WATERCOLOR SEASCAPES: A TRIED AND TRUE METHOD

1. Intro: Hello everyone. My name is that alone are not many tiny. What's her color is? The I think he escapes underwater in breath. Take your flat more often but not my students tell me that they are intimidated by escapes because there are a lot of things going on. Haben die get half the distance. He is. York's water, logins votes. Too many things going on in one at the same time. So if this is your case, follow me in this class because I decided this class is I want to share with you my method. And I'm showing you that if you separate all the elements of a very complex landscape like Craig's applause escape and you divide it in very simple. You need like e.g. the sky at the distinctive Xerox, you will come at the very end of the process sitting very smooth way. We view stress and in a very relaxed way, you will see that all the elements will join and come together in a very spontaneous final result. So, if you want to know more about my method, then grab your brushes, your paper if callers, and let's do this. 2. Materials: So let's talk about the materials that we're going to use for these watercolor sheet of paper, I'm using sound just water for its small-dimension eats 24 cm by a t. My paper is 300% cotton paper and sorry, hits 100% cotton paper or 300 g per square meters. And feel free to use whatever brand you, what you want, you can use our shifts under water for that immediately. I'm a nanny but Hong Fabriano, the paper that you have at all if you like, as long as the requirements are met. So first important thing is 100% cotton and some work on a small surface so that you can control in a better way, in an easier way the water flow. You will need also pencil. You will be in the potty rubber and the ruler. Because if you want to trace a very straight horizon line, you will need a ruler. Then you will need also your tablecloth or kitchen roll, the jar of water you will need also the masking tape. And what about the brushes? I'll be using these for rashes and they are all synthetic. They retain water, seal a different way and use brushes. Good dimension according to the size of the paper you're using. I will be using this one which is number two of the very fine point. And the other one, let me see what number eight days eats a number to it. As you see, there are different brands that they have different dimension. And then I have also these other two also they are all synthetic and that behave in a very different way. So this one, it's a squirly mutation. It's a very software agents, a lot of water as well as the other three. But let me tell you that this one with the orange handle is different because it's a little bit stiffer. It's changed a little bit less water, but it's very good for fine details. And these are the brushes that we'll be using some street to choose them all the one that you have. Now, let's talk about the color. So first of all, I have to tell you that we're going to use white gouache for the final touches or white or white gel pen. So if you have something like this, I will show you how to use them at the very end. And now we'll see about the colors. This is my palette, my standard palette. I use tubes so that I used, I put a bit of the tube color inside these tin palette. But you can use also half-past this. So feel free to use whatever color you have at home. It can be students grade or artist grade, and also will give you an indication of the course that I'm using. But if you like some other color so you want to change something, e.g. the earthly thing you don't like them. You can change the colors in the way that you want and you are encouraged to experiment and to have your role personalized palette with your own personality. And I will give you also a general indication, but please feel free to use the colors that are more similar to the one that I mentioned or the one that you like best. So I'll be using French, ultramarine, then cerulean blue masterly and Louisa Arabic different from the traditional one because it is Pb 15 column three, so it's more close to failure blue, and not your traditional serial layer, but use whatever cerulean you have, It's not really important then it will be using cobalt. And this is a corollary they liked with a green. So we'll be using our fellow green and sap green. But if you don't have spake this upgrade, you can solve that with a little bit of fallow green. And you add a bit of piano and a tide of red ocher or burned, Sorry, I read raw sienna or burnt sienna to calm them down. And I will be easier for sure, row and burnt sienna, red ocher, which is a color that I really like, but it's not something fundamentally, you can even leave it out. And also yellow ocher is a color that you may like if she wanted to use that. And another color that I will be using eats up scarlet red. Just a teeny tiny beef because it will, we'll be using that dust for the side and you see it's a small quantity. And another color that we're going to use, it's pheromone calming permanent communities of color that really like to create shadow, to create the clouds. You can stop that. We'd Alizarin, crimson calming, rural smarter of color, purple color that you have in your palate and that eats more or less similar to this one. We are ready. Let's move on. 3. The drawing: Okay, So let's start drawing the drawing. In this painting, we will have two-thirds dedicated to add a foregrounds to the sky. They're distant teeth, and the lower third will be dedicated to other rocks as soda, nothing happened is going to happen, particularly in the scalp, have just some plots in distance here, so nothing too busy. And my paper is more or less a 20 cm. So we're going to take my rulers because I want to trace the horizon line and I want it to be straight. So the two-thirds would be more or less, let's say 15 cm. And so here we have the 15 cm mark. And I will take also 15th century meters on the other side. Then I will trace my horizon line. You can do the Saltzer freehand if you feel confident and you are very good at tracing straight lines. So okay, maybe it's too low. So I think having me move on over centimeter, okay, so let's trace the horizon line is centimeter up. So it's 14 cm from