Watercolor sea: how to paint effectively crushing waves

1. Intro: Have you ever been fascinated by the strength of a storm while you were at the seaside? And have you ever wanted to capture in watercolor the energy of motion and crashing waves. If you want to know all the tips and tricks to find those subjects with a very natural to find out a result that this class is just right for you. Follow me in this lesson. So everyone, My name is Alan Alda, wasn't galleries. And in this lesson, I will teach you two different methods to find Ignatian waves. And one of the method is with masking fluids and the other one is readouts that you will be able to get the best of both worlds. And that's where your cell phone, which will be the most suitable one according to the subject that you want to buy it. But in this lesson, I'll teach you also some key elements of composition we will see which are the most beautiful colors that you can use for painting. You're very beautiful, stormy sky and RFC. And last but not least, I will teach yourself how to make proper use of white goulash or if you're ready to join me, let's get started. 2. Materials : So let's see what materials we are going to use for these what are called ofcourse paper. My paper is a 100% cotton. They 100 grams per square meters and it is cold press. You can use whatever brand you want. Mine is Saunders, Waterford, our she's fine. Fabriano spine use whatever you like. The most important thing is that, which is a 100% bottom that, that eat is 300 grams per square meters, at least in thickness and cold pressed. Other than that, we will use, of course, the masking tape, but you will need some paper towels. You will need also your water and see it. So these are things that you want, say camera, but they are all around me. Then of course you will need, you're putting together your mechanical pencil. I have a mechanical pencil, but feel free to use whatever you want. And I will have also my trusty ruler because I have to draw the horizon line and I don't want to have something very awkward in my drawing. I if you can one thing in use also some spare pieces of February if you want to check your color is so as for the colors that we'll be using tubes, but you can use bands, you can use the brand that you prefer. I will tell you the name of my pigment because they are very common, but I will leave you also at least with a piece so that you can exactly pick out the exact color from your, the colors that you have because maybe they have different names. But when you look at the composition, you can know exactly what kind of pigment I'm going to use. So the first one is Naples yellow, reddish or which is a very common Naples yellow, in which you have as light pink, pinky tone. If you don't have a reddish version of Naples yellow, you can use a normal Naples yellow with a teeny tiny bit of burnt sienna or quinacridone, red or permanent come in. Then I will be using raw sienna and burnt sienna, and I will be using also a bit of cadmium orange. If you don't have cadmium orange, that's not a problem because you can mix a bit of yellow and a bit of red that you like and you're done. I will be using also red ocher, which is a color that I really like and use. And this one is a PR one-to-one. So whatever name you have in your collection, if you have a color that is PR one-on-one, that is perfect spread. I will be using permanent Academy because it's a color that I really liked. But if you don't have a permanent currently, you can use quinacridone, red or purple, magenta or rose madder lake, whatever you like. And these are in creams and eye color, which is very similar. For water, I will be using tallow green and blue, and also ultramarine blue. For the sky. I'll be using also called blew and beat off. Cerulean blue, my wife Shirley and Louisa. Cerulean. And it is very strong and powerful as a color. If you like something more delicate, feel free to water it or use something lighter. And is further brushes, which are the last thing that I want to mention. It depends on the size of the paper that you're using. If you're working big, use big brushes. Otherwise, if you're working small, use smaller brushes. I will be using a surface which is more or less than A4 size. So feel free. Choose brushes according to that. The most important thing is that you will need some brushes that you really don't like. It doesn't matter if they're point is completely ruined or whether because we will be using them for the masking fluid part. And I will be using synthetic brushes around. This one is an imitation of Mongoose. I haven't mutation and squeal, I have imitation of sable or synthetic. And I will be using also brush for the sky, but it's not necessary if you are fine in painting clouds with round brushes, they are fine. The most important thing is that you have round brushes. All the dimension because we will be using also very small point for the details of the lighthouse and something bigger for the sky and the waves. And other than that, that is the most important thing. We will be using white gouache. And you will keep the Eater's site and don't put it in your palette otherwise, all of you, we've become opaque. So this would be used at the very last. Then I will be using a piece of soap. This is a solid soap. And of course we will be using masking fluid and use whatever brand of masking fluid you want and you can use white masking fluid or colored one. I prefer the color one because I can find it easily on the paper. And I think that I've mentioned everything. So let's move on and let's get started with a drawing. 3. Technique focus : Okay, so we're going to see how to use masking fluid. It can be used in two different ways. And we're going out. I was showing you both of them and the two ways that I'm going to use where these water color and there is no I mean, it comes to personal preference. You can work with or without masking fluid. It depends on how you feel confident about what you're going to paint. And I will show you both techniques. So because I think that we can get the best of both worlds and in a certain way, masking fluid, it's a sort of insurance. Maybe pure watercolor is maybe don't want to use that and eat something that you can do. You can work without masking fluid, but you still need to be very, very careful while you're painting. So if you're an author careful or if you prefer to protect your white areas because you think that maybe you're working on a commissioner and you don't want to run any risk. I will show you both ways. So let's say that we have this is the horizon line. I'm not going to paint all the area and just want to show you the what are the main concept. Here? Maybe we have a rock, okay, and then here we have the crushing waves. Okay, let's work on this. So we want to mask the Move, want to use masking fluid for masking out the area of the way of the foam crashing way and how we are going to because we can choose something with very harsh lines because the form is something very, very floating and eats more like it has a feathery borders. So we're