Ocean Beach Painting with Acrylics | Painting with Ryan

[Music] hey there I'm Ryan and today we are going to work on an acrylic landscape lesson all of the tools and materials would be listed in the video description and if you'd like help with the drawing process I love the traceable up over on patreon along with the reference photo for color matching with that said let's jump into it so as per usual we are going to start in the background here and the sky work our way to the foreground but before we do that I would like to note for those of you wondering asking Ryan didn't uten you just paint a beach scene the answer is yes but I had a really really good time is such a cathartic process and it is midsummer so I thought you know what let's do another one with that said I am changing the set up a little bit here today as you can see I have the reference photo tape to my canvas and that's just because this painting that we're going to do it has a lot of different colors a lot of mixes if you look at the palette there really isn't a lot of similarity between the colors that we have here and what we have there so again a lot of mixing will be required and when we do have such diverse palettes like this I do like to kind of mix my pigments on the palette test them on a reference photo make sure they're correct then go and apply them to the canvas that way don't make things messy quickly or anything like that so that's what we're going to be doing let's jump into it let's hop into the background and paint some light so as noted I'm going to be using a smaller round-headed brush for this first application it is about an eighth of an inch and I'm going to use it because it is very soft around edges which is great for things like clouds so I'm going to start by making sure that that brush is a little bit damp then I'm going to work on the light area of the photo so I'm starting with some titanium white so just move right down here I'll grab the smallest hint of cadmium yellow deep you take off the excess move that little bit in here and I'll start applying that to the center of the light up here on my canvas and I'll also test it here generally a test at first but it looked correct it is correct that's fantastic love it when that happens and I'm just going to work this all the way to the edges of where that light is going to spin and maybe even a little bit overlapping the areas that are a bit orange and pink in the reference photo that way I have just a little bit to blend with this is our first layer of pigment so it's a little bit thin I can still see the drawing through it which is useful at this point though we might want to go back and use a bit more of a thicker layer in just a little bit now I'm going to look at the color that surrounds it and it's kind of a pinkish red so I'll take a little bit of our cadmium red light hue I'll move that down here I'll take a little bit of yellow to turn it into an orange quite a lot of titanium white to brighten it up and as you can see the white D saturated it but it also brightened ed give this a test oh that's that's wonderful we are getting exceedingly lucky here today so now I'll start applying this along those edges not applying much pressure and I'm looking for a soft blend into all of the light we just applied so I'm using very soft applications because the more pressure you add the more you move around that paint the more you create strokes by accident so I'm just working my way along that edge and as you can tell them the reference photo of the left-hand side is a bit sharper and the right-hand side is a bit softer so there's more of a blend over here and there's less of one over here go back grab a little bit more start extending it out because we're soon going to switch to more of a a purpley red but I want a bit of this to blend into that so I'm just working this along my drawing there we go so what's so worth noting that while we were working with a reference photo we don't have to follow it exactly it's there to help us figure out where everything is going to go and make sure things are constantly diverse and interesting but we have other ideas where we want to take artistic liberties we are more than welcome to do that don't feel like you have to follow the reference photo to a tee it's just there to help let's get a little bit closer though now we're going to continue moving outwards and as we move farther right the pigments they get a little bit darker so I'll take what I have here I'll mix right beside it that way I can use this as a reference I'll create a bit more of that orangie pink this time I'm going to use a little bit less titanium white though so you can see the contrast on the palette right there you can see that this actually has a bit more yellow in it I don't know that we want it to be more orange I think we just want it to be a little bit darker so I'll work a bit more red a bit more white and I think this might be it so we'll give this a try it's a little bit saturated and it's a little bit dark so I'll add a hint more titanium white and then I'll start applying this right along there's edges and I can blend this back into the previous orangish red that we applied just like that and then this is going to kind of work its way out around this cloud because of the light that's being emitted here it's going to work its way up like that now we're going to continue playing and I think I think we'll start on a cloud which is a bit more of a purple