the top of my sheet of paper. Okay. So I will wrap everything away. I'm using a to-be pencil because I want you to see the drawing very, very clearly, but you're free to use also a lighter pencil because otherwise you will need to rabbit and to lighten that before starting to paint. And okay, so now that we're done, we'd have robbing and cleaning the paper. We can move on with some distant he is. And there's nothing too complicated. We have just to trace them because we want to, or they are in the background. You don't need to trace very precise shape. You can use also your fantasy or copy something that you like, e.g. from a picture taken by yourself. And let's put in some rocks also in the very front of the distance he is because we are trying to create, after you playing composition, we have the distance. Here's the medium hills and the wants and the very flat. Let's go back to the median plane. Nothing to precises and said before because we are going to paint these two wet in wet. So we will have a very fuzzy, loose shapes. And now I'm also starting to put in the shade, the area that should be darker so the light is coming from the left. And we need to bear in mind that the shadow will be on the right side. So when I'm painting, maybe I lose trace of what I'm doing. So I like to put in some simple pencil strokes just to remind me where the darker areas should be. And I think that this is enough. So let's move on to the boat. The boat will be our main focal point because it has the right sales and it will be more or less in this position. It's going on, it'll be upper the arrivals in line at a little bit above the horizon line. It's a very simple shape. So let's say the, okay, this is probably the right point. And it's not too big. It's not in the center because it's always for the sake of composition. We don't want thing very, very center. They will look a bit contrived. Let's put in also some other details like e.g. the small windows that we have, just to keep it a little bit more realistic and they're the master. And let's go over the distant hills in this way. And let's trace all show the ropes and some other elements. And I'm not a sailor, so I'm not really precise with these words anyway, the ropes, you know that the older thinks that we have in a sheep. Let's put in also some other details like this. And then let's draw the, say, the red one, which is fastened. And bear in mind that we are going to finish out our painting itself. White goulash. We are not using any masking fluid at all because I want to keep it really clean and fresh as possible. And anyway, we would come back and you'd see in the last part that we're going to use the jump and, or the white gouache to really enlightened our small boats and, and to keep it as wide as possible. Don't be worried about too many details. Gesture it now. Okay, So let's move on now to the rocks. Okay, Let's clean this area and let's start drawing the rocks. They're adding a little bit of interests in the foreground, which is something that I really, really like when I was with the seaside and I took this picture this summer, I was really captured by the beauty of these groups of rocks they did, they seem to be lacking, as well as multi-family of rocks that were altogether old route. And they also costumes beautiful reflection into the shallow water really close to the, to the, to the shore, to the beach. And this is our last groups of rocks don't, don't, don't draw too many of them, don't exaggerate. We are also putting in the shadow. As I said before, the light is coming from left. So we need to remind ourselves that do the right side of the rocks easing shut up. And that's a very, very light pencil strokes just as a reminder, as a guidance to follow later. And I think that we are done. So now we are. Let me tell you how we are going to move. We will start to fade from the sky. Then we will paint the distant tails than the C and the rocks and at the very end, the boat. So let's move on. 4. The sky: So now we are going to paint the colors for the sky. We need to prepare them in advance because we will be painting wet on wet and we don't want to run out of quality adjusted the middle of our sky painting. So I will prepare a little bit of cerulean blue. Cerulean blue is a particular because it's called Hello IOS, Sierra Leon and eats at Pb 15 column, the pigment you can use, so whatever. So really am do you have and I'm adding also a little bit of cobalt blue because I really liked the combination of the two. Ec haven't got these kind of cerulean blue, you can add a title of a flail of blue to your cerulean blue and mix that with a cool blue. Or you can use coal blue by itself, which is fine. Use it very diluted at the towards the horizon sooner you get a nice gradient for aerial perspective. And now I want also to paint a little bit of a gray color. So I'm cleaning my brush because I want the hues to be clean. And so for these gray color, because the word clouds, headed with Ray. And I want to create these scoring, which is made by cool blue. And you can use also, you can add a bit of burnt sienna. You will see that in a minute. And I will show you that you get a very nice gray with a strong blue base. So it's something that it's really nice to use in the sky. Also because it's made with the colors that we're going to use also for the rest of the landscape. So we get a very limited color palette of colors made by a few pigments. The wishes, something that meets really nice in our morning and the end. So you see it? I'm adding burnt sienna to this cool blue and we have really a blue gray color. Now, I want a third color, which is more of a violet. I'm always using my cobalt blue. Cobalt blue is probably didn't lost my most used color because there is no sky without cobalt blue for me. And then I will add a little bit of red ocher. My red ocher is a PO, sorry, P R11 colors. You can use whatever pigments you have will be the same composition. And you will get, I will show you an amine. That's how you would get a very nice purply color. It's easy, it's becoming now it's more brown. And if you add more of cobalt blue, you see that you get this very nice gray purple color, which is very nice to use word for clouds, but