going to apply masking fluid on wet surface, which is something probably you've never heard before. But anyway, first things first, you use a brush with clean water and you wet all the surface that you want to be covered by your phone, then you have your brush with very bad Bristol study. I don't mind if it gets all gummed up. You have yourself and then you rob yourself on I use the brush on yourself. And then you have you take your masking fluids and you do your masking fluid on the wet surface. Stay a bit. Sorry, the buffer has already guy anyway. Let's wet it. Okay. So you see that the masking fluid, it spreading in the water that you audit and it will create that soft, feathery effect that you want to create. Okay? See, whoops. It's more or less one, the same browser that you use if you want to mask, for example, some bushes or in a green area. And in this case you have a very do you feel you have a very good result and then why it is drying? We are going to find the the crushing way with the other method which is without any masking. We will go back to this area once it is fully dry, just to show you what you get at the end and how you need to tackle this area. Okay, so what are these part is drying. We are going to concentrate on the other half. Be careful not to smudge it. So let's say that we have always do line. Let's say that we have a rock here. And then we want to put in a crushing wave in this area. So for the second technique, you need your tissue or paper towel close to you. We are going to use some color. I will be using ultramarine blue because I have already a bit of ultramarine blue in my palette, but it's just for the sake of the learning of their techniques. So you can use whatever color you like. If you don't like ultramarine blue, you can use cerulean blue, cobalt blue. With that you have in your palate and the like. And I will be using also smaller brush. Okay. So this would be fine. So let's start with the horizon. We should paint wet on wet. Slot. Says I want you to be very careful. I'm starting wetting. And then moving very slowly towards this area because you have to create a gradient. Because the horizon, of course his dark it but also be used. You are approaching the area where you want the phone to be. So you see that I'm diluting these with the help of water. Now is I want to create the movement of the wave. I'm adding color in the upper part. Diluting with water. Now I use all my towel and I start to adopt. And I will go on moving this way because they want to wet all the area. And I'll put in very, very diluted site sign. So very diluted drops of water because as you know, the foam reflex the colors of the sky. So just to create the movement, because you see that the form is not perfectly white. You can put in some darker areas here and there just to create the movement. And then I have a bit of red ocher and my palette and I'm using that just to show you the rock. We can mix them together to get a darker brown. And you need to be careful because if you want to have the same soft results also for the rock, you need to use your tissue and Dhabi to create the soft lines. Paper dries very quickly as it's happening to me today. You can always go in with maybe a stiffer brush like this one that I have. And smudge a bit the contour of your walk so that you get a diffused line. And then of course at the base of the way, there is a C again, you use the same day, the very same process. You want more diffused areas. You can do wet on wet. In this case. I'm wetting my area and then putting in my college so that it gets these feathery movement. Or if not, because maybe you need to put in some straight lines like in this case, you will use it more wet on dry. And then you can go in Darby with your tissue so that you get the movement of the sea and water as well. So you can always control that and decide also the the degree that you want. This is same rules apply also on the other side. So in any case, be sure of the fact that if you have some harsh lines, you can use white goulash to Spark and Spark job and you turn on that so that you get a very soft effect. And so this is the way that I prefer because it's very natural, very soft. But Um, I will show you that also using the masking fluid, I mean, you, you get very good effect in the same way. And it is very useful, for example, if you have to protect some delicate area of fieldwork and you can achieve a very good result. So in this way, as it is fully dry, we can go back to this one. So let's go back to our first painting. The masking fluid is completely dry and we can move on. So I've always in my palette, my blue, ultramarine blue. And this is what I want you to be. I mean, no, I want you to focus on these kind of things. So I'm wetting and painting all these area. And I am using a very light shade. So let's put a bit of ultramarine blue again, because I've been out of that. Is this area. Now the sky is waiting for that to dry. And you will have you will need to remove the masking fluid later. And now you can move on with the same technique that I showed you before. This time wetting and then softening immediately and then dabbing your tissue. You have to consider that the sky, sorry, the, the, the wave is moving and be aware also of the gradient that you need to respect because it is darker towards the horizon and it is darker also under the way. So you put in your color, then you have to use this gradient from the base of the way towards the lower part. Then you can always soften. As with the other method. Then you can apply water again in color and go on in this way. In this way, sorry. With the very tip of the brush, you can decide to add water to soften just to create the movement of the waves and why it is still dry. You can put also color at the base off the masking fluid area. And your tissue. You can dap to create the movement. And then you need for that to dry before removing the masking fluid totally. Okay. It has fully dried. So now we are going to remove our masking fluid. You can see that we have the three feathering effect. We were looking for. You see you have the perfect contour of the way, sorry, of the crashing waves. Now, we're going to wet slightly some areas because we want to put in some blue. The areas because we know that the foam is reflecting the colors of the sky. And you have a very light, delicate way. And then if you want, you can add your rock here. Just to give you an idea. And you can soften a bit of a tissue working this way. Let's put in some more color just to give you an idea of the contrast. And so you protected your sky, for example, you could have had, I know are very stormy sky. So that the white off the phone and he's completely obtained without using any dark color. I mean, without using any strange or different though are very complicated ways and you have the very feathery softer effect. And if you want to accentuate that, you can use also the arm, obviously white gouache on spotting them. And you will see in our final project that has the sky is darker. It's a lot darker than this. In this case, the white of the form will be even more evident. So before moving to the final project, I want you to take confidence with two method. To recap. The most important thing is that you use masking fluid on a wet surface if you want to obtain the wet it feathery effect of the flow that you apply. The color in gradient moving always from the darkest Spark, which is at the base of the wave or at the Verizon towards you. So you have first gradient from the horizon towards the, towards the observer. And then we have a second, Second gradient, which is darker under the wave and always towards the observer. Then you need to prepare some colors of the sky to put in in your crashing waves because you want them to reflect the colors of the sky as well. You can use the masking fluid technique or you can use also the tissue technique. Most important thing is that you adopt at the correct time and then you don't wait for the paper to be true, dry, otherwise, you won't be successful in your dabbing. That said, you are ready to go where the final product. 