissues. Or if you forgot to cover them with paper tissues and you already create some splatters don't want. And most of the colors that we already use in easily lift the bow. So you can just use a clean damp brush. Weights the area where it created this plot are assumed that work with paper tissue. When you're happy, which are foreground, makes sure that you leave it to completely dry. Before we proceed to the next lesson. I'll see you in the next part where I will paint the shadows on the boat and the trunk of the tree. 47. Fishing Boat - Adding Shadows: Hello my friends. In this part, we'll paint the sea area and we'll also bring the shadows up our boats, our family tree. So I'll start by applying an even coat of water, the water area. And to share, I won't add too much water. I won't bother. How wages the paper, just because it's a very small area. I'm not really worrying how long time I'll have to paint. Just make sure that you have enough water. So once the paper absorbs the water, you still have sheen on the paper as watercolor paper is very thirsty. So just try to find some balance of having some moisture on the paper without having photos and you don't want it to wait. So that means we need to add a lot of pigment into our paint mixture in order to create a more vibrant color. So I want to make sure also that I'm painting carefully around the horizon line, even though we have our mountain range there or this island. And let's see what it looks more like a mountain range from the distance. And I will start by applying some French ultramarine. You can see that also I grab some paper tissue and not all at around my finger. And this is ensuring that I have my paper to show very, very close proximity and I can use it at any time. Here. I felt that the bottom of my seat was very vibrant, was too vibrant and the French way too much. So I just add a little bit of water to it. And I'll start adding more French ultramarine and the top of the sea and gradually bring it down towards the shore. As you can see, I'm also trying to create some ripples in the water. And don't worry, if the paint goes over the shore, you can use clean damp brush and soften the edges. And it will be perfectly fine as the water, of course, is covering the shore from time to time. Just make sure that you are not pulling away too much color until the shoreline. If you just have a little bit and you can soften it. Otherwise, I will suggest you to lift the color instead of just soften it. Here you can see keeps often in the lines that I have created. I feel like I'm lacking smooth color. So that's why I grab some more French ultramarine and try to add some more water. Also keep in mind that variables close to us will appear a lot bigger. And this one, for a better way, we will appear smaller and closer to the horizon line, they will almost disappear. So it will look like a flat color. Here you can see I keep softening the edges and apply some French ultramarine here and there just where I'm feeling like. I'm also one more thing to keep in mind. I know that our tree is in the middle of the painting, which is not, of course, the best you can do, which are paid with your composition. But as we discussed that earlier, I didn't pay attention to my composition. And I think that's good because you can see that it doesn't matter how many ear somehow painting experience you have and how many times you practice composition and think about it. Once you start painting, sometimes everything has gone out of your mind. So just Always assess once your radio, which our pencil sketch. Take your time. You can step away from your pencil sketch. You can even ask somebody else. They can always give you their honest at least ask them for honest opinion. Is there something that's looking off the leaching? Is there something that you can better in your art? And I know it's sometimes nice to receive negative feedback. But I think it's very important for, especially for artists to receive negative feedback. It can be very constructive. If it's a constructive feedback, yes, that's wonderful. If it's just negative vibes towards you, it's not a very desirable. Here you can see I'm French ultramarine and burnt sienna. And I vary the colors to create the mountain range. And also I use the time to create the reflections off the mountain range into the water, which it's very important to create them exactly the same size if it's the opinion of the time of the day, of course, if you imagine that it's very the sunniest, a very high. Sometimes you can see that even if you look at your own shadow, you can see it's very close to you. When, when the sun, it's another little bit lower or higher. You can see how long your shadow can become. In most of the cases when creation, mountain ranges or distant islands, they will reflect exactly the same size in the water. Keep in mind, the water is also reflective surface. Doesn't matter, is a lake or sea. When the water is still the reflection on the landscape, it's perfect because it's that afflicting the surface and it's very flat. However, if the other ripples or waves in the water, the reflection will become distorted. Okay, Let's jump into the shadows now. Psi you some mixture of French ultramarine, burnt sienna, and yellow ocher. So I'll create a color closer to burnt