you can also use coal blue to get the very same color. You can use cool blue with a little bit of burnt sienna. And now let's see, we had an all those the gray that we prepared before, but more on the blue side. And then you can add a little bit of a purple color. I will be using permanent carmine, but you can use Alizarin, crimson, quinacridone, magenta, any roles matter, any purple color that you live to get this nice purple blue shade, which is also nice for shadows, e.g. it's not something that you can use Jocasta in the sky. It's a very useful color. So now that the colors already have indeed your kitchen roll or your t-shirt type of cloth. You take I take my masking tape because I want incline the board and in this way I can work, there'll be more at ease. Okay. So I just want that to be nicely put. Okay. We're not sorry. I just want it to be a little bit inclined in a different way. Okay, Now we're good to go. We need to wear to the sky area. We are going to wet all the sky, but we're not going to wear to the hearsay because we don't want the color of the hair to spread up in the sky so that you end up with the color of the hair cells in the middle of the sky and slowing up. So we are staying just with the sky portion. We are leaving. The heel is totally dry. We'll do things in small actionable steps that you would work with the maximum coal for it and you didn't have to worry about the heels which are below the sky area. I will start with a clean brush and clean water off course. And I'm using my brushes sideways and you see I'm not wetting in a very uniform way. I'm just putting water here and there, but I'm leaving some white space because I want to have a mixture or a combination of soft and hard lines as well. The sky wishes effect that I really like in because we have a combination of the two and it's something related really asked you see that in a minute when we put in the color. So I'm waiting just around my hairs and now I'm taking my blue color, that mixture of cerulean blue and cobalt blue. And I'm starting with the upper plot. I'm always keeping my brush in this way. So you see the color spreads very easily where we wet. But as you see scattering the columns in this way, we'd also large and small. I can nurse. Fortunately, I didn't do any damage in my studio. Okay. Now, you see I'm putting in the ally to very diluted gradient and light very diluted wash of this blue color. And I'm softening with clean water so that we get a very nice to start to flex position between the dark, sorry, the, the harsh lines in the soft lines. Now I'm putting in my gray color, the one that we prepare before. And you see if you How case. So if you have some harsh lines, like in this case, you just use it a little bit of clean water with a tip of the brush and you soften them. And so that you keep a balance between harsh, hard lines and soft lines and soft edges. And now with the purple color, I'm adding a few clouds towards the horizon with a tip of my brush. And these are very small market because the clouds are various far and they are very small. So we are suggesting the perspective of the clouds towards the horizon. Too sweet to encourage the movement of these clouds in the way that you think it's better for your own painting. And okay. So I think we will soften a little bit. Yeah. Because you say, I want to keep the very, very good contrast between the upper part of this class, which is not feathery, but a more defined and the lower part I'm preparing also a little bit more of my vision color, which is made from permanent Kami, cobalt blue and burnt sienna. Because I want to add that bit also in the upper parts of the sky to increase the area of perspective. Any some other areas where I think that I need to go a little bit darker. But you see that on paper the colors are separating. So we have just right over the mast. You can see that we have the brown part separating from the peripheral part. And this is something really, really nice. It's the magic that happens on paper and it's not possible to recreate such a situation twice in the same identical way. And this is something that is really beautiful. Okay, So we've put in a little bit of dark areas, soften where you need to soften. You can use always a clean brush with clean water. And then if you want, you can also use a tissue or your kitchen roll to dop the areas where you don't want the color. You can use also the tissue to lift away the colors, also to create the clouds. It's not totally for cleaning, let's say the areas like this one where I don't want the color to go. 5. Distant hills: Okay, now let's move on Pair going to paint the distant hills and the rocks. And we have to be very careful because we don't want to paint the boat, so we're not going to use any masking fluid in this area. We are going to paint. We're going to leave the whitespace of the boat because we were and also the side, we want to be the brightest point of the red cell. So be careful and we are going to use some contrasting color behind the boat so that they can trust very well with the white of the boat. And the boat will pop up even more so as usual before anything else. So we have to prepare the color so I'll move my board away and I'm taking my palette and we prepare the color together. So I'm going to use smaller brush and feel free to use something that is suitable for the dimension of your paintings. So we are going to use some purple for the distance hears. And so it's part of my mind is permanent. Tommy, you can use purple, magenta, Alizarin, crimson, rose matter. Any purple color that you have in your palette is why we are allergic. Cobalt blue. Cobalt blue as much as I need because I want to get a very purple color. And these purple bluish color is very useful for painting distant, hence not only seascape, but in landscapes in general. And that's why it's a color that I really use a lot in all my paintings. Now, we will need a bit of raw sienna. Here we go. Clean your brush, raw sienna. You can warm it up a little bit with a touch of oriented or a warm it transparent yellow that you have. You can use also Academy yellow or lemon yellow. Maybe cabinet yellow is more suitable. But also red ocher. Yellow ocher, sorry, is