4. Elements of composition: Okay, so before moving on to the drawing and diving into the final project, Let's talk about composition because when it comes to painting, technique is just one of the elements that you need to know. If you want to get a very successful law resolved, pleasant to the eye of the observer. You have to check out also some rules. I'm rules of thumb that you need to know. And one, for example, is the rule of thirds. So in this case, the horizon seats at the lower third and the two-thirds more or less are Ralphie occupied by the sky? Then we have also the shape of the composition. So we have the Lighthouse stands at the left side and it creates a sort of L. So in this case, this is a lighthouse. It's just like the focal point and the eye of the observer is drawn on the left side. And finally, we have also the color elements. So for example, the roof is red because red is a very contrasting color with the blue and the white of the sky. And it leaves the eye in the corner of the painting where the main action is taking place. So before starting to paint, you need to plan in advance to end carefully your composition. And now that you know what we're going to paint, Let's dive into the main project. 5. Final project: step 1 - the drawing: Okay, So now we're ready to draw our lighthouse with our RC. So as for the sake of composition, we're told that we discussed in the previous segment. Let's say that we want to divide into two-thirds for the sky and 1 third roughly for the C. The whole favorite is 21, so it will be 14. And so this is more or less. And also here. And now we're going to trace the horizon line, which is something that must be. Okay. So we're now going to make a quick sketch of the rock. Maybe we can stay a bit under the horizon line. Just a bit, sorry, just a bit lower. And don't worry about the shape of the rocks because they will be partly hidden by by the waves, crashing waves. So the most important things that have been asked space, where the waves and o k. So we will have the small house here. Then we will draw the lighthouse. So if you want to be really precise, you can usually, so if this is the base, it's, let's say two centimeters at one centimeters here. Using the masking tape as a guide. The half is here, okay. Said one centimeter. So here we go. Okay. So it should be, let's say one centimeter, so it's half centimeter on one side and often the other. And then you can trace your your line for the base off the lighthouse. Then we will trace also the software line just to have something solid. Okay? And then we can go off. And always following the half-life. This is the roof and have also the part inside them. Very intimate, very, very simple. So you need to be precise but something suggested. So it's also very far. It must be credible though, because it's a man-made structure. And you must be precise in your drawing, but don't get frustrated. The most important thing is all about the atmosphere and movement of see the rough seas. So let's trace the waves. The waves are our focal point. I'm not really happy with my horizon line. I think that I will delete. This white is important to use a very light pencil when you are drawing. I'm using a to B. Okay, Let's go one centimeter up from the bottom. From the upper part is ten centimeter and a half. Centimeters and a half. Yeah. I wanted to stay a bit higher because I want enough space to trace my my waves. So as I was telling you, I am using a to B pencil, mechanical pencil because I want you to see exactly what I'm doing wrong favorite sites for just for this purpose. But if you are using, if you are drawing at home and you'll feel more comfortable with a lighter touch or a lighter pencil that, that is perfectly fine. So we will have, let's say, a focal point here. And we have two waves, one in this direction, and maybe even a bit higher. You will say, why should I trace the waves if they are not something really precise because they're moving. It's everything you trace on your paper. It will serve you as guidance while painting so you know that you will need to leave. For example, I'm tracing the areas of fall. Sarah have a very precise idea of where I want my phone to be. And in this way, I will be more precise afterwards. So this part is very important because it's in the front and we have a big wave here. And also another big way up here. And it becomes smaller. Then it becomes speak again. Here. I want to really, really big. So we'll be using a lot of different techniques in these in these tutorial. And I'm sure that in the end you will be really satisfied. And then we have also the trace also small window here, it's not really important then we have the biggest way, which is the one near the lighthouse. The one that will give also a very nice effect. And in fact, I am using, I am tracing very, very lightly this part because I don't want it to be too thick. Even if when I will be applying my masking fluid, then I will remove that April. Okay. But anyway, stay as light as possible in this area because, you know, what quality is very transparent and we don't want to have any pencil size once we are, we are done. So what I should do now is to lighten my drawing, but I will leave that even if it's a bit too hard, It's a bit too dark because I want you to see exactly what I'm doing and any way I will be putting masking fluid on. So when removing my masking fluid, I'm sure that the pencil lines will be lighter and it should be no problem at all. But if you want, you can, you can do, for example, you can take your putting rubber and just roll it on your drawing just to have it lighter or dust move. Very, very likely. Anyway, IM doing that. Just to show you, I did that just to show you how to lighten your pencil lines, but I just want them to be a bit more darker. So don't want to lose my guidance. So now that we're done with the drawer, when we move to the next step, which is the masking fluid part, which is very, very important. And we must be very careful because they eat, will be the foundation of all our watercolor. 