Watercolor Beach Landscape Essentials: Coastal Melbourne

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the Art of creating a loose and accurate landscape can feel overwhelming and daunting. Where do you start? What techniques do you use? And how do you bring your vision to life on paper? In Watercolor, Beach, Landscape Essentials, Coastal Melbourne. You'll discover all of the essential processes and techniques you need to turn any photograph into a stunning and impressionistic landscape. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of light and shadows, and the final addition of details and highlights. Together, we'll paint a variety of beach landscapes from around Melbourne, Victoria. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create awe-inspiring beach landscapes with ease and precision. Whether you're an experienced artist or curious beginner. This class will equip you with the tools and techniques to unlock your full creative potential 2. Materials Required: Press watercolor paper here, which is a little bit trickier to work on, but still doable For Beginners. And I'm also using a textured paper. This is cold press or medium textured watercolor paper. I do recommend this. If you're a beginner, it just is a bit more forgiving and it's easier to get in flat washes. A bit of a difference here you can see the colors always appear more vibrant on the smooth paper, but a little bit more difficult to control large washes. So let's talk a bit about Brushes here. I've got a few important brushes, and this is a bunch of watercolor mop brushes. You can see they have a larger belly and allows you to pick up a lot of paint to get in larger areas. So if you talk about the scene here to the left, this large area of sand or the sky. These brushes will work very well because it allows you to pick up a lot of paint. Don't have to continue to reload all the time. Depending on the size your paper. I really only just use those to perhaps this one for the sky. And these ones here are some smaller brushes for detailing. So if you look on the scene here, for instance, I've got figures, little highlights on them. Details on the building, the little Boats and the back. No way you can paint that in with this larger brush. So I'm using these ones here. So I've got to, synthetic brushes are but a round brush and a flat brush. I use them pretty much in the same way. But yeah, the flat brush gives a slightly different look. Here is a little fan brush. I use that sometimes just to get in little bits and pieces on the ground. For example, rocks or bits of grass or seaweed, even the trees. You can get an undefined edges and stuff on the edge, on the size of them. So that's pretty good. But yet not 100% necessary. Even you can get by with just those two. And let's talk a bit at paints. So for the highlights, you can see just little bits of lighter yellow. I'm actually using a bit of white gouache mixed with some Watercolor yellow. And this is pretty easy to find. It's coming costs about five to $10 a tube where I'm in Australia. And it's great for the end, right at the end to get in details. Even here the Boats, I've painted those jesting with the watercolor gouache. Otherwise, everything else here is essentially, you've got yourself some cerulean blue, actually missing some of that at the moment. Here, further down to the base, I'm starting to use a little bit of a purplish, grayish blue, darker blue color there. The grayish colors here. I've actually mixed the three primaries together, so my red, blue, and yellow, if you mix them together, you can get a nice gray. I do have neutral tint as well, which is basically convenience gray color. The yellow is that I'm using here. Essentially, I've got some yellow ocher and I've also got some Buff Titanium, which is an off-white color. And I use these quite often in beach scenes to get in the nice lights of the sand and rooftops and stuff like that. Some browns and I've also got a bit of green here as well. So that's a burnt umber here. I've just got dark green, essentially, it's a green code, undersea green, but you can use all types of greens. You can mix up a dark blue with a yellow and you can get the same sort of effect there. So that's pretty much it for materials 3. Beach Houses - Drawing: So the first thing we need to work on is the drawing. And I've taken a little snip of this reference photo and it's actually part of a large reference photo that I took I panorama, but I've taken off a part where I think it looks the best in my opinion anyway. So we've got the horizon line, which is roughly a third of the way through, and I've put it there intentionally just to make it easier for you to separate out the page. So in terms of a third eye, this is what I do. I just put my fingers there and just measure out about a third of the wave from the bottom. There's just draw this line, as you can see here. Nice little, Let's a little line like this and that goes to the other side of the sheep have no, this is very important because you need to have this in the, in order to understand where everything else fits in all the houses and stuff like that, then probably the next easiest thing to do is to get in the water would be to the water coming in like that. And it actually doesn't come in. That file comes in around about here and then comes off like that. So there's not a whole lot of water in there, but who's to say we can't change it around a little bit. On the distance. You can see this, all these tiny little Houses. And once you've got this house, the first one that you're looking at closest to us, which is coming below the horizon line. So if you've got the horizon line running across, it, cuts away half halfway through like that. Okay. So I'm just getting in the side of the house. That's nice little blue cooler sort of beach house, boat house, and just getting it and look, look at things as shapes. So it's just a rectangle field at the side of it. It's your rectangle, free draw rectangle. You can draw this the side of the house. You have got like a triangular shape. Look at this there. It's like a triangle. This is a thing I'll do. I'll put these three little dots here. And these three dots help you to sort of getting the triangular portion of this roof here. Just a simplified version of it. Okay. And you don't have to do then worry about it being all for anything like that. Now further down, you've got actually this porch in front and I'm going to work on this a touch a little bit tricky. This this porch, something like that. Okay. This is important because that's actually going to join up the left-hand side of the of the house. Okay. So just get that gumming up like that. Okay. Too neat, but that's alright. I'm fantastic. And you know, you've got these little steps as one step that goes down, cross that. Okay. Then you've got the other one like this and look, I'm actually probably fiddling around with this too much, okay. But you don't need to really have this level of detail. There's another step. I think I'll just put like three steps in here for the sake of simplicity. Okay? Okay, there we have it. We've got a few steps running down the side of this This beach house, Boathouse here. So I'm going to join this up, is actually a base of the building about here and it's partially covered up by sand. So I don't need to worry too much about that, but we've got a bit of indication here, and I like to put in more details for the bits and pieces here in the front. Because you, obviously, you're going to need to get in more detail at the front then at the back that helps to create more depth. Now that we've got this one, remember the Houses just below the horizon line K. If you look at the horizon line, it cuts through the entire house and then you've got trees and shrubs and stuff like that here, which we can just indicate that I will actually put in some of this width. Most of the, most of the work here just with the brush. So I don't want to spend too much time there. Anything around with all that side of the back of the house. And let's go ahead and put in the rooftop like this and connect this up with the back of the building like that. Alright, I think this should actually slumped down a touch more. It's always bits and pieces in the front of the scene. I tried to detail that extra more noticeable. If you make a mistake. Bottom of the rooftop here. Alright, so that's that one closest to us. Let's get into the other ones. So we've got one here. Side of the roof, side of the building, sorry. And then the rooftop, they're just lines up with this other one in the front end. One thing I noticed as well, there is a level of darkness here as well behind Nice little bit of darkness and this helps to create a separation between the buildings. So that's one. Okay. I'm just going to repeat this same pattern as we go down the scene. So triangle like that. They line up with each other. Then you've got the roof like that, right? As you get into the distance, I find that it doesn't matter all that much. In terms of the details, you just have to get the first four or five Houses in more accurately, but the rest of them, moving on becomes a lot easier. It's kind of part of the step as well for one at the back. This stuff here I'm not going to focus on all too much. You've got some people which are we're actually getting afterwards. You've noticed also that these Houses gets smaller and come further down closer to the horizon line. Okay. You got to hear even that just gets so close to each other. Get closer to the horizon line as you see there. It's another one here. What else do we have? We've got another. Let's just pick out a few more. Look at this point. The detail that you have in here isn't a whole isn't much of an issue because so far back, just go to create this illusion of receding shapes. This same sort of repeating shapes with triangular roof like that. And it just keeps going back. Let's just repeat this. Here's another one. They're all pretty much look quite similar to each other, which makes it easy to pencil in. As we're going back look at that, it starts going and receding into the horizon line, getting closer to the horizon line. So we just want to keep repeating this over and over again. We keep going back into the distance. Here's another one. This one's got more of the side showing as well. More of the side showing it really at this point it becomes so difficult to ascertain exactly what's going on. So I'm just starting to make them really small, really, really small, really small here. And then you see here rather than the back section, it's really just like facing us. And you can't tell they're just bits of white sticking out. And I can spend all day getting in these details, but I think betters to wait till later and we'll get most of them in with some actual Watercolors. Most of the work is essentially done. I mean, there's a little bit of a silhouette of the city, can see just over here and the distance has very, very difficult to see. And in the background here there's also some trees here. So I've just indicated bit of that with the brush, the brush with the pencil quickly. And this will help me later, just remember to put those trees and this is going to help to bring out the Houses. You can even put one in here if you want as well. Let's have a look at the people. This is gonna be interesting. Let's put in a figure walking into the scene. So I've got one finger here. Just put in the body. Head. Always make the head a little bit smaller. And then we've got a leg coming towards the front and this leg moving a bit towards the back like that. Okay. And that to figure there. I'm just playing off what we've got in this particular scene. We've got people sitting around and doing stuff, but there's actually a few more steps and things here that I'll just quickly indicate it's not a big deal, but just to remind me maybe to play some detail in afterwards for that section. But we've got also people perhaps coming through this area. So I'm actually thinking of putting someone and even here, just walking in walking in from the front of the scene. That leg is too long. I'm kinda like this. Then the back leg like that. Okay. Someone walking into the scene and also gotta remember the light source is coming from the left. I'm going to make these, the shadow actually go off and on a little angled rather than just running right. Get it to come off on a slight angle. I think this will make it look more interesting like that. I can emphasize this shadow more so I can change, certainly change things up so that it's not all the same as the reference. I wanted to make just some more angular shadows. You want to make sure all the shadows are in the same, running on the same direction. One that's often a little bit wonky on a different angle. So I've got two figures here. I have a handout and or something, they're not a big deal. Good. Another person may be here just walking