a very good color for this painting. Bank yellow ocher is a little bit more opaque than raw sienna and running. So raw sienna and orderly narrow transparent colors, red, a yellow ocher naught. Now, we are going to use a bit of burnt sienna. Burnt sienna as it is using pounds, but you can use also tubes, as I said before. Burnt sienna is a very nice color, but I will use also bit of red ocher, which is a pigment containing PR, one-on-one and mixed with a green, red or something that are really, really like. Now we're going to prepare the greens and I will mix them on the other side of my palette. So to keep callers clean, we are going to some sap green. You will probably have some wins already done in your palette. But if you want, you can change the tones, but just by adding a little bit of violin or lemon yellow, and you will get a really bright, dark green. And you will have to bear in mind that the color are going to spread on the paper. So when it comes to the green, the mixture must be a little bit thick, not just water is the other one. Now we're going to prepare a dark green. We'd say look green. And to give a good contrast, I will add something dark and light, ultramarine blue. And we will be adding also Beatles red ocher, as I was telling you before, we have this medium dark green. You can use also burnt sienna and ultramarine blue if you want. Or anyway, you can, we need also something stronger, maybe something in-between these two greens. You can use also golden ingredients, you have it if you don't want to mix yellow with sap green anyway, I'm taking a bit of formalin. And you can also use Arlene and cobalt blue to get a nice green. Anyway, in this case, I'm using raw sienna to calm it down. And you can use all. So you can make salsa sap green with burnt sienna to have something like a sort of medium green. So now that we have our three shades of green, we need also very dark brown and each is paid off ultramarine blue and burnt sienna together, this one will be the darkest value in our palette. It's not black, it's almost black, It's very dark. It's a very dark brown. And even if you have fundic rallying, you're falling, you can use that, but please add a little bit of ultramarine blue because it will tie everything together. We will get us something very ammonia is using more or less the same colors to mix all the colors that we have in our paintings. So we are going to paint almost wet and dry. Have your handy your kitchen roll, and older things that you think you think you're going to need. Let's position the board and write it in the right spot. And let's begin with our purple color. Very diluted, very clear because little very soft tooling mix. And now we're going to soften this with some clean water. And because this distance here and Sarah very far from us, so they are very diffused. The color is not as clear as if they were closer to us. And let's move on. You can add some whitespaces. Why we are going to feel all the areas which are in, in shade, shadow, sorry, so that we remember that we have a darker side. And you don't need to be very precise. We are just giving the idea. So the couture off the rocks. And so that is the main thing, I mean DST to say when it's dark and where you see the light. Now I'm using, are these yellow very diluted. So you see that they mixed together these purple color and the yellows and the formula a little bit of brown, which is a very nice shade. And I really liked the fact that there is light tone, which is not the white of the paper, but it's given by these yellow mixture that we prefer we prepared before. So I'm trying to use this smile color because I want to suggest, as I told you before, the contour of the mountains. So nothing too precise, but anyway, not, not very soft as well. We're dropping now some darker brown and we'll start, sorry, dark gray. We will start with a dark gray here, e.g. and so it fit, spread freely. It, it's not something unwanted, something that we really like. And if it's too dry for three to soften the edges and doing with clean water and the tip of your brush. And because it will give the idea of feathery contour typical of the woods or trees. While here we still wet, we can put in our greens, dark greens. Be careful to put in that dark color in the dark areas with the shadow. And tried to create the shapes of the mountains really freely in a very loose style. Don't be too precise because they are so far that you can't really distinguish all the details. Now, let's put in some medium green, sap green, e.g. also here. So that should create even a nice contrast between the alternation of darks and lighter color, e.g. here we are putting a bit of dark. We have a bit of light green. And then some of the dogs, and we are going to vary their sequence so that we have something really natural looking, very interesting to see. So we are approaching the back of the boat. And as I told you before, I want something not too dark for the upper part because we want to see the details of the boat in the front and now. But we want also something that contrasts with that. So we're putting also a little bit of green as you see later on in a minute. Here we go with the greens and also be tougher red. So you see also that the colors are mixing together. So here we have dark greens, here and here, we're going to use very bright colors because it's a bright sunny day, bright vegetation in the middle of summer. Okay. We can use our burnt sienna or raw sienna. The greens that you prepared before and let the color mix even on your paper and just go on in stages, we did the very background. Then we're going to build this meeting play. And now let's take the very dark green, the red, all Carol, burnt, sienna, phthalo green and ultramarine blue. And let's increase the shade, the dark shadow or the dark side of this. The side that even shed off this. The painting. Okay, here we are going to put in some green because the site will be ready to serve just won a very nice contrast between the green and the red. I'd tried to preserve the area of white of the sale if you can, even if it's really small, small area. But in this way we will have a very nice contrast with the yellows, reds of the, say, the green