umber, Let's say first looking like muddy, yellowish brown, which is not very dark. It's dark enough to look like a shadow, but it's not. It's not too dark. Also, all of the colors in the mixture are easily lift the ball, in my case, because of the pigments that I'm using. And you'll see how important is that. In my particular case, just because I created the shadow of the bolt onto the sand. And I'll pull the color of us where a shadow meets shadow, we have soft lines. I'm aware shadow meets light, we have hard lines. So before you leave for harsh line where the shadow of the bowl just lean, makes sure that you add also the shadow from the tree trunk. I'm here, you can see I'm trying to make sure though, that half harsh partial line in-between both sides of the boat and I'm creating soft line where the boat is making the sun on the left side where the shadow is. So if you have any opportunity to, to watch for this part of the painting, before I start painting, that would be absolutely wonderful. So you can clean roof shadows when Daniel Smith. And then you can also soften the edges altogether. So you won't have struggle. If for all of your paints are easily lift the bow like mine. Don't worry too much about it and just follow step-by-step what I'm doing. Here. I'll also start painting with water mixture of French Ultramarine. And I will start painting this soft part on the top of the boat. And I will also try to add shadow in the middle part. You can add any color, but I felt nice if I use the same color that I use for the shadows to keep soft and invaders underneath. Can you eat it? You can always find a little soft changing the middle or the blue belt that is sitting on the boat. I don't know what is said by it looks like Bluebell be on it for me or something, the gummy. I don't know what is it. But it's really interesting. Can you look so very soft? And I want to make sure that I will represent it very nicely. So just to make sure that you are not using too much water when you are painting this part here. You can see it here on my water is still remaining quite clean. I'm not really worrying. I'm mixing here a little bit. Leftover paint with a lot of water. So I feel like they're left side of the boat so it's dry and that's why I'll add this watery mixture on the right-hand side of the boat, which if you're Bolt is not completely dry, just blow dry it quickly for one minute. Or you can also leave it to dry naturally if you don't have hair dryer, or at least take your time and the wait long enough so the paper, so it won't disturb the pigment on the paper on the left-hand side of the boat. So you can see we're just change the color of the bolt. So it's not paper white. Have some color by smoked. Not that dark color on the left-hand side of the boat. You just want to have some color suggestion that the our boats painted. But we still wanna look white when we're looking at it wholesome, using the same water mixture to paint the inside part of the boat. And I'm making sure that I'm painting carefully around the pulse. I'm not bothering auto about the stick on the right hand side as it's so thin, I need to be a lot darker, so I'll paint over it anyway. Here I just grab a little bit of French ultramarine with burnt sienna mixture and I'm adding it to the inside parts for the boat suggestions and shadows on the inside part of the bolt. But as you can see, it's too watery mixture, but it has a lot more, a lot more French ultramarine burnt sienna. So it's a lot cooler. Also, I'll soften the edge gently underneath that green part. But when I'm continuing, I didn't color. I don't want the color to flow away too much. So I just say I don't want to make sure that I'm not using much water when I'm painting. To reassure that you can see how many times I'm dabbing my brush onto my cotton. Iraq, I switched to a smaller size eight brush. And now I'll fill up the color and the upper part of the boat. Once you're happy with it, you can let it completely dry and then we can start painting our tree trunk. You can see in this part I'm just chicken with the buck side of my hand. Is it my paper completely dry? And then I can start painting the tree. First, we will start by applying a little bit of water. So we can work with wet-on-wet on the tree and just carefully at the water only to the part where is the tree trunk? Don't overdo it. We need just tiny little bit of water so we can use the wet-on-wet technique and keep our people more. A little bit longer, but you can see that I'm not applying too much water. Just one even coat of water. It's absolutely enough. If you add water to the sand area, you can lift it up with your paper tissue. Once you're happy, you can start applying yellow ocher. Or you can see I'm using some raw sienna, but they're all CNI is completely unnecessary. So if you don't have raw sienna in your palette, you can just check to yellow ocher and it won't give you much difference in their results. Ostinato sienna, It's a fairly light color and you can see that I'm using it very watered down. So the main the main color on the tree trunk, who'll be yellow column. After that, I'll start applying the shadows on the tree on the left hand side. That is closer the boat with a little bit of burnt sienna. For the best results, use the tip of your brush. If you