6. Final project: step 2- masking fluid: Okay, now we're ready to use our masking fluid just so first of all, use your old ruined brushes. Have your water at their Eddie, have also brush. Clean brush that you use n Of course you have your masking fluid by your side. So first things first, we're going to apply the masking fluid on our lighthouse. And in this case I will be using my small brush. Okay, so first thing first before applying the masking fluid, this is water. We're going to do. So we're going to take our salt. They're going to rub our brush on our salt. In this way, we are going to protect the basal side. It will end all gummed up. In this way equal. You're going to try to to prolong his lifespan. And then we're going to dip it into our masking fluid. And we are masking the lighthouse. This is important because we want the area behind the lighthouse dark, because the lighthouse is almost white. As I told you before. Talking about the elements of composition in this way we have something contrasting. And it is a very good idea to have to protect the lighthouse so that you can find your sky easily without any concern. And then you can go on in a very tranquil place. So as I told you before, we are going to take the best of both worlds, both masking fluid and without masking fluid. And in this case, I'm going to mask this way. These are sorry, These crashing way, the foam in this area. Why I will not mask all these other waves that I have. But if you prefer, if you find a more comfortable, feel free to mask out also the alpha waves. I encourage any way to practice with the two ways of masking and especially in the technique thanks to which you can paint your phones without any masking fluid because the result is more natural anyway in this case, and just in this case I'm going to apply masking fluid. So I'm wetting the area that I want to be covered by the phone. Really all the area. And I want that to be very, very wet. I will go a bit further. So even if my y just want my phone to stop here, I just wet it a bit more because I want it to spread very easily. So I'm always taking my brush and you see it spreads very natural way. And it is something that I really like because it gives a very natural effect. Now, I will also splatter beat off masking fluid here and there. Because once we remove that, we will have some very nice white area without doing too many of them, because otherwise it will be too much. You find that there are some places where you can encourage them to go. That's fine. And now we have to wait for it to be totally dry before starting to bind to. So if you don't like some splashes here and there, once it has fully dry, you can just remove it. So I just in case I mean, you discover that you put the masking fluid and places to do it and what? It's not a big deal because you can just wait for that to be dry and then remove it with no issues. So let's see, let's move on to the next step. And then we will start with the sky colors. 7. Final project: step 3- the sky: Okay. So it has totally dry. I just want to remove this drop off masking fluid because I don't like that. It's too obvious, too big. And now we are ready to start with the sky. So let's mix the colors for the sky. Is I told you before, I just want to put a very light touch of Naples yellow towards the horizon. Really liked it. And my Naples yellow has really laid off red in it. But I want it to come sit down with a bit of raw sienna. And then I will be using ultramarine blue. Also for the implied here, ultramarine blue. And I want also certainly in blue, I have my alias cerulean, as I told you before it some more bright version of the. So really I'm blue and I really like it because it gives some boost in my sky. I will have also a Beta of red ocher. Just because I like this color so much. I find it very useful. So for sky tint because it keeps very bright and clean grace, but if you prefer, you can use also bit of burnt sienna. I will put up just a teeny tiny bit here. And I will be mixing. I don't know, it depends. Ultramarine or cobalt blue and burnt sienna or red ocher to get my grades. And what else? Subito of permanent coming? Yes. My red color B. Okay. So just a quick recap. Because I was a bit out of Commerce. We have Naples yellow. I dropped too much of it, just a teeny tiny bit. Then we have raw sienna, burnt sienna, red ocher and permanent Kami or rose matter, whatever you like. Ultramarine blue and my alias cerulean blue. And I want also bit of cobalt blue. And it will be in this position, just a teeny tiny bit. So now that I have all of my colors in my palette, I will start to mix the colors for the sky. So first of all, we need something very light for the site. I'm just cleaning my I just want my Naples yellow. Let's make this white and then my Naples yellow. A bit of raw sienna. More of a yellow. You see warmer version. Slide. Some awesome theory. These color, which is very opaque color because it's going to Naples, yellow has white in it. I really like it because it gives to the sky just hygiene or something more special, let's say a very special light. Especially when we have storms, then we are going to mix cobalt blue. Later beat off very, very small lead off. My permanent calming. And let's start raw sienna, sorry, burnt sienna. Teeny tiny bit. So that I get these color, which is a very nice purple color. If you wanted more gray, add more burnt sienna to your coal blue mixture. I'm preparing a bit more because I see that this is too much too much money county wishes to powerful when you need them. I need to use it very sparingly. Okay. Let's see if it's dark enough. Okay. More bluish gray. I really like this color for my sky with the clouds because as there is, they're off see, so we have some dark clouds from a previous store. Then we're going to mix ultramarine blue with my towel. Sorry, my cerulean blue. And we get this very powerful tint. More ultramarine, just to darken that a bit. Okay. So here we go. You're now ready. If you want, you can incline the board. Prefer. It's something that you can do. I will be using a soft brush, like a squirrel brush and mutation. You can use also something like this to wet my paper and I think I'll use this one, this one. This one will be enough. And I want also some smaller points for the Cloud. And I have also my flat brush handy because I want to paint the clouds also using that eat will depend. So. Okay. Let's bring some clean water and let's put in the forest. So remember, we want to go a bit darker underneath behind the fault. And I am waiting in a very random way. Because if I have some harsh lines or some white areas, it will be something very welcome in this kind of skies. And so you see, the most important thing is that you don't go below the horizon line. Be very careful because that is the only place where we don't want we don't want water to go over there. So always using It's a bit too big. This one, like it's a smaller brush. And let's start with our mix of Naples, yellow and raw sienna. And let's paint beneath it