so we'll start here with blue because blue and red do mix to make a nice purple we're using cerulean blue right here so that's what the purple looks like void of titanium white and Mars black so this is a very saturated very thin pigment when you have titanium white you thicken it you desaturate it a little bit and you brighten it when you add Mars black you take down that brightness that you achieved with the titanium white you make it a bit more grey because the white and the black mix to a grey so you take down the saturation a little bit and that's good because generally the pigments the colors mix out of just natural colors void of these two can be a little bit too stark so I give this a try I like the color but I can tell that it's too dark so more titanium white and when we're adding more titanium white what should really be going through our heads oh that's perfect is the fact that we're taking down the saturation even further so if you find that it's getting quite dull interject more of that red and blue into it with that said I am now as you can see working this cloud around all of that really nice orange and peach that we applied the smaller round hooded brush is giving me a softer application for all of this just like that and then I'm going to come back down as I start to run out of pigment and are subtly blend this into that peach ish Orange that we have so I'm just going over the edges I'm using a very soft stroke and this is going to give it a slight blend there we go you can see a little protruding piece down in the reference photo that I'm going to interject now just a nice little detail I wouldn't have thought to work in otherwise and then a little bit of a pitter patter cloud down here make that interesting this of course also occurs at the bottom so we'll start doing that as well and I think I'm going to move you even closer for this next part and then we'll mix on the reference photo by ourselves again just for the next part so as you can see at this point it's really just looking a little bit abstract which is quite interesting because when you don't see shape or form what you really pay attention to is color and value and that means we really have an opportunity here to make sure that our pigments are correct that we do like them that they're meshing in the way that we want and that's really just what I'm taking this opportunity to do here there we go if you find that your pigments aren't blending well just make your brush a little bit more damp and you should find more success there we go now again we started moving this picha shred up here and now it's time to work on the cloud for it so I'm just about out of that pigment when we need to mix more of a pigment I like to mix on top of slash beside the initial make sure that way a good reference point kind of bouncing back and forth here between the blue and the red until I get a consistent purple titanium white Mars black we made it significantly more dark and gray so we'll bring it back to life by giving it some extra light and then also color you can see that I have the original mixture still at the top and you can see that this purple is a bit darker and a bit more blue centric so more red more white and that is what we wanted great defend it so now I can start applying this but as you can see I applied a massive amount of paint very quickly there if you look at the brush we did a lot of mixing with it there is paint almost on the entirety of it so we have a couple of options one we can just find here is to work off this massive amount of paint or we can take it off with a paper towel or something of that nature but what we don't want to do is start any specific edge work right now because we're just not going to have a detailed brush to do that with all of that paint is going to make it a lot harder to work with so right now I'm just filling in past areas and applications we are working with acrylics so they are innately transparent a lot of this will require multiple layers so that's kind of just what I'm taking this opportunity to do more layers and as you can see I'm kind of avoiding the edges currently because the brush is still difficult to work with there we go looking at the reference photo saying okay you know what we have more right here kind of connects over here I take a little bit of a Liberty brushes almost out of paint okay so now I'm going to take this brush you can see that while it's almost out of paint at the tip it still has quite a bit at the bottom we don't want that that could dry that could harden the bristles so what I'm going to do I'm going to take this going to clean it in some water just a little dish that I have over here take all of that off it's now nice and damp it's now nice and clean I can now take that make sure we worked so hard to make and I can start working delicately around my edges again see that very nice again I'm playing with the center area tapping in extra little clouds here and there just making it as interesting as I can and then I think I want a little bit of this pinkish red light working its way on the bottom here just on that lip see it in the reference photo it makes sense the light is going to wrap its way around the subjects it touches so I'm just taking a little bit of yellow here quite a bit of red quite a bit of titanium white going for that mixture that I have right there still very notable that looks a bit right give that a try so I'm coming down oh and that is it perfect