vegetation. So sorry, you can dab the color out. In this area. This is also why I'm not working wet in wet on wet on dry because it's easier to stay white where you need to stay white. Okay. If the policy is spreading, just dab it out to the tissue as I'm doing now. Okay, maybe this red ocher is a little bit too strong. Too much. Anyway, it's going to dry in a paler shade. And I'm adding also dark green so that it will come it down a bit. The rocks and the vegetation where of these beautiful red. So I'm, sometimes we're afraid of strong colors but we shouldn't. Okay. Soften the areas where you see the heart-lung wanted harsh lines. So the wise, if it's still wet, you can put in dark colors or accents of Fred's e.g. to create the contrast to browse if you prefer, so that you remember to soften things out. And then we will mix also a little bit of this purple color. I'm violet because we will add a bit of burnt sienna to get these dark chocolatey color, gray color. Just to add a little bit to nouns, the contrast. So you see how many colors I'm creating, just using very few pigments. Okay, now we are leaving some white spaces because there is the light of the sun polluting the rocks. We will use sap green again, maybe red ocher, burnt sienna a little bit. Let's add some washes also here at the very front. So it's all about varying, some about variety, every kind of variation under the sun. Let's put eight or so some harsh line here because we want to suggest that the rocks behind the trees but do not exaggerate just a little bit. It should be a good balance between hard strokes. The movement of the trees. Tried not to be very precise and so on. You need just to give the idea of what's happening in these distant hills. Now, let's go with our dark green again. Here. And here. It's tried to find a good balance between dark greens, medium green, light greens. So then, just to create the impression of a three-dimensional complex of rocks and Watson vegetation. So if you need, you can clean your brush, you can dampen it in your tissue and then you can soften or lift away the color while you think you need that. Because that also, as I said, it's still a matter of balance between harsh lines and the feathery lines and soft whooshes. And we have a very good movement down and just rate now very contrast. We did also light areas and dark areas for the very front of this rocks I'm taking I don't care about birds San as fine. We'll try to be the rocks leaving whitespaces. Series of simple strokes just gave the ADL something going on. Leave the boat white, as I told you before, you can add a little bit dark brown made with ultramarine blue and burnt sienna. Just to increase the depth of this rocks. But leaves them really clean. Soda, you can appreciate the light of the sun they are now. They will provide a very good contrast with the water of the seals. So okay, Well now we will put in some violet, some purple color for the shadows because we need to provide more elastic unit for uniformity. And okay, we are about done. So you can go on putting in some details. You can lift away where you think you need to catch some light because it she lost them. You can just do this lifting lifting where the color with a clean brush, dab it with a tissue and to create maybe softer lines where you need to. But if you see that it's on your paper is right, don't do this. Please check what's going on on your paper instead of following me without checking really what she painted because maybe your paper is is really good and you don't need any thing like just like this. We are done and we'll leave that to dry and we will go on later on. 6. The sea: So now we're ready for the c. And as you can see, I cleaned my palette from the green colors because they don't use them anymore. And now I'm going to prepare the colors. See what colors are we going to use my serially and blue. You can use whatever cerulean blue you having your volatile anyway, the communist that you use before, you used before. And I'm going to add all certainly don't be tough for ultramarine blue, which is something that I really like. So now I take my cerulean blue, which is unhealthy. And certainly in Bahrain, a sauce bowls cupboard. You can use whatever grants you want as long as the pigment is Pb 15. And now I will add a touch of failure of rain because I really like the combination of the two of these lights value of blue and yellow, green. You can use them both if you don't have any cerulean blue. This mix of the two allows us to get these very beautiful turquoise color. There is also something already, e.g. cobalt turquoise or some corners like this one. It according to the brand new test set just with me, but I don't like colors that I have cobalt inside them because cobalt is a couple of duties or color that tends to be analyte, which is something that I don't want. One, I'm painting water. Even 0s in this case, you could use that. We picked neil problems. So be sure that you have enough of the shoe. I'm adding in a bit more salient green because I really like this turquoise color. And now I'm going to create a gradient, so it will start from the upper part. Then you are going to leave a teeny tiny white line, very fine line because we don't want the water to touch the distant rocks. Now I'm taking my ultramarine blue, as we can see dots right here. And I'm starting to paint, leaving the small whitespace, as I was telling you. She's seconds ago, really working around the boat because it hasn't got any masking fluid in there. And I don't want that to be touched by other corner, so I must be very careful now I'm adding a bit of paint. And now I'm going to soften the dashed line that I use as a border. And now we are working with rooms dry, but in a minute we'll be living with night and starting to paint wet on wet. Now I'm watching my cerulean blue and I'm mixing the two colors. So now we are working wet on wet, I'm adding gain a bit of ultramarine blue because I want a gradient. We want dark color. Underneath the road, the distance rocks because it will give a beautiful gradient. Now. It's time to go from wet and dry to wet on wet. I'm adding clean water and I'm waiting all the area. We tried to be careful because I want to leave