feel like you need, you can switch to our smallest synthetic brush. But I'm not grabbing a lot of water and a lot of faint you can see that my mixture is not really moving on my palate. So it's still feel alive because of the water that having a mixture. But I will continue adding more and more pigment on the left side of the trunk so I can try to darken it as much as I can. And the bottom of the trunk where it's meeting the sand. This is the part where it will go up the same colors and we'll merge them with the shadows of the trunk, which will try to match the shadows of the boat. This is this is the mistake that I told you earlier that I've done. Here you can see that I'll start creating the mixture for the shadows as well using yellow ocher, umber, French ultramarine. And a little bit later when I, when I feel like I need to add more color, I will add a little bit more French, ultramarine and burnt sienna. But first I tried to match the color. And you can see it's still quite light compared to the shadow of the bolt. So that's why I didn't hear some more umber and more burnt sienna. Just try match the same shadow color. Here, I'm feeling quite look in the colors that I'm using are easily liftable and also the paper that I'm using, it's allowing me to lift the color quite easily. So that will make it that will help me to March both shadows, the painting a lot easier. And for that reason I'm, I'm not really worrying. So all the colors are easily liftable. And also the paper that I'm using is very forgiving if you would like to lift paint, usual m. So here I'll try to straighten them. The shape of the shadow of the trunk. Even though you can see the side closer to the trace a little bit bended. I'll add more paint on. I'll try to make it a little bit more straight. It will really need to represent the shape of the tree. Also, here you can see that I'm trying to march colors. I'm trying to lift a little bit of the color that we already had applied for the shadow of the boat. And I'm also dropping here and there on the bulb. It's more of the same mixture closer to the trunk and I'm trying to keep everything nice and soft. So I'm not creating any harsh line between the trunk and the shadow. As we discussed earlier, when two shadows Smith, they will have soft edge in-between. Also, I'll add a little bit of color onto the right side of the tree trunk. Just instinct it from the sun area. And when you're happy, just leave your paints, painting to completely dry. And I'll see you in the next part where we will add the final details. 48. Fishing Boat - Final Details: Now once your paper is completely dry, we'll start painting the rest, cross and the metals check on the boat. And if you decide to paint them both, just follow what I'm doing. Otherwise, you can start with a mixture of burnt sienna and paint, either one of the objects. If you created them in your pencil sketch. You can see I left my pain for a minute because I did not have much water into my mixture, it dry. So I reactivate it with water. And I will start applying the water mixture. Burns CMO only into the lines of the Cross. Don't worry, if it's not very vibrant us, we'll come back to the cross and we'll add a little bit more details with wet on dry technique. So the first most important part here is just to establish the color all over the cross. So we can create that elastic fail from the beginning. If you feel that you can control your mixture, you're going use this in teaching brush to add a little bit more burnt sienna here in there. Or you can, you can also use your medium-size brush. Just, just you want to make sure that you are using only the tip of the brush. So we can, we can ensure that we are sticking into the lines of our pencil sketch. And here you can see that I'm trying to add that metal stick. Just little thin layer of paint. It's completely fine. Those we can always come back and add more paint if it's new it but you can, you cannot really lift the paint easily from there if you add too much as you can disturb the pigment that is surrounding it. Once you're happy with your cross and Stephanie, you can make out whether a mixture of either lemon yellow or yellow ocher, because they are both moral pick paints. And there will be both visible over the layer on the sky and the mountains. But they won't completely covered. I'm using a fairly light mixture of lemon yellow, but feel free to use either one of the colors. Anyway, that's the first layer on the palm trees. So it will be covered. The following layers. If you would like to have your palm leaves a little bit more vibrant, use the lemon yellow. And if you'd like to have them more muted, you use the yellow ocher and just follow the directions of the lines that we drew earlier. I'm I know it's a little bit repetitive, so that's why I sped up the process a little bit. But feel free to pose it takes her time at the first layer. You can have them take a break in-between. Once you're happy, you can graph on the board with the French Ultramarine and add it into your yellow mixture. Makes sure that you are just using more yellow, blue here. We would like to have yellowy green. So we can add more layers to our palm leaves. When you're happy, you can add your second layer, which is light, light green with more yellow, I'm less french