there we go I find once I use the reference photo for a couple of applications I kind of learn how to make that mixture and then I don't have to go back and check every single time which is really nice but if you struggle a little bit with that then something you can do and remember that reference photo is available up over on patreon with that said here you can see I'm just working a little bit of that light down into the cloud having it dissipate as it works that way and I'll also incorporate a bit more of it over here so far so good also make it a bit brighter maybe a hint more peachy and then I'll come up to the top of this cloud and give it some light wrapping around it so it's wrapping around both the top and the bottom because the cloud is in front of the light source and so it's going to wrap around both sides leaving this area the darkest area that which we are actually looking directly at so we're looking at the back of the cloud essentially here you can see I'm doing a little bit of blending that purple for the most part has dried but my brush is dance so I'm able to do a bit of a wet into dry technique here which is fairly common with acrylics just because they do drive so quickly and you know it'll take more of that work it up here so far so good again we're still kind of void of form it does look a bit abstract at this point but it's kind of meant to it'll make sense when we pull the camera back and we do a bit of the actual background in a little bit again that light is wrapping around this as well there we go cleaning my brush just because I've had quite a bit of paint on it grab more and I know that might sound a little counterintuitive that the brush had too much paint so I wiped it off and then I went to night craft more paint the whole idea there is that I just I had more paint where I didn't want it on the brush to the point where there wasn't easily controllable when I go back and I grab more pigment it's simply on the tip of the brush where I do have a lot of control over it here I'm just mixing in a little bit of that nice pinkish peach making the entirety of the cloud a little bit more cohesive I think we need to mix a bit more there we go back in to that bottom then go work it over this slightly darker orange have it rap its way around the top of this cloud and then you know it will put it on this cloud as well and with this climb we're essentially putting it on the top slash left-hand side and we'll have a dissipate as it moves to the right because the light is shining this way so it's not really going to touch much of the top here there we go we always need to think about where subjects are in relation to that light now I really want to show you that when we take a step back you notice that this doesn't really look like this yet it's still not supposed to we're still kind of just getting those bare bones in there but what I'd really like to know is that if you look at this in contrast with this this right here looks significantly more blue in our - this is actually blue at its core where this is still a purple and it is still a red dominant purple so why when we have access to this why are we not testing on this why are we not making that blue and applying it there right now why not we have the resources the answer is that we still have a lot of yellow happening in here when yellow and blue touch they equal green the sky is void of green and it would be very easy to accidentally be a little bit messy and work that blue in there right now we still have the yellow and then end up with greens I don't want that so what I'm doing is I'm working with my yellows my peaches my paints my oranges my Reds my purple it's all of the colors that fit together really well don't dilute each other don't make major differences and then once all of those are applied and applied correctly then I'll come back in and I'll make all of this the blue that it should be that way I'm not jumping back and forth between yellowish pigments and bluish pigments and just kind of diluting everything and making it muddy so it's one of those things where again it's not meant to look the right way just yet we're building up to it we will get there and there is a very good reason for it so with that said though we have a lot yet - let's jump back and do it and continue having some fun now I still have quite a bit of this really nice dark bass purple left on my palate so I think the next step here is just going to be going in and mapping the more dominant darker areas of these clouds and really starting to put some form into them because we've been working in the small area we've been working out with all of these different colors and while that can be a nice way to work while we have this pigment we might as well start building these bases and then working off of them so what I'm going to do in this next step is just fill in this larger area of cloud here this larger area of cloud here paint in is dark pigment which will eventually turn a little bit more blue and then from there we can come back together and start applying those highlights and talking yet again about how light wraps around them how to make it look three-dimensional and how to make it all nice and cohesive also here's a little note I feel like what a lot of people will paint clouds initially they're kind of round they work like this they're all very consistent look at the odd shapes that these clouds consist of that's so so important that's what's going