the rocks totally dry so we didn't have any masking fluid on them. So be careful now, I'm wanting my turquoise color. Okay, So be careful, work around the rocks and trying not to touch them. And now we're going backwards to meet what we met before. Now I'm using a very diluted wash. Now I'm adding a little bit more color. Try to control the density, tried to add color it, not to use the more dense wash than the previous one. Don't talk more time because otherwise you will get cauliflower. And now I'm trying also to create some new line sardine blues and greens. Try to create some soft movement in the sea. Yeah, and just to recreate the very small waves in these towns, see, you didn't need to be very precise at this stage. We are trying to create the base for the underneath layer. And now when we will go over it, when it's totally dry. So for some more details now, same for our purposes, we are going to wet the very strong we are watching all around in Watts. Be careful. I'll send this area chart too wet in a uniform way. Here the water is really shallow, so we're going to put it on a bit of raw sienna, which is the color of the sand. And it's the color that we see in the very front here. The very bottom of our painting in which it will give the AND hours sand underneath that. And then we will go back with our mixture of some very light mixture, in this case of fallow, green and my cerulean blue. But you can use also failure blue to failure green with a small amount of failure will be just right, fine. And now we're going to put in the color of the sea in shallow water, maybe a little bit darker just around the rocks. And any way in this area or we do over with their selections. So the current must be really, really light and we need to prepare the background for their selection. We don't want any cauliflower or something like that. So try to use a washer which has a uniform. De Lucia, a few bills where they walked sophistry to clean with your tissue. And East there are some areas that you missed. Of course you need to call it that. Anyway. We need to stay really light. So don't worry to be too aggressive or too bold with a corner has you probably need to wait for that to dry. And then we will add the reflection, but we need to keep it really light because we want to see the transparent areas. So we are done with this gradient. We have a dark area at the very far end and they're very far edge of the sea. And then we are coming towards the bathtub with a very nice gradient and we are finished with that. And then we added all suite of raw sienna, yellow color that indicates shallow-water. And now we have to leave that to dry before moving on. 7. Rocks and reflections: Okay, So now we're ready to paint the rocks and the reflection into water. And that will be all in one go. And then we will focus on the boat. And what color are we going to use? We're going back to the raw sienna and burnt sienna, the colors that we had in the distance here since so that I have on this part of my palette. So let's mix some fresh colors. So this is raw sienna. That is the base for everything where it will come to painting rocks. Then we'll use also burnt sienna. And here we have our pure burnt sienna will have a really dark brown that when we go up that mixing ultramarine blue with burnt sienna. So let's make a little more. Because we need it. We want, I'll send intermediate brown. We can use this, okay, this purple color, you can mix that using cobalt blue. And we add in a little bit off my tummy. You can use whatever purple color you have. This loop, we will be using these for the reflection and the shadows as well. So I think we are pretty fine with this color. This one is another brownish color than probably was a mixed from red ocher and a bit of cobalt blue. Suits free to use whatever Brown you like, you can use also sort of milk chocolate color, which is fade from cobalt blue and burnt sienna. And you can really make so all the pigment, the blues and the rest that you have and see what kind of browse you, you get out of them. So what we're going to do now is to paint where almost wet on dry. We're taking advantage of the texture of the paper which is a cold press the, so it's not completely flat as a hot pressed the water. And we are going to live also some white areas because the air as heat by the light of the sun are almost white. We're going to put in very, very light strokes of raw sienna. And we are leaving whitespaces and then we will immediately go in with some dark browns. This case the darkest value, wet. So it's a mixture of wet on dry and wet on wet. But let's try to create the shape of the rocks and the shadow old. So in this way, building the rocks little by little. So very the tint that you are using. The most important thing is that you remember to put in the shadow will be for above the darkest area. So as long as you put everything in the right order, you are perfectly fine. And everything, you will see that everything will slow Naturally towards the end. And you need, you can encourage the movement of the pigment in one area of steel or the other. You can lift some color out if you think that the color went too high on the rocks. In this case, don't worry to be very precise. You have a combination of harsh lines, soft lines, It's perfectly fine. The most important thing is to try to recreate the shape and to have the lights at the right point and the shadows in the right point. So also for the sake of variety, I encourage you to mix different browns. We just spent a percentage of ultramarine blue, burnt sienna, red ocher, dragon's blood or whatever other life read. I don't know what color you have in your palette. And you need to clean your brush though, easier before issue. When you start to paint with the light color like e.g. we will see, and this is what I'm doing right now. Then you can go in with a darker color like e.g. the value that I'm using. But then you need to rinse thoroughly your your rush because you don't want to have a dark color on your brush when you are trying to paint the right and the lightest value. So be aware of this. And even if your water is sturdy, clean that because you will have muddy color in which Okay, So the process is almost