ultramarine, and follow exactly the same steps. We want to make sure that the previous layers are visible. And also the layers that we are adding. They will be visible as well. But always keep in mind that the blue can easily overpower your mixture of lemon yellow. So just use it more sparingly. Because we are painting wet on dry. I'm expecting that the previous layer of paint has already dried until I finish with the last palm leaf. So I just double check and I can see that I would like to use a smaller finer brush. So I'm switching to my synthetic brush and I'll start adding the third layer of paint. You can see this is a lot darker mixture. I have a lot more French ultramarine here. I'm still making sure that the previous layer visible when i'm I didn't just start layer of paint here. Just take your time and have fun. It's one of my favorite parts of cities, really therapeutic to just add straight lines to both sides of the palm trees. And I just want to make sure that everything is visible. I'm, I'm still adding darker, darker leaves. But I'm having fun. I'm not worrying if I overlap some of the, some of the leaves with others. I see nature do overlap easily. Don't worry if some of the leaves are a little bit longer or shorter than the others, That's perfectly fine and it will look alright. So just trust the process. Also here you can see I'm adding one more leaf that have an outline earlier and I didn't add any colors that I'm not really worrying about that I just added and I think it will look perfectly fine. And if you'd like, you can always add more French ultramarine and dark and even more areas. We can see that here would just even darker mixture. Just a few leaves just here in there. I didn't not at all over the palm tree. Just because I want to make sure that I will have darker, only one side of the palm leaf trees and the other side looks a lot lighter. Here I had a little bit leftover paints. I'm painting the palm leaves, MIR, the same mixture, a little bit of burnt sienna. And I add dry brushing onto the trunk of the tree. So I'm using my synthetic brush and I'm dabbing the paint onto paper tissue. Unlike that, I'm preaching dry brush lines from the left to the right. So always follow the direction of the dark, the shadows of the tree. And because in this case our shadow, so on the left I start my lines from left to right. This way I'm ensuring that I'll have a lovely dry brush effect. Once you're happy with the dry brush and on your palm tree, you can open a little bit of water until your arrest cross, and start adding more of the burnt sienna mixture. So you can see that I might not identify only certain places. Here. I grabbed English raped, but don't worry, you don't need to shreds. I assume I realized my mistake and my soft on the edges a little bit more. Instead of using a mushroom that you can use thicker mixture of burnt sienna. I'm here just because I felt like suddenly I use color that is nowhere else for them to my paintings. I just add water, the mixture down and I add it to few of the leaves just so the same color. It's here and there. Don't worry if you don't have English for it. You don't need to use that color. You can just use your burnt sienna and you can, you can always add a little bit of umber or CMR to the same mixture and continue darkening the cross. I'm using darker mixture on the one side. On the upper bar, on the bottom, which is for the zoom tool. I'm using it on to the upper part and the vertical bar. I'm using it onto the left side of the bar. Here I feel like I'm lacking French ultramarine. I'm lacking color onto that gummy part of the boat. So I just grabbed a little bit more French ultramarine and I just decide. Make the color a little bit more vibrant. And also our soft on the edges in the middle. So I'm adding more French ultramarine to the upper end, to the bottom part of this part of the boats. But the inside part, I would like to still keep failing light. And you can use a clean damp brush just to pull the color a little bit downwards, which are damp brush. If you feel like the color is floating back into the middle part, you can lift up with clean, damp brush once again. So just play with it and you can stop adding color when you're feeling happy with it. Here, I felt that I'm lacking color on the left side. So I'll mix french ultramarine with burnt sienna, and I'll add it to the left side of this rubbery part, which is on the shadow. Because it's in the shadow, I'll make sure that it will be a lot darker. This one on the left. Once you're happy with the color, you can get a clean, damp brush and you can pull the color a little bit down so we don't have any harsh lines there. Here. I felt that the left side of their ovary think is fairly light as well. So i out and Adobe does the shadow mixture that I had leftover onto my palette. And I will lift up the paint on the bottom so I want to make sure that I'm not disturbing the pigment underneath. Oh, so you can see I'm going back and forth. Now imagine more French ultramarine to the left-hand side of the petal worry. Just because once I add the more color on the left side, but I felt that I'm lacking a lot more color here. And I just want to make sure that this part will be more vibrant. Us the bolt and the palm trees are the focal point of our