to make it interesting that's what's going to make a diverse that's what's going to retain interest of a viewer over a longer period of time if the eye ellipse at it and it doesn't initially kind of read scanned understand everything then the viewer is going to spend significantly longer looking at that piece analyzing you're trying to figure out how every part of it works and that is really what you want to do as an artist if you want to create a truly captivating piece so I can you know hold attention so what i'm doing here is following the reference photo but it is a photo it is of real life in clouds more often than not are a bit more complex than we initially innately think of the mess so that's what we're doing here you can even see that i've little pieces break we have little openings of different shapes and sizes and that's something I highly implore you to consider and work on in your paintings because it can make such a difference so now that I have all of the larger areas of my clouds mapped out I'm going to take that read a lot of titanium white a bit more hint our yellow makes more of this nice pink pigment that we've been using would be maybe a little bit more yellow there we go that looks like the pigment we had before so from there I'll say okay you know the light it's right here it's shining this way which means it hits the right-hand side all of these clouds right so I'm just going over that again on the ones you've already done to show you initially but it also moves this way so now it's going to hit the left hand side of these ones and what we want to do here is create a nice warm pinkish edge as you can see and then do a sway little blend inwards now most of my purple here is dry so I am yet again blending wet on to dry which of course isn't actually a blend it's applying one pigment on top of another pigment but because their brush is damp our pigment is even more transparent than it normally is so you can see that purple through the pink right here and as a result it looks like they're blending you're getting that combined color and hue from them so that's what we're doing right now we're just working our way along the tops as they get farther and farther away from this light I'm letting it dissipate I'm using less and less so over here it's just a hint I'm not not using much at all back again over here when we are very close to that light we might want to use significantly more there we go just finding other little openings I can do and the clouds make a little bit more interesting the bottom of these will also have quite a bit of that effect and actually the majority of the bottom here will be cloud so it can be a lighter pink cloud what we're looking at right here for the most part is the back of this cloud right the back of this cloud but they're going to be clouds that are a bit farther away that might have that light working all the way through them if there are more thin so we can make this back area a bit lighter yeah not something everything to do but I see them the reference photo I say you know what that looks great diversifies it more than I I personally would have been that's a good thing you also don't always have to work from reference photos I and you can work from your imagination and create really really interesting things sometimes I like to kind of come up with compositions first in my head and then go and find reference photos for textures and details and that sort of thing that way I don't just rely upon kind of what I already know and that way I can further diversify sometimes I like to work directly from reference photos this is going to be very reference photo heavy but I'm also going to take some larger artistic liberties later on and make some changes to it so it's all about working the way you want to and balancing that I feel like I've been talking a lot about the reference photo in this lesson and that's because I feel like it's very useful in this scenario but it's not how everybody likes to work and you don't have to work that way you can work much more intuitively give things a try fix them you know and you do learn a lot through that process with that said I actually have quite a large pink cloud kind of coming off this area right here this actually could be a bright pink so I think I'm just going to take this and I'll convert it there we go this one is much more thin of a cloud it's important to think about the density of your clouds when you're painting them because if it's a very dense cloud it's not going to have a lot of light working through it the back of it is going to be a much darker but if your cloud is significantly more thin more transparent it'll have that light work through it it'll have probably the color that the edges of the other clouds do so that's a good general rule to work from here I'm going back and I'm doing many layers because we are working over a darker purple pigment and again acrylics are semi-transparent so if you want to apply a light color over a dark layer you generally have to do a couple of layers there we are it's coming along swimmingly we're almost done with our highlights and so soon we'll be able to move on to the background color of the sky but before we do that I actually have a bit of light coming up from over here so yet again item I noted that we're we weren't going to use a lot of blue in this because I wanted to make sure our yellow was safe because we still were going to use yellow and we still are so I'm