behind the lighthouse. So don't worry, if you are going To up too far though, don't be aware of that. Don't be worried about that because if you connect this with the upper part, we will get a gray color. So it's something really I mean, we need to be precise but not that much. And if not, don't worry because the colors can mix together very well. And you won't get any, any dark or strange fluttering in your sky. So let's go on with this kind of hit and miss the fact. Stay like this. And maybe I want to take the brush that I used before to mix the color or the nose. So this one is a bit too dark. And we can put in some dark at the very top just to increase the area of perspective. And then I will use this smaller brush and pick up my violet purple color. And Putin the ah, gray clouds. Sorry, I prepared two. Not that much. Okay, So here we go. We have more blue, a bit of raw sienna. Let's go with ultramarine blue. Let's check the quality. Yes, that's more or less the same. So let's put in thousands. So here behind the lighthouse will have a very nice effect. Ovaries almost dry, so it's very hot. This route. So to be sure that you have a very nice effect, use clean water. Wet your sky until the base of the cloud that you have already e1. Otherwise you'll end up with flowers. Then let's put in with the very tip of the brush, some clouds on the horizon in this way. Also, here. You will have a very nice aerial perspective. And if you want, you can add a bit of dark color. Also the top. Okay, Now, you can encourage the movement of your clouds and correct them that they need albedo file. And you can add some few clouds here and there. But don't cover all of your sky. The only thing that we have to check is that behind this form area, we have enough contrast. And if you want to be more color towards the horizon, you can do that. But you have to work quickly because if paper is drying, then you can use, you cannot add anything else. Or you will end up with a poly flowers. And a very bad result, which is something we don't want. Okay. I think that our sky is completed. I am really pleased also with this contrast between very soft edges and also hard ones. And so I think that although we have to do is to wait for that to be totally dry, if you think you need some more polarizing some area, you can do that. Okay, I will stop. If colors are separating, you see different shades are really nice and pleasant to see in the sky because they represented different colors of the clouds. And when it will be totally dry, we will move on and let's Google start to tackle the lighthouse and then the C and the foam. 8. Final project:step 4- the lighthouse: Okay, So as the sky has completely dry, now we can start painting the lighthouse and then we will move to the to the c. So first thing first what we are trying to remove the masking fluid from the lighthouse. And please be careful because we don't want to remove the masking fluid from the foam area, wanting to be clean, protected. Remove the masking fluid and using your fingers as I'm doing for you can use also your pretty rapidly. Sometimes we need to scratch a bit. Since I told you before the pencil lines, I'm almost lady by the masking fluid. I'm using my need a bit. Okay. Anyway, this portion of the house will be shut off, so no big deal. Anyway. Let's try to clean this area. Little bit of plain water and then dabbing your tissue. So if it happens that you paint even in a place you didn't want to, you can just clean this way. So before we start, there's some very, very small thing to do that is to prepare the color. And then I want you to have ND, also your very small brushes because we will have to pay the details of the lighthouse. So if you have something really small with a very smaller point, and now it's time to wrap this up. That S where the color is off the lighthouse. We want something very contrasting. And I've chosen the red color because I think they've read is a very good color to put in. The blue of the sky and the blue of the, of the seat. It's very contrasting if you like. Permanent timing is fine, otherwise you can use another red color of your choice, can be scarlet red, or you can add a bit of red ocher or burnt sienna to have it more of a terracotta color as I'm doing. I'm mixing my colors here, okay? Now I had a bit of permanent coming in my palette and I'm adding a bit of burnt sienna just to have it more. I'm brownish color. You can add also a bit of raw sienna if you want more of a yellow color. Now we're going to paint wet on dry. I must be very, very careful. You want to paint just the front, the top part, and then it clean water, dragging the color on the other side. So there is a bit too much water on my brush. Let's go back to my car is a bit too watery. Want it to be more concentrated, okay. So try to keep this part of the lighthouse light. While these bright, this darker. You can put in also bit of ultramarine blue. As we say, that the light is coming from the right side. So this area will be in shadow. And then using also a bit of permanent Tommy. We're painting the very top of the roof. Then we have the two columns inside the body of the lighthouse. And then we prepare a bit off. Shadow color using ultramarine blue and a beta of permanent County. We have this nice purple color put in a bit more on this side here and at the base of the lighthouse. So now it's time to paint the body of the light house. So we will paint with fresh follows because we cannot use these ones. So first of all, let's have plenty of our shadow color, which is made of ultramarine blue and permanent Kami. And I want it to be good amount because there will be some shadow to date and they want to use this same color also later. So we have this very dark blue, bluish, purple color that you can see here. Then I want you to mix the colors for the lighthouse. So let's clean my palette from the unwanted colors. So the lighthouse, we have to different colors, mix it together. So a bit of raw sienna. And I ran out of that. So I'm going to take a bit of raw sienna. And we put in also a bit of the purple color that we just prepared and I think it will be enough. So first thing first, we are going to wet the body, the lighthouse. So we will take a bit of raw sienna, very diluted here. And we put in starting from left side. And we're dragging our color towards the, sorry, first from left to right. And be careful because we don't want to have the colors too. To be too dark. We want to leave a white area, almost white area on this side. And then as it is still wet, we will take our purple color. And putting the shite. We are doing this while it's still wet. Because in this way we will get perfect diffusion of the peripheral. And it will get the round shape that we want to achieve. And then we are going to put in the shadow or the base, the very top of the lighthouse. So you think it's too light within some more color, just right now, which is the right time, becomes too dry. And always very carefully. Move the color towards the right area. And now we have to go back to the top to the roof