around. A lot of this stuff we can just make up as we go. This could be another smaller figure there, like a smaller child or something like that. Walking around. You've got people here in the distance as well, just another person walking. The you could have someone walking to the side. So like in the front and then leg running towards the back. I kept another person here to keep this other one company. Perhaps leg in the front and then another leg running towards the back. You always have to remember that the figures, the figures in the front of the scene are going to be larger than the ones in the back. It's a big thing to keep in mind, a large figure here in the distance. And because that's going to, you're gonna look like giants. Make it smaller as they recede into the background. There's a lot of stuff going on. A lot of people are of figures and stuff like that walking around. You can even put another one here. Let me just see if I can get in a body of some sort leg here, then a leg running towards the back, like that. There we go. That's another figure. And it maybe they're wearing shorts, know, walking through the beach and coming out there. Okay. Good. So I think we have enough here to get started on the painting 4. Beach Houses - First Wash: First thing we wanna do is get in a nice soft Wash for most of the scene. So when we're getting some nice blues, a little bit of the warp view on the horizon line and the warmth here in the sand. So the first thing I'm actually going to do is work on the sand. So I've picked up a bit of yellow ocher and we'll just mixing a lot of water so that 90% yellow ocher and the rest of it water. A lot of it. Just want this to be so light. And I'm going to work on the ground just around here. Also got some other colors I like to mix in. I've got this other stuff called buff titanium, which is an off-white color. And I've also got this other color, that is Australia and red gold, or essentially quinacridone gold. And here I'm gonna put in a bit of that little golden color for the side of these Houses. To emphasize the light on some of them. Make it a little bit warmer on the side of those Houses or lift off a touch of that pain as well so that it doesn't get too dark in there to do that anyway, because it's all very light. I'm going all across, all across the figures. If I go over some of the figures, it's no big deal. I'm just to try to leave some of the details, the shirts and stuff like that, getting some details with the clothing. But look at that. It's that quick rarely cross the side. I think I'll just go everyone. I'll just go over the entire side of the building. It doesn't matter, something like that. The cutting around over here as well. Okay. You have some other yellow which is more of a vibrancy. Yellow can drop a bit of that end. Again. I'm doing that more on their sides of the Houses. Bit of lemon yellow over here that the trees, I'm going to put a bit of yellow in there as well. It doesn't matter because at the end of the day, it's going to turn into green, which is what we want. Alrighty, So what we're gonna do next, I'm going to no, work a bit on the horizon line and putting a touch of red, a little bit of red. And let's just try that out. Nice. And it's very diluted red and this is going to come out kind of pinkish color like this. It's gonna be great for this nice little horizon line. Bit of warmth there. Just looks nicer. Maybe extended up a touch EMC, I would go like that. And let's put in some blue. I've got myself a really nice cerulean blue that I'm going to mix up here. Cerulean blue. And drop that straight in like that. And notice how I'm slanting the page as well upwards like that. So this is going to help the color to diffuse up so that I don't get too much. Too much of it running downwards and disrupting. Do you want some of it mixing down but not to the extent that we get rid of all that beautiful blue in there while I'm here as well. I'm just seeing if I can put in a little bit for the water, a little bit of blue, making it darker as well. The water, probably some ultramarine would help us well, look at that, just getting that through. Some of it has gone into the sky, but I'm not too fussed about that. We can perhaps use a tissue to lift off. But it's not a big deal. Alright, just to have a bit of that, mixing the water, mixing into the sand as you can see. Back to the sky. Back to the sky. And let's drop in mixture. It's kinda like a cerulean blue and a bit of bit of ultramarine blue in there. Like a mixture cerulean and ultra, nice and awesome diffused. I'm not going to really put in much else in here, but yeah, with the top, I like to just especially if you look at the reference photo, the top of the scene is actually a bit darker. So a little bit of extra blue in there. Some neutral tint as well can help like that. This would just blending while the paint is still wet. Okay. You gotta do all this stuff. All the paint is wet otherwise. Otherwise it's going to look too sharp out of place. So top of the sky, you've got a little bit of a gradient going on there, okay? That's very nice. Continue that on. Good. Alright, so in this water I'm thinking to myself, Let's put in a bit of softness, little, little, little strokes. Getting some little waves or something just a bit of, this is a bit of ultramarine blue. Just touch that in there for some areas. I don't want to do it for the whole thing, but a bit of ultramarine and I'm using it, just drawing the brush off before I put this in here. But I'm picking up some thicker paint of ultramarine, thicker paint. So that way it's going to spread less. Okay, when you put it in. So like that, just a little few little marks. Look, it's no big deal just to give give that water a bit of bit of movement. Makes it look a bit different. Okay. I think that is looking decent. Now for the area here on the ground. Why don't wanna do is knocking a bit of paints. So our first you're going to cover off the areas that I don't want to have any paints like that. As kind of accidentally touched on to the top, doesn't matter. Let's pick up a baby. I can put it this way instead. That's better. And let's find a brush that I can flick in some paint, like an old brush. Grab your brush. You've got some brown here on the palette. Just gonna pick up into this brown color and flicks some of these in here. Okay? This is just going to create a little bit of, a little bit of detail and stuff here in the ground. I want to also getting a bit of herbal so that it's not too dark brown, purple or something. If you go, That's nice. I can pick up another brush and just tap it on the page as well like that. And my idea here is just to indicate like footprints and stuff, bits and pieces on the on the grounds because it's easier to do it. Now while the paint is still drawing. I don't want to overdo it though, so I think something like that, it's gonna be fine. It will dry off, do its thing. Something simple like that. And we take that bit of plastic off. You have, of course got a nice clean Wash up top. So if some of these look a bit funny too out there, you can also just soft and so you use dry brush maybe with a touch of water in it even you can just soften some of these edges. Touch. Okay. That's doing it this way. Doing this, doing it this way makes it look more natural, my opinion. And more interesting. Little, some little ones here in the background like that. You can't really see too many of them back there, but these little inconsistencies, they really add extra detail onto the scene. Okay, good. All doing its thing. Should to mingle and mixed together. Okay, so let's, let's give this a dry. Alrighty, everything's all dried off now and it's time to put in some details for the buildings, for the figures, bring this altogether, but mainly want to focus on the shadows. Now, let's mix up some shadow color. I've got some purple for lots of different purples, but purple I find is a nice shadow color with just mixed with a bit of brown. I'm just mixing together a bit of purple with a brown. I don't want it more cooler. And let's firstly go through, we'll do the side of this building first, the one closest to us, It's quite dark. And I'm gonna go through just with this little flat brush work on the side of this building that's moving down. In fact, the top of the building is actually also it's a bit lighter, but let's just put it all in one go. I'll probably getting dark and the bottom of later, some additional darkness later on. Just a bit of this, this flat brush is great for detailing. I can just use the edge of it. You can use a small round brush as well, that works fine. But you've gotta be you got to be precise with this. Preferably only one Wash. If you can. You can do that. Okay, good. I'm here, bottom bit here. And just add some more color, some darkness down below. Getting some more of this purple. I love this purple in here. It's just kidding aside of this building and you're like I said, you kinda got just one go at doing it. That down and a round brush. For some people that are pencil people find it easier to use a round brush. I love using flat brushes for this type of stuff. I just wanted I can get it in a more crisp Edge. When it this way. Look at that. I'm cutting around this figure as well because I know that figure is getting close. Some sunlight reflecting off that figure. And I'm going to just create the steps with the same darker paint, darker purple, and brown paint here. Right here. Just this little step down the side there. You've also got a bit of this step of this one in the background, which is going to be important as well, something like that. Feel too detailed. Right? Good. That's what I was saying before this stuff, these little shadows and things in the background here, the buildings in the back, they actually bring out the details of the light and separate buildings from each other. This little, see this little line there that I'm sorry, painting. It's also a bit of shadow on that part of the roof. I'll just get that in like that just 11 go. Could potentially just just wanted to It's running accurately like that. Here's that flat brush gone. Sometimes I start filling around too much with the round brush and I kinda miss, miss the important bigger picture. So you always have to be thinking of the big picture. Largest shapes rather than painting or the little details. Okay, Let's have a look. I mean, you've got this one here in the back as well. Because I'm painting quite small. The smaller brush does help a smaller round brush. So for example, this is part here of the roof in the background. That's going to need to be just detailed a little extra like that. Leave a little bit of white showing through Assad of the building there. Like that. Good. Let's go ahead. We'll do this one as well. Simpler I can make this the better. I don't want any spending all day. Getting in all these little, little details. Ones in the background just become a little less, less apparent. But you can still see the rooftops. And the rooftops have that same shadow pattern, which I'm going to copy and just bring all the way across with this little round brush that just getting that rooftop. And also some of them have a bit of some of them also have a bit of darkness further below. I'll show you just what I mean, but something like this. Sides of the houses. This one as well. The side part of their house. This one here. But they've all got that same light pattern on the side of them. As you move into the distance, it just becomes a little bit. I'm going to dilute this color touched to make it a little bit lighter. So that just blends out a bit more into the distance. But you've got all these kinda why ours is, as you can see, just tiny little house is just soften that distance and I can indicate the rooftops and stuff like that, but it's not a huge, huge deal. Okay, good. So let's have a look at what we've got at the moment. We've got most of the houses in the details of the Houses. We can put in some more like areas of the steps, tiny little indications, but I'm not fast. Really just tiny bits of something or another down the base. But I think what's interesting is getting in the larger shadow shapes of the figures joining them up, as well as getting the shadow shapes of the building. So I'm going to pick up more of this purple and brown That's mixes altogether. Let's get a darker color. It's putting in, I'm going to change the shadow shape to kinda come across like this. What I'll do as well. Let's put in some figures, just some A bit is something for the shirts or whatever. Little bit of red for the faces as well. Tiny diluted red does help to bring out the location of their faces and kind of thing. And stuff like that as well. Just simplify that down a little bit more. This stuff can be wearing shorts or just that pinkish color like that. Good. Pink for the legs. Put the clothes on in a moment. Okay. So large shadow shape