taking that cadmium yellow deep hue some titanium white looking for where it is and the reference saying okay you know what it's right here so we'll get a bit more of a golden highlight right there and whatever is right next to the light will have more of a golden highlight than a peach highlight initially so you know what I can actually work that back here a little bit and then on this side it's kind of working its way around these and then a little bit back in here as well and it's a very subtle change in color but it does make it significantly more interesting then we need a lighter mixture so I'll take quite a bit of titanium white and you'll notice I'm grabbing it from this side now rather than this because look you have all of these different colors to dilute it we don't want that we want something significantly more clean so try to avoid that when you want a bright color that can't be diluted I know I had a bit more of this really nice golden pigment right there of course it's semi-transparent you can see the pink through it a little bit it's a nice nice look a little bit more of that light wrapping its way up around here and then I'll move some extra pink up into that area so I'll actually take the yellow off my brush so it doesn't dilute it grab quite a bit of our white a little bit of our red a little bit of our yellow and we'll just work this up and eventually this will blend with the colors of our sky but this is essentially a very transparent very soft cloud that's behind this other cloud and so the golden light can kind of work its way into it because it isn't dark and it won't have any Blues there we go and it can be just a little messy at the top for now with that said we're going to save the bottom area for later right now we're going to mix the color for the top of the sky and start bringing this area together now I've taken a step back so that I can see the top of the reference photo here I've switched to a medium-sized flat headed brush this one is about half an inch wide and I'm going to start with some cerulean blue you want to take a little bit of power red maybe about half the amount of blue that we mixed that way it has a hint of purple but is blue dominant then I will take quite a bit of titanium white about half that of Mars black because Mars black is a very strong pigment in this pigment is already quite dark this is going to desaturate it because our initial pigment is certainly far too saturated and I'll give this a test and what do we see it is significantly significantly darker than what I actually need so we'll take quite a bit of titanium white and there you can see I did take from the more diluted area of titanium white because we are mixing a lot of paint and this really does have a combination of just about everything so I'm not not as concerned about it as I was previously we'll give this a try and as you can see it's a bit too gray it's a bit too blue so we'll add some extra red into it which will also give it some extra saturation give that a try oh it's so close look at that I think we just need a hint more saturation so I - hint more blue want a hint more red we'll mix these together again a hint more blue I'm just adding very small amounts at this point because it's so close to what I want and I don't want to skew it far in one direction or another you can see that I'm not going with the first pigment I mixed though I am waiting until I get what I actually want which is this so I'm now going to take it and or start covering this top area this guy will change its color its value as it progresses but I'm just going to use this as a very basic starting point and the base layer as you get towards the edges you see that it gets a bit darker so we intermix a little bit of extra Mars black in there throw that up into the corners when I work on large areas with flat head brushes I like to work in X shaped patterns initially because it helps me to move the paint around much more effectively than if I was just working horizontally or vertically and then in the end I go back over it with a very soft stroke to even out any areas that might still have that very strange pattern so from there as I get closer in you'll notice that it's far too dark so I had a lot of titanium white I'll probably add a bit more red because we're getting closer to that pink there we go it's really nice so I'll throw that along the edge here make it a little bit brighter a little bit more pink again build that up again brighter oh that's really nice it's a little bit less saturated than the reference photo but I actually like that a lot because it makes all of the saturated pigments pop so much more so now while everything is still wet I'm trying to work fairly sharply around my clouds but I'm doing it quickly so that I can move back up into the sky and just get that nice soft blend ingredient if you do miss that opportunity you can go back up over into this by just using a bit more water on your brush make it a bit more damp and what you're probably noticing right now an issue is that look and this with that and embarrassin of that this is smooth this is soft this is not so what we need to do is create a gradient take some red take a lot of titanium white might might be too dark yeah it's too dark take a lot more titanium white made something nice and bright here you can see I'm still working quickly oh you know what that's perfect that's even better than what we had before so I'm applying this there