the same and we're going now to wet all the area of the rock. And we will paint this one wet on wet. So we will add it to all the color on wet paper. This is another technique using that you can use to paint the rocks. Be careful because we don't want raw sienna everywhere. In fact, you see I'm lifting the very top of the rocks because I want them to be white. Use the tip of the brush to put in that dark color. Let's try to recreate these three-dimensions of the rocks. Now. I just want something darker here. I want to increase the depth and the contrast. And bear in mind that they are really close to the observers. So maybe a little bit more details is something that we need to put in in this case, because they are in the foreground. So for our last slot rock, let's use the same techniques. So wet. Then Sienna. And then maybe a bit of red just to create a little bit of variety. And then the darkest value again. So once they have dried, thoroughly, see that the values are lighter. But this is fine because we will go back to these rocks once they are dry because this has, let's say like a first wash. Then we will put in all the details in a second moment. Raw sienna is a very good color because it gives you the ADL slight but not pure white. And now we're going to prepare the columns for the reflection of the rocks which are not as dark as the rocks, e.g. if we were painting a river or another subject, I would prepare the same mixture of color that I prepared for the, for the rocks because the reflection and match or more almost perfectly the colors in this case we need a muddy green. We Okay, now I'm lifting because I think that there are some areas that I should have left for white. And if you want, you can do this live. This lifting process just to announce the 3D shape of your eye of rocks. Or if you think that you need to shake them in a better way, a more defined way. Just to give a little bit more structure. And if it's a good paper, you will just lift what you need and you want to ruin all that. You do, everything you painted before. Okay, let's add a little bit of violet just to give them a little bit more of an interesting look. And now we're going to try the reflection, as I told you, it's a mixture of color and a mixture of some green. So I have raw sienna. That comes the query down, then sap green, maybe a bit of fallow green as well, because a y and then all, maybe this is too bright. Let's add a bit of burnt sienna because there are k that the palate, so this is not matching the palette at all. So let's add a bit off. Okay. I think this is fine. It's the sap green very close to the Earth, the tools that we used in the background for the our heels and so on asphalt, voice sickled. It's like the corner that you will see in some lying in the grass. E.g. you can use this mixture and autonomy for the module reflection that we're going to paint just right now. It's an interesting shades of green that you can use also e.g. in nother kind of landscape and it's perfect for the grass summer I think. I'm okay. Let's try with this one first. And we also in this case, we don't need to be really, really precise. The most important thing is to have a good brush with a good point and we start to create some ripples, some movement of water just by. Painting some strokes as I'm showing you just right now, just to give the impression of reflection which are not Steel as in vivo, e.g. because the water, even if you shave it is shallow. It's not as t, But we have for small waves. And so your reflection, I love moving because see the reflection just on the top of the waves. And this is why we see them. Not to Precisely. Anyway, try to recreate this movement of the weights. And any way the water is reading really shallow. So you are very close to the beach, the seashore. We are trying really to give the ADR halt movement of the sea. But it's not something too strong. Most important thing here is to have a brush with a very good point. And you will get really good at tracing this kind of random strokes. A good thing to do is to observe the movement of the sea. Maybe if you want, you can try before on a piece of paper and try to get confident with this movement before trying that on the final painting. Now I'm using a bit of the dark brown that I presented before with the ultramarine blue and burnt sienna. Because in the area that is very close to the US, to the rocks, I want to add a little bit more the goals the car off the rocks because broadly, we're going to see just a little bit off that when it's really close to the rockstar. So here I will. I'm not using that much of this color as I told you before because it's not Stillwater but it's moving. So you see just a hint of the real reflection of the color of the rocks really close to them. And then you see the color of the rock mixing with the one of the sky. And then ripples have these kind of magic green that we prepare before. So let's see. I'm preparing some more colors. In this case, as I told you, there is just the movement of the waves, which might be tricky, but we are not matching exactly the reflection. So don't be worried about the fact that you're at and the ripples or are the lines that the strokes that we are putting our noticed really precise the should match the position of the rocks but not as in a mirror. We can use also beetle serially, I'm blue in this green because the water is reflecting all the colors of the sky. And say hello, green or salable is you have just to get a more of a bluish color. And then I'll drag also some green lines here with fellow green and blue are fatal green and cobalt blue or ultramarine blue. Just to give Day Dia off the slope went off the seal still in the far distance, but very gently, not too many. Otherwise you will end up with your project to all covered with lines. And we don't want that to happen. How k Let's go really gentle year and around the boat. So we are done and we need for that to dry. Once it's dry, we will move on. 8. Boat and rocks: Okay, so now we're going to paint the boat. The most impressive thing that we need is a little bit of scarlet, red or whatever read you like or orange. And we need to pay the, say. I'm using scarlet, red. And I tried to be