coming across on the ground here. And this is coming out of the scene to the right. Joining this on with purple and purples. You've got a nice mixture. Shadow of coming off like that. And as we move up, I'm going to just cut around these figures again and getting the same color. A bit of darkness here in the background as well. I really want to potentially make it. I touched doctrine in the background. I'm just thinking, what can we do? Probably neutral tint in here to just further draw that out. But we've also got some greens in this. I'm going to just pick up some greens. Is the darker green like this. Join that on with the shadow. Okay. That's it all just becomes one. And I'll leave some of that yellow in there as well. That I think I'll go over that section again afterwards, but we've got some of these branches coming up. Probably a little little brush. I've got one little rigger will be good. And round. And blue mixed together. Round and boo. Okay. This will just be a tiny branch or something. Dry brush. I don't have taken that color. Dry the brush off and then continued on like that. Okay, I'm just trying to make this come on randomized because it looks better when you do this, rather than draw them in to carefully exaggerated a touch as well. As you can see. Whether I want to put in an actual any leaves or something like that. That's still thinking of what to do there. And try. If this I'm Maggie brush that I've got here and you can just do something like that. Just dropping. I have paint on the brush limit of green there for the top of those trees. Darker bits at the bottom. Some areas. The faster I can do this, I think the better I don't want to over emphasize what's going on in here. Okay. Good. And on over the ground. Let's get into some of the shadows of the figures. I'm going to use some purple, leftover purple. Just mix this in a little bit more blue in here. Just want to make this shadows a little bit more bluish, okay? Still watery. And we can just copy that shadow pattern of the of the House and the background like this. So you get, bring that across like that. Let's do the same thing for this one. Join up the shadows with the feet, the legs. Okay. Join them up together like that. That's better together. And we'll do the same thing for these ones again, just like running across just quick little bits like this, joining them up to the legs. The ones in the background. They don't need to be detailed too much. But just like that, running towards the right-hand side, right bottom edge of the scene, I guess. And getting their legs or so if for some of these figures just the same time. Okay? During them up a bit. Okay, good. Now, I just want to make a little bit of detail on these steps. Notice that some of the steps are actually a little darker. So the top part of the steps, because it's kind of catching part of the lights. Know it's a small thing, but I'll pick up up to this purple. And I'm going to just detailing. And that way just looks a little bit better, a little bit more detailed like that. Pretty simple. There's not really much to call home for. Okay, good. So we've got the beginnings of something happening, something coming to life here. While that's drawing, I'm going to work a bit on this silhouette and the background. Just a bit of blue paint with water. Mostly diluted down, blue, mixed in with some purple perhaps. And let's just get in this little silhouette of these buildings and things here in the distance. I'm going to just put in something like that. It's not much but something in there. In the background. I'm going to get in some really dark green color for these the background of these Houses. Okay, so this is, I think she's going to help bring them out. Data like that. Look a little greenish, more green in there, perhaps. Actually go up that father doesn't matter. Because that just sort of cut in and around these shapes at the Houses. And they I'm getting them to be fair bit darker, creating a lot more darkness back there. And I'm going to actually put in some afterwards some Wash as well to bring out the extra darkness. But if, even if I use almost like a black, very dark color here in the background, contrast against these Houses, it brings out the rooftops a little bit. Can you see that just sort of making the rooftops coming out of touch and easy to overdo it as well. So you gotta be careful and you've gotta make it look a bit more randomized. Screen, Chuck bit of that green in there as well like that. And I can just continue working on some of these houses and things like he'll just put in a bit of darkness, just make the bottom of the Houses a bit darker. Areas soften off some of these as well, just the edges a little like that. I don't look too harsh. Softening edges is really important. I'm good. Let's have a look. What else can we, what else can we do a bit of color in for these figures? I might get some blue, cerulean blue that's dropped some into this bigger here in the front. Wish wearing a blue shirt. This one here on the right. Who knows we getting a bit of this warmer color like a pinkish color like this? Why not? Just drop some of the scene, let it in melting and do its thing. Can work in some shadows as well for these figures like for example, just underneath the, this can be a shirt or something and bit of darkness there on the right-hand side of that figure. Create a bit of extra contrast and emphasis of that light source from the, from the right. That, okay. Oops, too much, too much darkness there. I can just double double back again in the background. Now, I don't see much of an issue just in terms of detailing, just get in some of the basics. And leave the light, always leave some light on the left side of the figures. But if you miss it out, we can always go in with a bit of gouache afterwards. Okay. So we're really getting to the end of this. I'm going to give this a quick draw and then we're adding the final touches. 5. Beach Houses - Second Wash: Little bit of detailing. Now, last final touches and bits and pieces. And I will be using a smaller brush, smaller round brush. We got it. Little round brush like this. And there's some areas that I think we can bring out more and add some contrast. Like for example, the side of this building would be good if we had extra darkness underneath the roof top like this to just indicate side of it. And not just that, I want to actually darken the side of it more so more purple perhaps in there. And just bring this down to touch. So then I can further contrast the figures and so that the roof also it looks more contrasted against everything else. Like that. Not hundred percent necessary, but I think this is a good little touch. You really just finishing up and finding some extra bits and pieces in here that you want to emphasize. Round brush. Let's go in. What else can we do? We've got bits and pieces even on the sides of the, you know, there's this doorway or whatever. I think through like this. You've got it have extra darkness up here underneath the rooftops and things where you just want to put in extra darkness. Is actually some of these like, can you seem just these little boards like running across simplify that. Even on the rooftop you can see they're a little indications of like the patent on the roof. So just feather some of these lines through like that. Detailing under present necessary but something you can do extra darkness for these trees and shrubs out in the back. Just another quick layer like that. The water I thought why not just put in a few more of these little waves running through in areas like just darker, darker sort of sharp lines like that on, on the ground. Also, you'll notice these little footprints that we'd put in before. We have some softer ones, but some of these, we can make some sharper footprints like this. Just using a normal brush and just dabbing it on. I've got a little bit of paint on there, but most of it is just most of it is just dry brush down. So you can see we've got different textures. We've got some darker textures that are sharp and some lighter textures that are softer from that wet-in-wet work for all this comes together to create something that looks a bit more interesting. Just to really put in a bit more detail for the bottom of these figures, I can get a bit of dark paint and just outline the legs, feet of some of these figures, put them be more darkness at the base like that. I think that would be better just to anchor them and give them down a touch. This person can be wearing some shorts or whatever. Who knows? The bag here. Running across like that. Just yeah. I just felt like it needed some more contrast. The legs, especially To bring out some extra details. Okay, Good. Um, let me put this put a bag on this person here holding something like that. Some shorts or whatever, maybe on this person's do Wash for the shorts like that. That darkness on the back. The figure there. But have here for some of these figures as well, I'm just gonna pick up some darker color. Place this generally on the head. Top part of the head. Person can have like some longer hair that's easier to do. Good. Here, this figure, this one. Just a little, just a touch of color and also it helps to indicate which direction that people are facing. So if you've just got a little bit of something like that in my head like that looks like they're facing towards us. Where's like this. They're walking into the distance and that could be their hair scene from behind. Okay. I'm just using some pure white Wash here. Draw it off from the palette a little bit, but here we can just bring in the two highlights. Okay? I never knew highlights that we want to indicate. Please, Houses and beats are running down the side like this, for example, we do this side part of that building trick is really just to use it very sparingly. I'm in areas. I want to overdo it. There's there's a figure here, so a little bit of that left side of the figure or here as well, that helps just indicate bit of a light. Here on the backend, the figure back, the shoulders, the in the Houses even notice that it's actually got also these white bits and pieces in there. And it's important, I think, to just indicates some of this stuff. Dabs of paint and this is really like the icing on the cake and have to get everything else right First. We go just a bit of this kind of like the frames of the areas of the roof and coming in like that. And you've even got these ones here in the distance. You can just barely see them. But we can put them in C. Suddenly you've got details in here that you didn't, we didn't anticipate before, but they recede into the background, tiny Lu, Houses until you can barely see them. Just widen down some more of these, a little bit more white and areas. So I've really exaggerated the really exaggerated the the yellow in there. Just to be a separation here for that house as well? Um, yeah. Finished 6. Brighton Beach - Drawing: Alright, so we're going to start off with the drawing. And we'll notice if you look at the horizon line, It's just above the center of the page. If you separate out the center of it like that, I just use my hand and mark around the middle part, bring it up a little bit and just draw a line. It doesn't have to be this exact spot, but just aiming to copy the reference photo more or less than turns of the general composition. Going all across here like that. Some of that is just water. And you can see here, there is a bit of it's kind of interesting. It's like a rocky out shore that just goes out like this and it disappears off the side of the scene around about there. Okay. But you can see it just around in the water. So I'm just creating a bit of, oops, that's too much bit of a jagged edge at the base here, like that. Indications of that. This is all gonna be pretty dark this era. So I can just color that in a touch just to remind myself, later on. This goods. Now, the shorelines stretches all the cross here and comes in. Okay. Then exits out roughly about here. So you've got I'm really not much of the sand in this particular scene. That's all we need to put in there. Let's have a look at the Houses. Now. The Houses I'm going to just drawing, if you look at them as they just shapes, okay. This is a rectangle. We look at the side of the house. It's just a rectangle. Get that in like this. Okay. The rooftop here should be lower. That side of the house like this is triangular rooftop. Okay. And coming down there, right side of that boat house, there's little door here. I'm going to simplify this all down as well so that we've essentially got more shadows just running on the left side of the house. But there's one. Let's put in another one here, is roughly here, same sort of shape. Rooftop, rooftop coming down again like this. Okay. It doesn't have to be exactly as per the reference. Just make sure you've got in the basic details. This here. And I'm going to coloring the left side of these