of the of the lighthouse because it is too light and I don't like that sound. We choose a smaller brush are very, very small one. And maybe it'd be more concentrated color. I've put in some more. I wanted to be really bright. And now with my purple color, the color of the shadow. Go back. Yeah. And always using shadow color, laundry line, the structure of the lighthouse in a very subtle way. Then we have to wait for that to dry before adding the other details. And so we are going to paint the rocks in. Then we will start to tackle all the area of the sea. And so let's prepare the colors for the, for the rocks. So let's go back to our palette. And something want to swatch my painting so I will be using burnt sienna. I have burnt sienna on my palette, but it's almost water because I've added that. So let's put some burnt sienna here. I still have my ultramarine blue and I will be mixing them to get the very dark brown color. I'm not using any Van **** brown or burnt umber because I like to obtain my color from my limited palette in any way if you want, you can use, I'm a bit of burnt umber or Quantic Boehner. I'm adding a bit of cobalt blue because cobalt blue granulate in a very nice way and with my burnt sienna would give me some more texture my rocks, even if the rock side dust as small line. And then I have to prepare the colors for light. We think that we get a bit more off red ocher. And just a teeny tiny bit. I will put it a bit. Okay. So now we're ready to go. Before starting, we need to ensure the lighthouse, the base of the lighthouse is completely dry. So we will take a bit of raw sienna as the base and I want it to be my light value. And I'm putting here, then I will add a bit of burnt sienna exactly as it is. I want the car to make sense on paper because sometimes they have very nice effect and then I need my dark values. So I'm using cobalt blue and mix it with burnt sienna to get these very chocolatey. Yes, let's say chocolate brown. And if I want a bit darker value, I can use cobalt blue, ultramarine. And let's say a bit of red ocher and burnt sienna. So let's add a bit more of that. Burnt sienna to the first one so that we get two different shades of brown. So we have this one and we have also this one which is darker in both. They will give a nice texture on my rocks. We need to consider wrong thing so that we have the base of the way at the base of these rocks. So we need to clean with clean water. We need to soften the edges. And then we're going to use a small brush. I think I'll use this one. And with my dark values, with my dark grounds, are we putting some structure in my rocks just to give a bit more dimension? And you find neat. I can put in some very dark elements here. But the most important thing is that I, I keep the lower part very soft. Then it's time to paint the inside of these small window. I'm using a very dark brown that I prepared with ultramarine blue and burnt sienna. And I can put in more of the shadow of the lower part of the lighthouse. Then we can put in the lower part of the the insights. So let's take a bit of cerulean blue Berkley one. Let's suggest an ID outside. Then with a beautiful sienna. Painted the small house. And with power, purple color that the one that you use for the shadow. The sounds is old, musty shadowed, so we can go with one color over the other without any fear. You think it's too dark. You can take it up either way with a tissue so that you create also a bit of texture in the house. And then while we are waiting for that to dry, we are going to prepare a bit of green. And I'm using my dollar green is I want the very inside of this lighthouse to be, to have a sort of green element. And take a very, very small amount of free, putting the very corner of my palette. And he doesn't really matter what kind of green you're going to use. Just dilute it. We will paint very insight central column, the very contrasting color. Okay, then, so I'm checked if this part okay, is dry so we can put in the with the purple or sorry, with the dark brown. We can put in a line number group and a hint for the small, the small window. Then we will add some details here and there. We have there a way ending here. And also here. Okay, so the lighthouse is completed and the rocks also. So now we're ready to find the c, But before we have to stop because we want this part to be completely dry before moving on. 9. Final project: step 5 the sea: Okay, Now you're ready for the most complicated but also more exciting part of this tutorial wishes the C S, where the color is, I will mix them on another clean palette. I still have the other one that previous that I used before because I will need probably also some colors from here. And as I don't want to waste all the color that I already had, I just do another one also because I think that it's a good idea to keep the two the two colors divided them in separated water on one side and all the other elements of the offer, our landscape on the other one. So before starting, we are going to mix and prepare our colors. And we will have a very dark blue at the horizon so that we have a very high contrast between the sky and the sea. And also because it happens to be in this way, it all in nature also. And I will be mixing ultramarine blue and have a bit of the ultramarine blue on my palette. Also, we've tallow blue. Now I'm going to put in all the colors that I will need. Let's say here, I've titled blue is darker, darker tone of blue. And if you don't have title blue, you can use, let's say, then train a blue or if you want also in Diigo now using also tyler green. Because it's something that we will use to win some green because the water is not just blue, It's also green as well. And also cadmium orange. Just a very teeny tiny beads. And I'm putting my orange on the other side of the palette. And I'm using just a bit to get the green that I want because the C yeast rough and I, so we won't have that transparent green. We have, for example, on tropical seas. So for the horizon line and this part, we will mix ultramarine blue and a bit of tau. Then we get a very nice dark shade. And let's say that maybe I'm adding also a bit off. I have my other palette here. I'm going to take a bit of permanent carmine so that I get are also these purplish shade, something that recalls the colors of the sky. And you see it's a very bluish purply, not exactly, but very dark blue area. And that would be enough for the for this part. But at the same time we will start to remove the masking fluid or also from the main crashing wave on the rocks and on the lighthouse. So we will have to be prepared and have ND also the colors that we used for this case. So the shadow color, the purple color that we mixed a beat off, the colors of the sky that is ultramarine blue and cerulean blue. I have this cerulean blue which is very strong. But anyway, as I told you in the technical part of the water, they form some a little particles of forms. We reflect the colors of the sky. And we want to underline the, the color that we have. We want to underline the reflection. We