very, very careful, use a small brush and with a very big point. And then we will put in the shadow. But just for now, we're going to paint all around, but say, we need our darkest brown, the darkest value, which is made by ultramarine blue with burnt sienna. And let's do a little bit of this. Use always a very good brush with a very good point. We will paint the mast. Go little by little if you don't have a very ferment. And now I'm going to blank the ropes. The night is going from the left. So now I'm painting the ropes than we give them a little bit of light with a gel pen. And now we are painting decides that are in shadow or any way all the elements which are dark and that are contrasting against the background. We have to paint this area, gesture it now. Okay, So let's take some ultramarine blue. Yeah. And then we have this decoration on the boat. Nice ascribe here. And then we have also the ultramarine blue. We want to buy this other line under here, okay? And then we have to put in the windows. So mixing some new, fresh color. This is my brown color, ultramarine and burnt sienna, and that's putting the windows in there. Let me see now why we are waiting for that to dry. We will go back just a little bit to our rock. And using the dry brush technique, still using my brush in an a result away and holding with pythonlearn warm site in the fingers and the outlet. I'm really trying to catch the surface, the tooth of the paper. And I'm dragging my color all with them. And I'm really picking really this surface vapor. This is why using cold press paper is important for someone who wants to paint landscapes because you can take advantage of the texture of the paper to get all these details so soon rock that would give a good contrast with a soft wash that we did before. Now, we have to put in the shadow of the boat. So this is the side where she is in shadow and all this area. We just had a teeny tiny bit of color, a little bit of water, sorry. And then we need to go back to the EOB of color. But be careful we don't want to erase all the things that we did before. And please if it's not fully dry weight because otherwise it will disturb the windows and you will end up with a blob into something that we want. And now we are going to take a little bit of Galatia to underline the robust, the ropes and some are the elements of the boat to make it really pop out from our painting. And I will show you how to use both a gel pen or the white goulash. Let's move on. 9. Final touches: So we are at the very end and we're going to put in some highlights. You can use two different things. So the white gel pen, It's really easy to use. Buddies who have already some confidence with water color and you really like you can use the white gouache with the brush. And you can be, you can use that even for the mass, for the Rilke's where these fine details, and if it's just a merry off hobby to me, we are going e.g. to use the Gen Fen for the very fine spots also on the rocks, on the distant hills. But you can use also the brush and the white goulash or for these kind of highlight whenever you, wherever you think that you need them. So let's start with a gel pen. We'll put in some highlights and fine details on the ropes off the boat. I'm not trying to cover the dark lines that I painted before because I want to keep them. And you'd need to be very, very careful in this case. So maybe the gel pen is more suitable for this kind of work. But ACR precise, go on and use your brush as well. Use a brush with a very good point. You must be fished out also for men. So let's put some highlights on the window. So for our boat. And now I will show you all some how to use the white goulash later on. But you can use the gel pen also for these kind of very fine details. Just start some spots here and there. Because they recreate e.g. part of the rocks coming out from the bushes which are hit by the sun. And you need something, you can do that now for the lines on the seat. And then the repulsive, I will use the white gouache because I think it's better than the white gel pen. I'm using that just straight from the tubes. And with a very good brush with a good point. Now, you need to go horizontally. You can drag your wrist along the board. And so you have your wrist against the board and you move along side. So you drag your wrist in this, with this rule branches. So you are sure that you are going horizontally as long as your paper is horizontally placed. So here we lost a little bit of white at the line that separates the C and the rocks and in the rocks themselves. Now, let's go. Let's try to put in the white off the ripples so you see it's very dense. If your galoshes maybe more diluted, you will have less difficulties than the one that I'm having here. But I like this kind of white gouache because it's an OT to liquid. Otherwise it will be not as white, but it will dry up a bit more opaque. So you can put these white lines wherever you see. You think you need them between the rocks to renounce your painting. But do not exaggerate because otherwise you will end up with everything God in watts. So now we're done and let's share some final thoughts together. 10. Final thoughts: We've come at the very end, and this is our final result. I hope you enjoy painting this with me, and I hope that first of all, you grab the method that I shared with you. So we started from the very background, frivolous dying, and then we moved towards the foreground when we talk all the rocks and the water and the C and then at the very end of the boat with some finance to update it. I hope that this will help you when you are going outside and painting all of the landscape because this method is suitable, not only for this case, first of all, for all the landscape that you want to buy into. So I would really love to see your results us to share with me in the discussion or in your project section. Your projects, your final results or landscapes they keep painted following this method. And if you want to follow me also on my social, and you can follow me on Instagram, Facebook or YouTube. You can find the links in life to fly it. And I hope to see you in my next Skillshare classes soon in the meantime, happy painting everyone.