buildings a bit like this. Just to remind myself, I want to get in a bit of darkness on the left-hand side, the and it turns of the the light source coming in from the right. There's a little bush in front of the F. Alright, get that in as well. Tiny little areas here, a little bit of yellow there. Yellowish green anyway, you can see out in the background these trees just draw some of them in. These are going to form bit of a negative shape on the Houses. Okay. This is something out there like a building or whatever. It's pretty difficult to see. It's like really off in the distance like that. But you've gotten course a lot of these trees and things around it. So just, I don't know, may or may not put that in there later. We'll see. You can see they just get smaller and smaller. These shrubs and things, they're fantastic. And of course here you've got some people standing on this rocky outcrop like this. That, okay. Now let's put in some people I'm gonna put in one person may be here. Keep them small amount the back. That's one. Let's put another one here. Maybe there could be just talking to each other, standing in this spot, or perhaps walking together. But you want to keep these figures is pretty small at the back. And as you get even further back, maybe they get even tinier. So always remember, in terms of perspective, you want to keep the figures in the foreground. Larger. Region, one in the back, keep them small. Even the ones over here, you can just barely see them. Barely see them. Difficult to draw this pencil as well because there's, a person should be a bit smaller. Difficult to draw when you go to such a thick lead on this pencil, but something like that. Now, I want to put in a figure here, larger figure in the foreground. Let's put that person in there. Okay. Maybe they just standing around or walking into the scene actually that just straight ahead, notice the heads as well of these figures. These people were making sure that they are round about the same level on the horizon line. Okay. This guy can be walking around the water a little bit just so that I can put that person in a more suitable position. Not too close in that I cover up those other figures there in the background. But this is good enough for our drawing. We get started with the painting now 7. Brighton Beach - First Wash: Alright, if First things first, I'm going to start off with a bit of orange and a bit of red for the bottom part of the sky. So round about here. It's a bit too much, just a bit more orange maybe in here. You will read, good. This just get the scene like that. Across the back there. I want to keep it pretty light as well. Something like this. Now we're going to move, I'm going to shift this sheet of paper so that it's facing upwards. And I'm gonna go pick up some cerulean blue cerulean blue stripe that in there. You're running out. So one in blue, being able to get in enough just for this Wash actually, but we'll blend up. The red will blend up as you can see. Okay, so just picking up whatever is left, my palette of that blue, I'm going to drag that all the cross to the top of the scene. And like that nice soft cerulean Wash. And right at the top, the top, I'm going to add in touch of darker blue. This is just going to come from the ultramarine. Little purple. It's okay as well. Just a little bit darkness at the top. And you have to be much keeping a lot of water, they're still now while the paint is still wet, what I really liked to do is to drop in some indications of clouds. I know there's no clouds in this particular scene. It's up to you whether you want to put them in or not. You can leave it like that. And it's gonna be completely fine. But I'll pick up a bit of purple here on the palette. I have here a little bit of purple. Just mix it up. Touch of purple. Dry off the brush a little bit. Always do this. When brushes a little dry. Let's put in a shape of a cloud like this. And using the side of the brush that can be a larger one at the top. I'm coming down. I've got another one here, trying to keep this quiet free in terms of the brush strokes, so that I've got some little bits of fluffiness in here. Doesn't look to put together. Okay? And it just do its thing. You've gotta do this while the paint is wet as well. Okay. Good. And this is going to dissolve all in here. To put it a bit of darkness sometimes at the bottom of the clouds that helps to helps to bring them out better. But I'm keeping this light, fairly light so that it doesn't overwhelm the rest of the scene. These weird little bubbles and stuff like that. So I'm just trying to pop some of these so that they don't drive funny, smoother paper. It can look a bit weird. Okay, so we've got some of the sky and lastly, placed in there already. And I'm now going to go in with some extra water for the bottom part of the water here, and also the sand and some of these connecting bit there as well. So a bit of ultramarine blue. And let's mix that with some ultramarine and a bit of neutral tint. Ultramarine and neutral team. Let's try this out. Good. Maybe lighter up the top. Yeah, just soften that down a little. I can leave a bit white there as well. Not just leave a little bit of white there. One good thing. One thing you always should remember, just to don't always have to color everything in. You can leave little bits of white showing through the paper as I'm doing here. This really helps to, really helps to bring together. We'll create this sense of reflections on the water. Just little bits. We skip over part of the paper like that. She think this needs to be darker, touch darker. So I'm going to add in a bit more of this other paint up there. And this is while the paint is still wet, of course, you can just fill this in so they look like darker bits of, darker bits of water running through as well. Coming down across here, look at that. This is all now starting to get near to the figures. Cutting around the figures. We've got this figure, they're walking through the water as well. And there we go. Drag that down. Let's pick up a bit more blue and getting the few little brush strokes like this in here. While the paint's still wet, you've got to do stuff like this. You gotta do it quickly as well. Otherwise it will dry. And it will look a little too sharp and we can get in some sharper waves later, but these are just softer, softer waves that I think add to the entire fuel of the scene. Let's get in some light here. Yellow ocher mixing up some yellow ocher. Page, bit of yellow, buff titanium as well. I'm gonna go around these Houses effect, I think with the Houses, I'll just go over the top of them like this with the buff titanium cut around the figures. One thing I wanted to leave as the light, the white edge and see just the Houses there, the right-hand side of the Houses so that there's a bit of white left on there. It's kinda really tricky to do. You just got to cut around them, is I'm doing here. I'm using quite a large brush as well, so it makes it harder. These two work done better than that one doesn't matter. Minus, we'll just call this one in a bit on the side. Good. Now let's bring all this downwards and mix it together with the water. Look at that. This water should still be wet. The water and I'm dropping in a bit of yellow, a little bit of this, a tiny bit of this yellow ocher. Bring some of this down here. Let's join this up with the water further down as well. Okay. Yep. Bit more of that Buff Titanium mixed in there like this. This this should create a bit of join, bit of a tie in with the water down the base here. Let's just, I'm just trying to put in a bit and H4 little bit more of this water, watery, light mix of sandy color, buff titanium plus the yellow ocher to make it look like this, sand and water mixing together better, nicely. Once it dries, it's very hard to get anything else in. Good. So far. So far, so good. Fantastic. Let's go ahead and give this a little dry 8. Brighton Beach - Second Wash: Time for the next stage of this painting, I'm gonna be using a small flat brush and also a small mop brush to get in. The rest of the details are we start with this one first. It's gonna be easier now I'm gonna go in and work on the Houses. And I'm thinking to myself, I'm actually going to simplify the shadows down or pick up a bit of this purplish color, palette, purple. Let's just put in it if this color here on the left side and doesn't have to be perfect because I'm gonna go into the background anyway with some some darker color. But this is just to bring out the light on the side of that Boathouse lot in that right-hand side. Do this with the other two as well. Okay. Just a bit of darkness here on the left side. We've got there like that. And here on the side of this other building. Awesome. I'm really wondering whether I should put that one, you know not, but it looks like I've made my decision. This is all going to draw off a little bit while that's happening, I actually want to work a bit on the fingers to put in some colors for them that's put in a bit of this, this nice, What is this? Any color really, it's lavender or something like that, but just a cooler color. Change things up a little bit. I'm going to mix in maybe some of these purplish color as well for this figure here. Okay. Red or something for the lakes. I just want to in the water difficult to see. Good. Now in the background we have a little bit of detail, especially with the trees and stuff like that. I'm going to work in some green, some darker green. And this is going to join on a touch with the background green that's already there. Let's darken this offices bit of undersea green. Let's do I have here maybe purple, just mix that purple, the green together. I want to get a really dark, dark, dark sort of value around the house, please. Okay. And this is tricky bit, just cutting around the house. You and you got 11 go really to get it in that good. And rest of it. We can sort of Painting. And I'm using a bit of lighter green here as well. You can also put in a bit of yellow. One bit of yellow. I've got this Quinacridone yellow here that we can just drop in as well. Because there is, there are some lighter bits of green in there to shift this around. It's moved some of it up here. Most of it though, I do want to make sure that it's just darker. Although there are lots of bits of light and things in the screens. I think the contrast is most important for me making sure that there is enough darkness behind these beach Houses. Nice little wet and wet effects. That's going to work well. Okay, let's do this one here. Edge of that brush. You might have little bits of law to areas and there's you noticed, but don't worry, just keep on going. Like I said, you don't have to color everything in. Okay. That's another I don't know, another tree or something going up like this. Okay. Round the back, like this. Good. This is that building actually over here. Let's see if I can indicate this tree I've made too big. I want to add in a few more strokes next to it or something like that. It's actually a little bit too large, doesn't matter. Let's continue on. More greens and things in here. Notice I'm leaving some yellow in there as well. So that it's not all just the same color. And the greens get just trying to decrease the, the Concentration of the green is again to the back as well like this. And then we've got some there and that's about it. Some more little bits of contrast, perhaps in sections as well. A little bit tiny bits of contrast. Here. Yeah. More here. Okay, That's looking good. I try to focus just around the edges of the houses. Sometimes a bit of extra little hint of darkness. Does the trick in terms of bringing out that extra detail, that extra contrast on the Houses. Want to overdo it, but just something like that. Extra contrast. Okay. Good. Okay. I was Work a bit on the Houses and just dark enough perhaps the bottom part here, there'll be more. Make it look like the roof is darker, a little touch touch darker. Side of the building. Just a little bit darker like this. Then the roof. This one in like that. Quite tricky. They, me, yeah. Good, good, good. I'm going to work on these figures. Let's put in some feet and things like that. So I've got a bit of darker paint, bit of black paint here. And I'm gonna just put in some indications of the figures, the feet, the legs of the figures, connecting them up to the ground. Better like this. Just a bit a darker color so that it creates more contrast. And the shadow I'm going to make come across there like kinda to the left, back, towards the back into the left, like that. Sharp shadow like that. Connect these up. It's a simplified shadows for sure. And I don't want to leave that some of the beautiful colors that we've had put on there before as well. The beauty of that, something going on in those figures. Let's work on these ones. We didn't the shadow for the feet there, the legs there. And the bottom