will need all of them and maybe we will use also beat off this Naples yellow as well, because it makes us very well with the color of water. And it gives a very nice impression. Oh sorry. So let's start removing the masking noise. And says we use contrasting color. All around our form area. We get a very nice, clean free for February shape. That is something that we really like. So maybe if there is some fancy pencil lines, 312. Remove everything very nicely you can use also you're putting rubber as I'm doing here. So first thing first, I recommend you to have clean water it handy because we don't want to have any strange colors in our faults. So before wetting the area, clean off your brush, have your paper towel very close to you. And what we're going to do is to just to wet all these area because we are going to build the movement of water. So here we have also, I have my smaller brush. Now I'm going to take the colors that I told you before that were present in our sky. So let's start with our purple color. Thing must be very light because we want to create the impression of shadows. Now we're going to take a bit of Naples yellow also. And of course, means that these rays rinse your brush between one color and the other. A better mood. Ultramarine blue. Now we will go back. It's some splashes. So don't, don't exaggerate the mean. If you see that it's two op, using some points, just soften that. We will go back also with some white goulash or the very end. But we need to build this fluffy idea of the wave crushing very powerful way on the lighthouse. And also this area will be if it needs to be softened, you can try with your stiff brush, clean water, stiff brush. And you can rabbits and then the paper towel. Okay. And while it's still wet, maybe you want to put in some color to give it a bit of movement. As you see, the colors that I'm using are really, really soft because it's mainly white. But we will have also some bartering after the beta of the other colors that we used. Now, be careful, Be ready. Have enough color, maybe. Prepare a bit more. Okay, Now we're going to proceed in this way. We will work at first, dry on wet, wet on dry. We will be aware of this area that we need to keep very soft. And we will start with the more intense color here and we'll create it, create a gradient moving towards these edge of the, of the way. Sorry, I have some pencil lines that I don't want to be visible. They are just a guidance, but they need to disappear. And have your a paper towel in one hand because we are going to soften the color of the color just more or less at the very beginning of this contour of the waves. And we will have to drag the color in a very soft way in order to create a gradient, as I showed you in the technique of bonds. So be careful also when painting the horizon line. And you need to go straight. East, few leaves, some whitespaces, that's good. That's because we want this area must be softened. Dilute your water. You want it to be really soften. Now with your brush. Just create the movement. If you think it's too weak this color you can add. Some more dark. It says it will be a request for leave some white areas. That's fine in the form that we see in the very far end. Now, we're creating the gradient coming down here. Okay? So maybe you need to go darker. And then you need to soften at the very base and just stop dark what your tissue. Now maybe you want some darker area here is to create a bit more movement. Maybe it's always ultramarine blue and a bit off. I'm an incoming. Do not exaggerate and keep it soft. Soft as possible. Now, we have to repeat the process for these spot. But I want to change the color of the color of water is likely. If you see that you have some harsh lines forming, tried to adopt and keep them as soft as possible. Anyway, keep in mind that we will use also white goulash or spotting in this area. So let's create the other colors. So we have green Calibri or tallow blue. Mixing them. Maybe more fallow green. And a teeny-tiny beat off my orange. So you see we get these nice dark color. That is a very nice bluey green, very dark one. And I want this color to be a bit thick because I just wanted to create the gradient that I want. So I am going to wet the area under my way now. And I have to keep in mind there. I am going to to create some movement. So we want a feathery atmosphere and sorry, feathery edge. So we are moving. See very concentrated, but very also very feathery and soft. And now clean my brush and absorb the color to create the gradient. Some more color on the way. But here we have to keep it very, very soft. So let's go in and dab with a tissue. Let's repeat the process. So across the length of the wave. And then at the very base, go in your color. Okay, so let's try to keep very soft, also the lower edge. So rinse your brush and go back with clean water. We create the impression of another way. So let's put in, let's make some more color that is duller, blue, green. Orange. Ibm orange. And let's repeat the process so wet with clean water in some color and keep moisture and very, very soft and your tissue. Now we're approaching the other part. Let's do the other big way. Now. We will go in peace. So we will leave this area white for the moment. If you think that it's a bit too light, you can go back as it's still wet. I can add some color, maybe some more blue. And then you can soften. You see it's more or less the same technique. We got a harsh line here. I'm trying to grab it with my stiff brush. You see we get a very feathery edge, which is something that we want. So you can use this technique also easily want to smudge the, you lift the color away. For these kinds of process. Saunders Waterford to me, is the most beautiful paper because it can it allows you to correct or to change things very easily while you're painting. But since we choose, I mean, from what the paper that you prefer. And now just go back with my that way. And we will prepare for the very big one. We were wet very well. We will leave the whitespaces, but we'll paint very well. This area. Not until the end because we will do a bit of dry brush work as well. So if you haven't got enough color, just put in some more paper, some more. Orange. And maybe I need a bit more phthalo blue. Painting water is something very rewarding, but you use a lot of color. So let's start far from the, let's say the contour. Maybe this part can be also lighter. So let's lift a bit of color just to create some more movement. If you let if you start on the lower part, water reflow to where? To the upper area where you wet your paper and it will create light itself. The movement that you're trying to give to water. And as we see, putting some water at the edges will give you the right feathery edge, feather. This nice surface that you need without any effort. So lets the water help you and let it work for you. So you don't need to be very precise because the waves or something not predictable. So on my paper I have this shape of the way, but you can have a different one. Also. So we are calming. We're