painting. We want to make sure that we have some interests and share. I'm just page and a lighter mixture, French ultramarine. I'm adding a lot of water into it and now added onto the right side on the inside part of the boat. And I'll pull them mixed chart downwards. I want to soften the edges and I'm using them verse that soft. Look inside. And I'll use exactly the same mixture to create the shadow that just costume the cross onto the boat. So I'm grabbing this French ultramarine mixture of French ultramarine and burnt sienna, just make sure it's fairly light, so half a little bit of water into it. And I'm here at Jim and Bill bit more burnt sienna onto the rest to cross. Just using a dry brush and my mixture, it doesn't have much water. You can see that I'm lifting it with a synthetic brush, but the paint is not really moving onto our crossover neurogenetic with wet on dry. I'm also feeling like the metals chip. It's really lacking color now. Once with darker and all the other parts. So here I'm using more French ultramarine with tiny little bit of brown sienna. And I darken this chick and I'll use the same author DM mixture to create the cast shadow from the metals into the bolt. That will add more interest into the boat. Also pay attention to how I'm working on sections. I'm going backwards into that white part between the two rubbery thing and then keep adding of this shadowy mixture. But this time it's a lot more water down as this is still delight the part of the boat. And I'm softening the edges, pulling the color downwards, but making sure that I'm not covering the planks of the boat. Once you're happy with the rubber part, you can leave it to dry. Or if your planks are dry, you can start applying the mixture with umber. I'm softening the bottom. With clean damp brush. This way we're ensuring that we have harsh line onto the top part of our plunks, basically onto the onto the bottom part of the plank itself. But the top part is harsh just because we are creating shadow, but we're often in the shadow with a clean damp brush. So that's why I'm using my synthetic brush to apply the mixture. So I have more control on to where exactly I'm applying the mixture and I'm using just the very tip of my brush to soften the bottom edge. If you are not feeling confident, you can skip one plunk. Just to make sure that you won't have water onto the top part where you are applying the paint. Otherwise, the paint will run upwards as well. The pain will always send on when there is water, but we'll create harsh line if there is no water. Here you can see I'm feeling quite confident with my brush strokes. So that's why I'm not skipping, not all. Just keep adding the paint and softening the bottom edge with the clean, damp brush. I'll repeat the same process for the remaining planks on the right side of the boat, which is our related arts. Once you're happy with the planks on the right-hand side, you can start creating thicker mixture of unborn and start repeating the same exercise onto the left shallowest part of the boat. Here, just to make sure we're creating good contrast. We want to make sure that this mixture will be a lot thicker than the first one. You can do exactly the same if you feel like you cannot control. You're clean, damp, brush enough. You can always keep a plank and apply the paint onto the next one. Repeat the same exercise to all of the plunks. If you're skipping one, once you reach the bottom, you can go back to the top, deal the plank so the completely dry so you start applying the paint onto the remaining planks. 49. Creative Task: Hello my friends. I hope you learned something new in this class and that will help you with your new endeavors. The biggest trigger I can see with any beginner watercolor artists is that even though it gets quite comfortable following tutorials, and we start feeling confident in our own skills. Once we have a look at reference picture, we ain't really confident, competent on our own. This lesson is designed to fight with that exact problem. And to get the most out of your variance. I believe that attempting a creative task will help you to build more confidence in your own skills. I'm showing you that you can paint on your own. Therefore, I have prepared a few folders for your own Unsplash. You can choose a single image or you can combine two or even more for your creative task. So are you ready my friends, to jump into our creative task? Go ahead, have fun. I'll see you in the next part for our final thoughts. 50. Outro: Hello my friends and huge congratulations on completing this class. I'm so proud of you. Even if you haven't taken action yet on creating your projects. I'm still proud of you by staying with me to the very end. I hope that now you have watched the whole class. You can go back and start exercising one-by-one. Go from exercise the exercise and follow each and every project. And once you're ready with all of them, you can head over to the project and resources section of this class and upload each and every one of them. I would be very happy to see all of your results and how you, over time, you can access it by using any browser. If you're posting your work on social, please tag me on Instagram. And also you can use the hashtag free list. So I can find your work easily. Until next time. Bye bye.