part. Their legs here. Good. Want to make this darker color transparent? That good. He's another one in a couple of figures here in the back. And it's quite gets tricky to, to detail and put these shadows and for these ones at the back because this so far behind, but at the end of the day it doesn't matter all that much. The ones out the back. Okay. It's actually looking quite decent already. You can see what is going on in the water. I will get in some sharpness would have brush strokes for the just implying the motion of the water. Just a little bit of darker paint. It's really just blue mixed in with neutral tint and dry off the brush so that it is sort of feathered in there. You can see what I'm doing, just getting in these wavy like sharper shapes in water because you can see them actually coming up. Close it down to the shoreline. Know, some sharper bits of details. And it's really helps, really helps to bring out the detail of the water. Um, it's tricky to keep really good to try not to overdo it. But just some little sharper little details here. Always going to remind myself, don't rush. Make the waves in the background smaller, like these. Small little waves like that Yeah. Some more here. Yeah. Maybe some further down the page here. Okay. So there's a bit of detail in the water, tiny little indications anyway. Whoops, don't want that. Good. Some darker color, a bit of black and brown together. I'm going to put in some of this sort of shoreline and darkness and bits and pieces here, like with the figures walking on top of this outcrop. Like that. Going off into the distance. Lot of dark, sharper sort of colors is something here in the water. Know what that is, but it's can be seaweed or something. Sometimes you get seaweed and things that just wash up on the shore as well. So you can just indicate a little. It's in pieces like that. I'm not fast really. I don't want to overdo it. But another thing you can do is like getting indications of rocks and stuff. Like if I just put in a few little things like that and then I'll go in with a bit of gouache later and I'll bring out ring out the details of it. It could be rocks or seaweed and whatever. I just think that would be good to add in a bit of detail here. Suddenly it's can be footprints as well. Okay, on the ground. Sand makes it look more interesting. So it removes that flatness of the sand so that it looks a bit of texture. Ways helps. I'm going to be careful though, not overdoing it. Good. Let's put in some Wash bit of white gouache. Some have already on the palate bit of white gouache, but I'm going to mix some yellow with it. Quinacridone yellow with white gouache to give me a nice yellowish, nice yellowy color. And I can getting a bit of light. On the right-hand side of these rocks. See just a little bit of a lot. I wanna do this mindfully bit quicker. There could be rocks. They're not really there in the reference photo, but I just thought why not put some in the ground so that it just looks more interesting. I've already drawn the shadows in, but I can always reemphasize and later as well. But you can see here even the water, there's tiny little seam, just tiny little speckles of rocks and things. And I can imply that with this squash, with this white gouache, some more, little bit more of it. And I've just changed the saturation of it to look more yellowy. Okay. You just put in a few little speckles of this stuff. You can ever be here. Need to do this. Sometimes you gotta just make things up and create a composition that looks better. More interesting than the one you see on the page. I think I might have gone a bit overboard with that one, but it doesn't matter. Now, let's get in some of these yellow on top of the figures as well just to get inhibitor highlights and highlights. Where I do that, I will actually put in a touch of red and just mix this in a bit of red for the heads of these figures, like tiny bit of something like that. Okay. This yellow gouache on their heads, the sides of the figures, right-hand side. Marking out the light source on the right. Go bit more There. Bit here in this figure. Not putting in the hair yet on any of these figures on We had some in the moment. We'll see how we go. You can just get in the shoulders of the figures and really that we've got Houses here in the distance. Can you see and they look, they actually white, but I'm just making them yellow. Anyhow, no big deal. These little bits that stick up. Can you see that these little points, they're just scribble scribble in a bit of that. Touching a little bit paint, I mean, like that. The edges like that as well, just where the light you might get a bit of light catching onto onto this below the house or whatever. It's a sparkle or whatever through here as well. It if grass or their grass, these tiny details start to add up and you begin to perceive something that's more complex than is actually the case. And I will warn or putting a little bit of hair, the figures just going to darken this down. It'll be the hair there for some of them can be a bit just running towards the back that go underneath the highlight that I've put in. I don't want to have to redo it. But really it should treat them the hair first before, but just a little touch underneath there. You can quite simply getting a bit more indication of the figures. Thinking I should just pull off a bit of this yellow there like that. Soften it down to touch that it melts into the water. It there. Okay. That looks better. Much better. Some more little rocks or highlights that I can add in there as well. Rocky shapes and stuff. I'm also be good as if I pick up some leftover paint, brown and perhaps tapping a bit of color in here. I'm sorry. And this will create a bit more of a messy look here in the foreground. Bit more brown. Little doors maybe catching the light. And also some of these fence, little fence posts and things you can see I'm barely make them out, but they're these little fence posts in here. Use the same Wash, yellow and white mixed together. Pick up a bit of this stuff and let's, let's just try getting some of these stuff here. That's like a post. If one of these wooden fences that you see on beaches is another one, look like much. But you'd be surprised together if you get a few of these images and completes the scene, that makes it look a bit more put together and make sense. Fence kinda goes all the way across actually like that. I can just carry that on a bit of it on like that. And it's not really anything in here, but I can just tend. Getting another little highlight there, this side of the building. A few little brush strokes like that. Dots here and the shoreline again, just again to get some highlights and stuff in for some of these rocks will not get some in here as well just while I'm in that section to overdo it, of course, but keep things consistent. These figures out the back, they should be darker. I'm just going to go over them a little bit. Too much detail, but just a little bit like that. Indicate them walking around. Oops, too much, but indicate them just walking around in the back. That rejig this a bit. Do you think the water needs just one final touch of like darker darker beaten or something like some darker little waves in the areas. And I don't want to and what I like exaggerated too much as well, but this just needs to be a few more darker brush strokes from running through here to balance it a bit more. Balance it out of touch. And let's finished. 9. Williamstown Beach - Drawing: Time to get started with the drawing. And I'm gonna do is mark out the one-third mark from the bottom of the scene. So about here, once the from the bottom and just start drawing a line across, this is gonna be our area of sand. I'm going to use yellow ocher. And also down in the back here, a little bit of buff titanium, but you can see there's actually a bit of water that comes in at the back and then just sort of breaks right over here. There's a bit of a beach here with some lighter sand. But over this side we've got a bit of the building. So I'm going to start drawing in some details of the building first. And I think what I'm going to do just shifted over a bit to the left. And I always try to look at the building in terms of basic shapes. Down the left side of the building. I'm going to work on the roof first case it's like this triangular section that goes up like that. I'm down the front, this little shaded area at the front of the building. But not only that, you've got this tower that goes all the way down to the ground. It's welcome. This rooftop. Rooftop is pretty much straight, like this lacrosse. Little bit of room for the tower to stick out. But it comes out right about here, down to the ground. And you can see the side of the tower like this as well. Hey, section on the side there. That the rooftop tau, just a triangular shape like this. That we go, oops, let me just work on this tower a tiny bit more. Go top of that tower. And the bottom of eating like this. Well, you can see the darkness is more on the left side of it. And I'm casting a shadow on the roof here as well. So I'll just quickly do the touch of shading there. Okay. The rooftop that we've just drawn in before and work on the bottom part of the building. That and the right side of the building. We've got a section that just comes out like this. Like this. It's kind of symmetrical, warmers to the other side. Now the triangular shape and the base. Just to read here, it's just finishes off like that. That there is another building here in the front as well, which kinda gets in the way. This is a little kiosk, little key or salt, putting in a bit of detail for that kiosk. I'm not too fast about the details of it, but I won't get into the side of it like this. Just a box shape that can be opportunity for me getting some light. Some windows here. All this stuff here is gonna be pretty little bit darker down the bottom like this. Even the left side of this tower is a little bit darker, so tiny, tiny bit of darkness there weren't hurt. Just to remind me, later on to start shading a bit down in that section, darkening it a little. Okay. Tidying up this part of the the tower. Working on this tower a little bit more. I want to make it come all the way up past the roof, but kind of shorten it down a little bit. So here's the tip of it. There And there the other side of it there That looks better than before, something like that. Okay. Good. This is the kiosk. It looks like it's closed for the day. Just a couple of little shutters there on the side. Don't need much need really much details in there. Look what else can we do here on this side of the building? There is a tree from the distance like that. So I'll just During a little scribble there for that tree. There is an umbrella here. Look this blue umbrella. I think it's an umbrella. Umbrella now if it's not, doesn't matter, you just kinda make it up. More trees. And some larger ones here as well. I'll just get in like that. Some smaller ones often the distance larger one here to layer is elevated up to touch, casting a little shadow to the left. Like that. We do have some people here in the beach. It's really difficult to see, but I'm just scribbling a couple of figures there quickly. And there's a rock wall that's been them goes out into the sea. Just indicate quickly here. Going through the back. That actually goes into the water a bit more like here. Good. Even here on the right-hand side of the building, there are some extra buildings running through the back this side, some kind of structure. They I don't know what it is, but I'll just drawing a shape like that side of that building. If a shrub or something there, another shape there. And another tree here, it doesn't matter. Something simple. I don't want it to be too detailed on the edges. And I think what I wanna do as well as getting some close some figures just going walking closer to the scene. So I've got a person here maybe wearing a t-shirt or some sort like that. I'm thinking whether we should get them. You get this person walking towards the camera. Shorts leg here. Like they're just walking towards the camera. Perhaps. Like that. I'm probably push you put one leg forward. It's more like this. Actually. There you go. The other one just behind like that. Put this one, this one running forward. Let's better. And what else can we do? Probably get a second 1 s figure here. Behind. Walking together. Similar sized figure. Maybe with the handbag or something here. Wearing a dress. I'm just coming out the side. A couple of people having a walk towards the camera. And I think what's good is to add a few others here in the back distance and make the scene look a bit more interesting. Sometimes you get people on the beach just throwing balls and stuff, just playing a bit of catch that you could have someone here just sticking their hands up like that. Just shade it a bit more lively. Often the background. I've put them all a little bit too close together, so let me just put in another one here. Someone just walking closer to the front of the scene. Another person there. You could have some people often the background maybe just standing near this kiosk like that. I'm just a group of friends or something down into the distance. And I think that's good enough for the drawing. 