approaching the very front. So I think I like to have something stronger as a color here to be the impression. The way. And now I'm going to use the pure color as it is to create the impressions of the Nazi. But no, I'm using all the colors also, ultramarine blue as well. I want to increase the density and the dark swipes. And you see it's still really wet. Just something nice. Now, we can drop our tissue. If you need to clean some areas because they are too harsh. You can go back to your stiff brush here. And you see the foam is almost fainted by itself, so need to do anything. So I think that I will put in a bit of the shadow color that we used before to make this area even darker. And I will add also lead off orange. And you saw more of talent. Blue. Knight has become brown, which is something that I don't want. But okay, So taller blue and green, dark green and orange was already on my product. And try to create the movement of the sea. Still wet. Now it's not still wet. So I have to solve them that you need to soften. It depends really on many things. It depends on how hot is in your room you're painting. It depends on whether sorry. Yes, I think that we are done. So let's stop here. Sorry. You're doing an apology. Was saying let's stop here and we would go back when he tests fully dry. 10. Final project: step 6- final touches: Okay, So we are really close to the end. Now we have just our finishing touches. So first of all, I noticed that the shadow here is that a bit too light. So I'm going to re-wet my area with some clean water. And I'm going to take a bit of my shadow color that I prefer before mixing ultramarine blue and permanent coming in, I am applying another wash because I want it to be a bit stronger so that my painting has a bit more depth. I'm adding a bit of shadow also on this part of the roof. Now you see that it has become really cylindrical and it is really lightened. Have a nice translation. I'm adding clean water. Okay. And I am sure it will be fine once it has fully dried. A bit of shadows. So in the upper part as well. A bit of shadow also knew the inside. Now, what we have to do is to add a bit of structure to our rocks. And if you have a bit of the dark brown that we use before, you don't want to reactivate our color. And with a bit of dry brush work some nice sharp dark elements to increase the structure of the rocks. Not too many dots are there because we want to give the idea went and shadow as well. Now, we have to go back to this way, to this light area. We are going to wet with clean water. The tip of the brush. We're going to put in some colors as we did before. A bit of Naples, yellow, ultramarine blue, too strong. Let's soften it. And a bit of the purple color. So if you have run out of the car as I am, just quickly, once again, so it was ultramarine blue and providing comic. That's just you. We want to eat away. A bit of structure if we're putting our white wash on top and soften, always soften with clean water. And then as I've noticed that this area is a bit too evident, just want to cover it a bit. I'm using the mixture of blue and I'm sorry, I had to make the mixture of tau blue, yellow, green and a bit of cadmium orange color here and there. And soften it very, very lightly with clean water until I meet the edge of my way because I don't want any harsh lines. So creating the gradient. As I told you before. And if that is your case, you can soften that a little bit of tissue. Okay. Now, why it is trying the upper part, I'm adding some. Texture to the slide. And then softening. Always adding clean water. And wanted to be more dark area also. Yeah. So this time on Wednesday, then softening, maybe in your thighs. This wasn't necessarily because you had a very strong here or dark value as well. So now why it is drying? I will prepare two things. So one is my tissue or paper towel because I want to cover sky, the lighthouse, because I am going to spotter my flush and I don't want to help white gouache in the sky. But we will be spattering also purple color around here. So be prepared. I'm using the paper towel that I've used before, but you can use also something else. Okay. In this way, it should be more or less all covered in then with our white brush. I usually placed white goulash in one of the corner of my AT on the tape because I don't want that to go on my palette and mix with my colors because they will become really opaque. And this is something that I don't take. A stiff brush that could be the one that you use for your masking fluid or also these were flat brush. I have two of them. So I will start with a flat brush because to meet somebody that served the purpose will be better. Anyway, I am diluting not that much. My my brush and I'm spattering all the rocks on the very front. Really have fun with this. Try more or less to follow the direction of the waves. Don't overdo this, but let me try to be fair to cover the most important areas. Okay, I think that this is enough so we are going to add some sort some color. Also. We're going to spot it clean, thoroughly your brush from the brush. And now I want to spotter a bit of the purple colored this area. So just around. And also a bit off. You have this will give a bit more structure and it would be, you know, something more credible because water is reflecting all the colors of this guy. It's not just one that we are done. Maybe just I'll lead to veto and peripheral. Be very careful because there is no protection on the lighthouse and we don't want to smudge all the things that we've done. And now we have to add a bit of white also to the waves. This time we're going to use the brush. Always use the white goulash. You can add a bit of the details. You think they are unnecessary. Size or white. And maybe a bit also under yeah. But try to use as, let's say, not diluted. Because in this way it will be more realistic. We'll give more of the idea of the way and try to follow the movement of the sea. Vary randomly. And I think that we can call it finished. And the only thing that you need to do, maybe more white. Strongest. Increase the intensity of white. If you think that it's necessary, like maybe some spattering also in this side. Okay. And now we are finished and leave it to dry completely. And we'll see you in a minute where a quick recap of the most important thing that we learned today. 11. Final thoughts : This column at the very end of this lesson and adjuster, I wanted to share some final thoughts. This is our final result. We've seen how to find ways with and without masking fluid. We also had a very kills off to some key elements of composition we learned, which are the most suitable colors for a stormy sky full of light and where the columns are painting a rough sea. And we've seen also how to make proper use of white goulash. So I'm really looking forward to seeing your projects and you find them. And if you'd like, you can follow me on my social media. You will find the link and micro fight. I hope to see you soon for my next test. If you're less than any of the meantime, happy painting everyone.