10. Williamstown Beach - First Wash: Okay, So we're gonna get started with the painting and I'll picking up a bit of yellow ocher, really. Just a light wash of yellow ocher. Emotionally paint, mostly water. So 90 per cent in water can percent paint. Just on the side here I'm mixing up a little bit, be puddle of it. And I'm going to work firstly on this area here in the foreground. And on thing to do is just remember to keep it as light as possible. Okay? It's just as light as possible going all the way through. You've also got some areas that are more really white-collar. And for that, I'm just going to pick up a little bit of this other color code, buff titanium. Still. It's still a warm color, but not not as warm as the yellow ocher. So I'm just putting that there near the edge of the water. And going back using that yellow ocher, crossed around the legs of these figures all the way down into the foreground. Am not getting too bogged down the details, but just enough there. Bring this Wash down as well like that. That do its thing. Now, the rooftop of this building as well, There's a bit of lighter color on that side of the roof like that. On the other sides. I've got also some more of this yellowish color here. Really, I'm just always painting all these of these buildings in a bit of warmth. This is gonna be a light. Make sure you preserve that. Okay. Little bit of that here on this stone wall. A bit of grayish color there, maybe just dabbed into this section. Go ahead and add some more in, perhaps later on. And that should be okay to start off with. And now I'm going to start working a bit on the sky using a larger brush, larger brush here I'm going to actually use a bit of turquoise see color actually for the sky like that, to see if I can get this in a few strokes. Using a larger brush for this, it's going to make it a bit easier. So I don't have to fiddle around as much. Okay. Coming down to the bottom of the scene, I think maybe a little bit of this is just a touch of ultramarine as well. The top of the scene. And just getting a little bit of blue up the top there, as well. As we move down the page into the buildings. I'm just diluting it out using as much paint like this. Okay. Same thing here. Dilute it down all the way through, cutting around the rooftops as well. Don't wanna make all the rooftops blue. Kind of round that yellow with touch like that. Okay. Now nothing you can do is you can actually put in a little bit darker blue around some areas of the rooftops like here as well. Just to further emphasize, further emphasize the lights on the roof and you've actually got these darker clouds that section and then maybe purply tinge to it. I'm just going to drop in a bit of this darker, purpley color and bring that across here, see if I can replicate that sky a touch. She'd done the base. Okay. That there. If I can get an a B to the darkness here, this is going to help to just draw out the lights on the buildings better. Okay. Don't want to overdo it though. Just enough in there should be fine. Like that. More purple, turquoise, purple, ultramarine. You wanna do this all while the paper's still wet. Once it dries, it's going to look too obvious that Good. Okay. Now going to work on some of this water area here in the back section, using a smaller brush and make sure you use a smaller flat brush for this because there's not a whole lot of water in there. Some more of this turquoise color. I'm going to mix it in with a bit of ultramarine to get a darker turquoise color, because I do want the water to be darker than the sky, significantly darker than the sky. I'm also trying to cut around some of these white as well to indicate potentially some Boats that okay. I'll get to it too much, but just a bit here and there. Okay, cut around a bit of that white and move further down here. Like that. Some figures here as well. So just remember to cut around those figures. It more blue in that section. Of course, you gonna get a bit of this mixing into the sand as well. Tiny little bit of mixing of the scene, but there's actually a sharp edge there. I'm not not too worried about that. Can soften off a bit. Here in there if you want. Have made the water come closer to the foreground. Then the reference photo. Something like that. Okay. Pretty flat. There's not much gradients and stuff in the water, so I won't bother with extra details. And that just wanted to quickly tidy this section up at the top here because I think I might have dropped a bit of water in there. It's I'm starting to bloom a little bit. So pop in a bit of this purple and blue, mop up a bit of that color while before it dries. Okay. Okay. And I will start putting in a little color or the figures, little bit of color for the figures and maybe some yellow for this one. Yeah. I think that helps us to put it in a bit of colorful the skin, use a whole different range of colors. I'm just going to use a bit of pink. You can also mix in a bit of brown. And you go just to the legs. Just a quick indication of these figures walking around. The ones in the background on so important to more so the ones in the foreground. I'm using a little I'm using a little flat brush for this. Like that. Indicating the legs. Also the ones like I said in the foreground that you need to watch out for a look at as what else we need to do. I think that looks pretty, pretty decent. So far. Just want to mop up this section here because there is a sharper edge that will give it a quick dry 11. Williamstown Beach - Second Wash: Let's firstly get in the yellow ocher. Now, because I've noticed this part of the roof is actually a bit darker, this left side of the roof. So yeah, gonna go just putting an extra layer of yellow ocher here, solidity is darker than the other side. That okay. Just another layer of yellow ocher. Slightly thicker than the previous version. More just in the front, the front side of this building here. Leave the left side, including the Started. Leave the right-side, clean the right side of this tower like that. Okay. We're good. And while that is doing its thing, going to just use a bit of this darker purple color. Because we have some little section here, this wall getting a little bit of that war coming across darker. Just a bit of purple and neutral tint mixed together. Just indicate this wall running across there. Good. Some kind of building there as well. I'm just going to be more blue in that section. The police blue color. And we've of course got all these trees. I've got some green. Let's just get inhibited the screen. This is with the same, I'm using the same flat brush because my aim is to get this all in. One. Go. I don't want to spend all day trying to pick out all the different shapes and details. Just I can get everything to join together in one larger sort of shape. That's the, that's the goal. So this tree and the back, I'm just indicating a bit of it there. An umbrella here. You some lilac. It's a little bit of lilac, lavender color on there. It's triangular Cutler, a shape there, another triangle there. I've got some yellowy color. I can just mix up a bit of white quash with some yellow, getting a bit of yellow or something in that in that space. Okay. Just a bit of color or something going on in there doesn't have to be a whole lot of detail. Okay? But what you're going to find is that you have this section behind the house right here, which is pretty dark. It is basically just a tree to tree behind. So using a bit of purple and neutral tint, I am using this color to cut around the building that probably go back into it later as well, but just a little indication of it first. And we will work the bottom of this building as well, some more purplish blue color. Okay. Bottom of the building. I want it to be too dark and if you can, just as long as it separates from the roof will be fine. Like to tilt the paper a bit like this helps there. Flat brush really, really helps with this bit of darkness behind there as well. This kiosk, it's gonna be pretty dark over in the front to I'm cutting around these other parts of the kiosk and we can help to you can also work on just these bits later. As long as we have a general darker shaping their first, we can always go back into it. Good. Detailing on the rocks. I've got some brown and leftover color that I'm going to just work on. Getting in a bit of darkness. Therefore, these rocks, okay. Go off into the muffin to the distance. This I've left a bit of the yellow back there as well. Good. Underneath the umbrella is there's a little bit of darkness in some spots. I'll just darken a bit like that. Bring this line, level up some areas like this just to bring that across, like that helps to just mark out the base of some of these buildings. Now I want to put on some colors for these figures. Bit of lilac here for this one. Hey, cut around the arms as well. Lilac full of noise, cooler shirt like that. Something. I forgotten this to get into a bit of color for the heads. Color. Blend down, that's okay. It to blend down a bit. Good. The person on the right, I have got some teal. Add some more yellow into it, maybe just to make it at different, different sort of greenish blue color like that. There we go. That's better. Just to make it look different from the other figure. There. Shots. We could put on some warmer colored shorts. Red or something, maybe brown. Let me just something like this. Too dark. They've got some basic clothing on for these figures here in the foreground, you can also see their arms, which is great. Their legs, ones in the background. Of course, you can indicate things here and they're like computer these color. But I just dab it in quickly and be done with it. I don't want to spend all day trying to indicate these little details with the figures, but just a little dab of color there. Add some interest. I think a bit more yellow for this one here would be nice. Actually. More vibrant yellow. There we go. Okay, not only that, but there is another figure here. Let's put some more yellow, blue, yellow for that one in as well. Why not there? Right. More pinkish color. Then I'm mixing up for the legs. And I want to just getting a bit more darkness perhaps on the right side of some of the legs of these figures. That's darker now it looks a bit more detailed and makes more sense like this. Maybe he just darken down the arm a little bit like this. Okay. And while we're there, we can also start putting in some shadows. Let's do the shadows all at once. Same purple that I've gotten here. And underneath the building. More layer of this darker, purpley shadows or whatever. Hey, not only that it goes covers the this side of this tower like that and comes down the page. Please. Be very careful with this. Leave that little bit of white or yellowy color on the right side. You can see taking extra care to putting these little shadows. Some more, read more like that. There is also a shadow cutting across the side of the building here that's cast by the tower. So I will just indicate that quickly. This is what I said in terms of them, all these shadows starting to mix together. What you want. Now, some more details for these little trees and stuff here in the back. Just need to be more detailed for us to Start carving out the building better. A bit of black or whatever could be good to. Just, I'm using a bit of black here, but careful to cut around this head of that figure. Like that is quite dark in there. Some purple to mix it up again. More indications of these trees, the we call it the trunks, help to just connect it all up. Now the layer of color for the leaves and things. I want to overdo it. I think I've added probably a few too many trees there, but it doesn't matter. I'm not only that we've got some here as well, some potential trees behind this building. So I'll just indicate something there that will work along also the right-hand side here. This is gonna be another tree, darker section like this. Okay, we're leaving out the shutter again in front of these buildings. Light source is coming from the right. So you're leaving a bit of that lovely yellow color to indicate that you need to do this. Otherwise you will lose the beautiful feeling of light and you're scene. I have not forgotten to put in a little chimney here. We use C If I can indicate one quickly. Light doesn't matter. I put in a B2C Wash for that later, bring it back in. Let's work on the shadows of the figures. I'm going to use some purple and some darker, neutral tint, whatever color I have left here on the palette, 50 per cent paint, 50% water. Now, the shadows are running to the left-hand side and the only slight angle coming towards the front. Front to the front left like this. There'll be a shadow there. Yeah. As well. Yeah. Be the shadow to the left. These ones are touched too dark, but it doesn't matter. Another one here, same deal. Shadow running to the left. Then of course the two here in the front. This connect them up with the left side of the body. Darkness on the left side of the body. Again, for the indication of these shadows to be too perfect, but a little bit of yeah. You want a bit of darkness on the left? Okay. Maybe up underneath the head like this. And some of these other figures in the front here, back here as well, connect that up the legs up to those figures. This simplify them down, of course. Well, other one here. Oops, like that. You find that a lot of those figures in the back, they will blend out and become as part of the scene. They shouldn't take up too much focus. The heads are some of these at the back with a dot, dot, something like that. They're here will help with some brown and black. And just I can scribble a bit in the top. The heads, like this helps to more easily pinpoint where the figures are And also which way their heads are turning. These two kind of trying to get the get it to look like these two were talking to each other. This one has head facing to the left and this one to the right. Bag or something just coming across this figure I will. Even a bit of color just indicates some bag there. Join onto the body. Simplify that down. Okay, good. And let's see what else we have left to do. Really, it's just bringing out the really, the dark parts of the painting underneath the rooftops going to get a bit of this darker color, this black in there. Like that. You might get a bit here on the windows like that. Underneath the this little section like that here. The bit that sticks out towards the sky like that. I'm really just want to search dry, brushing the rest of the sun. So you, you pick up a bit of paint, really darker paint and then just dry the brush off on your paper. Not the bad paper, but the Tao or whatever you've got. Then you can just go in and get these darker brush strokes in here. These represent the really dark has contrast of your scene. And you can also see that there's some kind of fence. We use a smaller round brush for this little fence. Some darker black color. And all we indicate let's indicate like a fence here. Lips dry the brush off a bit. Don't want it to be to put together like this. A few little things running across that. Okay. Simplified down. In this kiosk as well. You've got some little details in here that you can just draw out with the brush. This bag or something that this person is holding. That we've forgotten about this figure, this person here standing near the water quickly getting a bit of color there to join the legs up as well. They're just standing near the water. Good. Okay. So some finishing touches, I'm going to put in some whitewash and also some speckles and things here on the ground as well, just indicates some footprints and stuff like that. But I'll squeeze out a bit of whitewash first and let it sit in the palette, forbid. And while that's happening, grab another brush. This is a filbert brush, it's a blend, the lending brush. And I will do this sort of thing. He just dry brush on a few bits for the I'm the sand or whatever, just footprints here on the sand. I don't want to overdo it, but just a few little things. This some more yellow ocher would be good actually, maybe it's better. Yellow ocher and brown tends to work quite well for this, this effect. Yeah, little bit here and they're just, I'm just represent footprints in the sand When overdo it as well. So as soon as it starts looking like there is some textures and a bit of interest here in the sand. I would suggest to stop and reassess. Stop altogether. The left is sometimes a bit of seaweed. You see he is Louis seaweed that's just kinda gathered up on some areas of the beach. Darken that. A few little bits like that. Why not? Yeah. Okay. No no perspective lines in this little bit of gouache and my flat brush. Dry first. So I've got a bit of whitewash here in the palette that I'm just picking up directly with my flat brush. And here I'm going to put in a few little dots and things for the highlights. So here's a bit just on the head of this person, this figure. Head of this figure as well. And on the shoulder, this shoulder here, the right side of the head and shoulder, maybe you touched the arm like this. And this is really just to bring out some small miniature little highlights. You might get a pit here near the leg. Why not? I think actually mixing the gouache with some yellow would be good bit of yellow and yellow and white quash for this. To get into more of a warmer color. That's better. Good. Okay. Repeat this process and now the figures as well, especially some of these ones, it's very difficult to see them here as well. The one here, noodle gets of the building in the distance. You can just kinda getting a bigger color, like with a highlight like that to their little highlights on the rooftop? Yeah. Underneath there. You just trying to bring out some of the light, the remaining light that we want to emphasize. And he even you could put something like that and make it look like there's another building or side of building that's getting some light hitting hitting on the side of it like this. Whatever you want. Maybe a bit here. Bring back some of these light onto the edges of the roof and stuff like that. Here. The chimney brought back the chimney now. Touch a color on the top of the building. Okay. The darkness here as well, just got rid of it, But rid of it for a second. Good. What else do we have in here? There's little bits of little bits of these rocks that like stick out that are lighter. So I will just we can be to paint through there and bring back perhaps a little bit of it is something that happened in there. We not only that, but there is a bit of this in a lot of sand here on the beach that we've gotten rid off before. So I'll just put in a bit of that, Wash and feather it into the water to have a bit of lighter sand. It's just a little Wash little white gouache for that into the sand a little Okay, There we go. Little bit of lighter sand and the distance. Encourage this bit to blend as well with touch. The foreground, the sand here. You really in the water, there's not a whole lot to do. Just a bit more blending with the flat brush just to help the water blend on with the sand better. This some of these rocks are not already rocks, but some of these things might have like a highlight here for things that have washed up on the shore as well. And also these, of course, these Boats often the distance they could do with bit of white for the sales. Bit of white, just picking up straight off the palette. And that, it looks a bit funny. I'll turn it into a triangle. This one here. Yeah, that connected on with the white of the boat down. The down. See how you can just bring out some details. What's happening during this went into like a proper some proper sales up there. And I'm finishing touches. I think what I'll do is just getting a few. We do birds in the sky. Blue birds with this smaller brush like this. And just little V-shape here in the sky. And you try not to connect the wings up on all of them. But this does help to create this beach vibe. Places here and there. You might want to put in a seek out like this. Off the top of the scene, you might get a few smaller ones. You do get quite a few sort of near the horizon line as well. I thought I'd put a few up here as well. To draw attention to the top of this building, please. Keep them randomized. Don't have them on the same spot. And we're finished. 12. Williamstown Boats - Drawing: Okay, let's go ahead and get started on the drawing. And the first thing I'm gonna do is pinpoint the horizon line and I've got it just above the center of the page round about here. So let's draw that in. And I've actually taken this photograph, snipped it a little bit so that there's more of the water because I want there to be a bit more show of the waves and some of the Boats rather than the sky, but still having enough of that sky in there. So it's not, it's not even a third, but it's little bit more than a third. So just putting in that horizon line, penciling that in, as you can see here, this is where all those little buildings and things will be in the background as well. So one thing I really like about this scene is that there is this jetty, a little little jetty that's just poking out from this side there. And I want to potentially put in now, no, it's not really there. But I want to put it in a few little things here like that. And perhaps getting a person standing on this edge of the Jedi might be sitting down or something like that. Just erase that to get it in a bit smaller. Maybe just standing off the edge of the Jedi. Yeah. And holding a fishing rod like that. Because you do find definitely in in St. Kilda, there's lots of people just fishing. So something like that. I think there's tells a bit of a story, a little Palade there in the water. Okay. Not really fast about that. But let's pick out a few Boats and I'm going to put the Boats roughly around here. The the Boats are touched closer as well. Okay. And one thing I'm keeping in mind is to look at the shape of the Boats. And they kind of like rectangular with a bit of a curve on the edge. So Let's get in a few days and overlapping as well. See that one's just overlapping. It's going a couple there. You've got some smaller ones all the way out in the back and they're very similar shape. Very, very similar shape. Because this some of them look a bit more complicated than others like this one here. Let's get this warning here. Slopes down. Smaller at the backlog that okay. Zoom in a little bit to the reference photo if you have, if you're having trouble drawing, what you see, it does help. Actually Second boat behind that. Okay, but look, I'm just going to turn this one turn this one into just a larger boat here. Okay? Another one here. We don't have to put in all these Boats, this so many of them. So we've just got to pick out a few that we like. And make sure that you have us a little bit of an overlapping sense of overlapping shapes. So you've got these Boats here, larger ones here, but you've got these ones just going all the way up until the horizon line like that. And you kinda get to the point where it's very difficult to see exactly what is going on. A lot of those Boats at the back, we can actually bring back with some Wash. Later on. He's a smaller one smaller little tugboat there. That another one here, another tugboat. These little bits of fabric just like that. This little ball out here in the water. I'm really thinking whether I should put one here, I get another boat. Whether we just wanted to leave them at the back. I recommend I'll put another one in. Larger boat. Closer up the front. The mast, swell, massa a bit darker as well. And put them in for some of these Boats out the back as well. I mean, there's a few more smaller ones just out the distance that we can indicate like that. Okay? These masks are important. They help to signify where all the Boats are. Of course, the details on some of these Boats can be re-emphasized later on. I mainly just placing a few here and then working through getting overlapping shapes in. Okay, so we've got quite a bit going on. And I've got that kinda bolide here. I think I can get in a bit of that reflection for this masked in the water as well. However, I'm tempted to potentially just put another one in the right-hand side, because I just think that there's not enough in the foreground. Midground area. Whoops. Keep this pretty straight. There's not a whole lot of detail in this scene. And so as a consequence that the detail that you do put in there needs to be the accurate? It's another boat mask going up. At. Notice how the Boats at the back go closer to the horizon line. You've got this figure standing out on the left-hand side as well. And you do have other Boats. Often the distance. I can just quickly see this signal a few out the back there. Okay? Just dot that this row of buildings, you can see them just like the silhouette of buildings. I'm gonna just slowly penciling very, very lightly. And I don't even care exactly the shapes of them, but at the same time, this is really going to be important because it's really just the silhouette of the city, of Melbourne city. Often the distance. Okay. But I'm just looking very vaguely at the reference photo and just trying to get in a quick indication of those buildings in the background, but I'm not for any purposes, tried to make them 100% accurate. This is the part here that's got largest buildings as well. And you've got a little indication here. Now what's gonna be able to tell the difference. Another one there. These larger buildings, you've got to have a few of these skyscrapers, of course. They will have it. We can get started without painting 13. Williamstown Boats - Painting: Okay, So the first thing that I want to do is getting a nice Wash for the sky and the water. I'm going to be using some turquoise see blue starting right at the top like this. And one thing to note, to note is to make sure that it's very light. So we're mixing a 90% water and the rest of it is just paints. So ten per cent paint, It's just a very, very light wash of water of paint, sorry. And you've got see how it just comes down and you've got these Boats further down as well. I'm just trying to bring this Wash down the page all the way to these Boats. The Boats are pretty pretty dark anyway. We can bring back some gouache. I'm some light on the Boats. I'm not going to worry too much about cutting around all of them, but a little bit of white here and there can't hurt. Which is bringing this Wash down the page and notice that it's gathering a little bit of water as well. That's really important that you just carrying this bead of water down the scene. Okay. And as I get further and further down the page, I'm going to add more turquoise, little bit more turquoise, and a bit of ultramarine blue as well. This is just going to darken it a fair bit. As I move to the front of the scene, we've got a nice contrast of darkness, the front, but more lighter colors and reflecting the sky at the back. Okay, got enough of that in there. I'm going to swap to a smaller brush, smaller mop brush. It's have a look what we have, what we can do here. Going to add in some more ultramarine, but perhaps some purple, some neutral tint as well in their ultramarine neutral tint that you've got to get these darker waves in while the paint is still wet. But at the same time, I just want to make sure that back side is also a little kind of balance so that we've got some little small waves that I can just drop in here on paper is still drying. So just a little little feathering in of this paint. A little bit of feathering enough this paint wet and wet. Okay. But most of it is really just up the front where we pick up a bit more or neutral tint. Have a look. Yeah. Yeah. Yeah. I move my entire arm when I'm painting. If you notice, I'm not moving my fingers, just my arm. This creates straighter lines. Okay. So continuing on and don't be afraid to go dark here, right? We want to make sure that there's a little bit of contrast here for these darker waves. Parts of the bottom that's already dried off. I can still feathery and a bit more of this paint. And we've got a bit of time here just to keep doing this. So take your time to feather this in. The top here. We're starts getting a little darker. You can just continually go in there and restate a bit. But the trick is to just leave a little bit of that previous Wash in there as well. That previous color, that blue, turquoise see blue in there. Alright. Some parts of the Painting already starting to dry a bit. So you can see just on the left here a bit of sharpness in these waves and I'm painting in there, so just let it be. Okay. But I'm feathering this in very, very softly While the paint is drawing. And so you're gonna get, as a consequence, a series of marks that all gonna be wet and wet, but different levels of softness. You really want it to be very soft and light out the back. But as you move closest to the front, of course, some of this darkness is going to help. And just continuing on trying to get in some darker, little, tiny, little darker bits of waves, smaller brush strokes like that, that do its thing. The water. Because at the moment a lot of this paint is just as you can see it as just blending in very softly. But we do have some nicer, larger brushstrokes here, these broader strokes. I'm really liking. Okay, good. I think that's looking good for the water. Let's give this a little, little dry. Okay, next step, what we wanna do here is we want to start mixing up a darker paint. And I've got some neutral tint. Little bit of purple brown here as well. And I don't wanna do is mix something up that's gonna be dark enough for the Boats. Not too dark. Purply color. And should we start off with start off around about here, this boat here, closer, just make sure it's dark enough to dark and have been tested out like that. I'm using a small flat brush for this. You can also use a small round brush. There we go. Just decided that boat and you can see it hit the touch the water here. And be fairly precise with this kind of some cloth here as well. And the same Wash we can continually just use for the other Boats as well. So this one here, especially the ones just around the same level, they're all similar color anyway, terms of similar value. But you will find that some of the Boats and the distance will get lighter. Okay? So just pay bit more attention to the Boats out in the front. They will just be a bit more obvious. And we've got the mask as well. Not just, let's just put it in. It's pretty dark. Like that. This one here as well. I tend to sometimes skip on the paper a little bit like this so that it appears that there's bits of speckles of light and stuff. Okay. There's actually some more rigging and things on it that I'll get in with a smaller brush afterwards. But we have another boat here. So this is why I like using the flat brush. You can actually get the Boats in one go if you're careful. That little bit of water in there so that I can lighten up the ones at the back. The ones in the back become more of an impression rather than anything serious. But the overlapping shapes, that's what makes it look more interesting, more realistic. Now the one there, there's even over here, there's these smaller Boats just behind this fisherman here as well. I'll just get in the background buildings with a bit of ultramarine. That's the same mix, really. Very light color for those background buildings. It has to be lighter than the Boats. Okay, So I'm gonna go all the way around and had drawn in a bit of detail for some of the buildings. But really there's not much you need to do. Just go around the back of them like this and just get the outline in. One go. Don't fiddle too much. Once you get the shape and continue on. And just the first go, you try to get it in accurately shape of that building. Okay, that just a silhouette. So if you think about it, they're just little boxes across like this. The, their buildings on the right-hand side, a bit larger, bit taller. See just one big shape. You look at them. Just one long extended shape of buildings. That's really all you need to do those buildings. So I'm going to work a bit on that Jetty to the front. And flat brush again, this doesn't need to be actually little darker like that. And the stilts going into the water. Wooden stilts just indicates some of that. I can pick up even a bit of brown that helps this. Not much at all, but much detail there at all. It'll figure standing up there as well. Let me just the indication of that person. A couple of legs connecting up like that. Okay. And force the fishing rod. I forgot to getting this little ball out here. It's just paint it in quickly. Just with a boat is little bowler there in the water. You can also just, I mean, you can use these as markers for getting in the size of things. It could be another bolide in the water. I'm putting another one here perhaps close by, creates a sense of depth even in the scene. Okay. Good. I'm going to work on the bottom on the shadows and rest of the details. Right at the bottom here I'm just gonna put a little bit of darkness. Help kind of anchor this jetty or whatever down like that. Okay. And for these boats that are closer to us, what you're going to find as you probably going to get a little reflection. But you're not gonna get a whole lot. Use a similar sort of darker color underlying the bottom of that boat. And the flat brush is gonna be better for this actually. And you can see here, for example, this Mask. I can get in a few little strokes like this, indicating the reflection of the mast. The reflection of the mast. And perhaps or the boat as well. Just some soft reflections there in the water. Not too obvious but something like that. This one as well. A little bit of darkness underneath the boat and little reflections like this. And the mast flexion of the mast of the others. You're not going to really get too much going on there. Maybe a little reflection of the mast in some areas, but apart from that, It's really just a bit of darkness at the bottom of the boat. To anchor them down. During a little details we can to dark in the background, just focusing more on the foreground. Now. And thought would be good to also put in a few little darker brush strokes for some waves and things like some darker, darker ways running through here. Using this same flat brush. Okay? Bits and pieces like that. These bullets we could do with a little reflection as well, like that. Yeah. You reflections. These little waves, sharper waves at the base as well. A bit more darker at the base. Be more darker at the base. So many more neutral tint. Yeah. But I'm also being inner, being mindful as well to make sure we're leaving some of that beautiful previous Wash that we have in the we have in there. So you can soften off a bit of this as well. Some of these blue and there's just really beautiful on the ward. I don't want to get rid of all of it, but we do need some more darker contrast in the water. Good. Smaller wave sometimes does, does help here in the back, just flicking through a few little smaller but sharp looking waves in the back help to balance it out more. We're going to pick up some darker paint and just work on the final dark parts before we get in. Alc Wash are highlights. This boat I think could do with some extra darkness. The that one to the left as well. Parts of it could do a bit of extra darkness and detailing. Okay. Every brush stroke counts your painting these Boats, there's so little detail in here that you've really got to make everything come together With only a little bit of hint of detail. So we're talking about these, the rest of these mass. I'm going to get the meeting, Okay, That one there, That's one. Do this quickly. It'd be better actually. I'm and that's another one back there. When he to soft enough some of this color. You want to make them a bit lighter in the background as well. And that's why you paint the buildings in the background first. So then it doesn't comes forwards. These mass. Just a bit more detail for these Bowl ads, they've lost them. The waves back, some of the little reflections as well underneath. Okay. All right. Let's put in some highlights. A little bit of white gouache re-wetting here on the palette. And it's pick up, pick it up. Flat brush. Hey, there we go. What I wanna do is I want to get in little, tiny little reflections that you hear. The water you can see there's little dots of little speckles of white. You can see underneath the Boats. I'm just pick out a few little spots. And while I'm at it, I'm almost forgotten. There's also a few little bits of rigging on some of the Boats, like this one here. And just tiny detail details that I've forgotten. Actually don't have to do it for all the Boats, but just a few of them. Back to the gouache. Little dots. And where you want to imply some highlights. The tip of these bars maybe catch a bit of light. You get them in the water as you can see, just a tiny often the distance here. But it adds that sparkle to the water. Tiny little bit of sparkle and not just that on the top of the Boats as well. You see here you got a little bit of white on some areas where it just catches the light. And this is important to imply. There. Water. You little speckles as you can see, get a bit bigger here in the front, small around them back. More numerous as well. I'm might have a bit of highlight here on this person doing some fishing. Bring back part of the detail on some of those Boats. Why isn't some of those Boats as well? You can paint that back in with the gouache. Some more. Wash on the top, the top of the Boats like here as well. It's really, really helpful, gets, brings back that sense of light. Because I never want to ruin a nice Wash by cutting around things like purposely cutting around everything. So if you have a bit of gouache like this, it's just really just a miracle brings, brings it all back to get the best of both worlds. And even on the tips of these are parts of the mass as well. You could just put a little bit of white in there. Mainly you want to just skip the top of the Boats. There's a little bit of white just hitting the top of the Boats. That that one's a bit too much. I'm going to soften this off. Yeah. That's better. Get it below that sparkle over to the left as well. Just exaggerating this a touch. You stray marks like this maybe. And we're finished