and then blending blending up giving it a bit of an arc and actually you can see that the light moves a little bit of a direction so what we switch to that but I want it to be nice and soft in the end so you tell you what we'll just do our little blend over here this is actually meant to be a bit more blue on this side so I'm not doing much and you can see there's a little bit of a line there because there's a little bit of a line here and now we want to take all of that pigment off my brush and start making those applications that we just applied quite smooth now this area is admittedly a bit tricky might take a couple of tries and it's acrylics which is great because it's very forgiving if you want to take a couple of tries now you can just let it dry over 5-10 minutes and you come back and you give that sky another go don't get discouraged if it isn't perfect the first time I'm not sure that mine will be here as you can see it's getting a little out of hand with the highlights I might go back grab a little bit of that darker pigment which I no longer has all quickly very quickly mix up a bit more there we go looks quite similar it's good make it a bit more blue make it a bit more black add that back up we've mixed it once easier to mix the next couple of times you can see that I'm blending it down horizontally but very softly with my brush so you can still kind of see these nice strokes from before normally we don't have such intense sessions this is kind of fun exciting so what I'm noticing between the two photos is that my skies a hint darker and it's a hint more be saturated but I'm actually very happy with both of those things again I noted earlier you can take artistic liberties that is what I am choosing to do here because by having this part part of the sky a little bit darker it makes that pop more the same goes for the saturation levels generally don't want to make everything in a painting hyper saturated otherwise the height doesn't really know where to go here I'm just softening things a little bit we still of course have to do this area of the sky wasn't able to get to it before this started to dry that's okay I'm not I'm not concerned but what I'm going to do now is I'm going to switch to the smaller round headed brush going to find that pink that we were using for right here I'll start right down here at the bottom you know what I might make it a little bit darker got a mix of those two and then I'll start working my way up just because when you're making those brush shirts you made some darker impressions down here but I didn't really want so a lot of my stroke here is going to be done with a mix of a rounded motion so that it doesn't necessarily show a streak in one direction or another but where there is supposed to be a notable streak then there are a couple down here in the reference photo then I will start moving in that direction so I'm doing that right here just making a very very soft impression just like that incredibly subtle that's what we're looking for you know I can work this back down into here we also didn't get to this area so you know we'll have to go back in there that's okay I actually I am very very pleased with what we were able to cover in that dry time and this is good because it'll let me show you what we do when we don't cover everything in dry time because it rarely happens and that's okay still plenty of little workarounds with that said I do feel like I see a little bit of brushstroke up here so I'm going to do with my brush that doesn't have any paint on it right now I'm just going to move up with very my new brushstrokes that are kind of moving in the dress chin of the light up into here I might start working with a little bit of a rounded stroke you see that and this is going to make a very very minut change in the painting but it'll make the overall flow of it feel a little bit better right now it looks a bit messy I am I am cognizant of that it's okay just continue going over it till it softens and if you get any of the small markings of pink and a pattern in this direction it'll just look like clouds which is really nice very subtle distinct clouds that it's adopting all of the beautiful really beautiful colors of light can also move this down a little bit so as you can see I've clean up the sky a little bit and now I'm going to go in and fill all of these little areas that we weren't able to get when we were doing the top because that did dry it and it required more time right we're blending and in that time this just didn't get done so I'm going to take the smaller round head brush yet again make sure that it is nice and damp here I have the wide selection of purple is that I mixed for that sky and I'm going to make some more of them mixing something like that bringing it right down so I start with some blue I'll grab a little bit of red probably be out put an equal mixture at this point see which way it leans what we need to do to it have a little bit of Mars black good amount of titanium white it's also worth noting that I have lunch in between the last clip in this clip so all of these colors and mixes aren't necessarily that fresh in my head and I need to kind of refigure things out which is something to consider when you're painting I used to be someone who that needs to be a little bit darker and a little bit more blue and a little bit more be saturated I used to be someone who said oh you know what I can't paint I need I need like a six-hour block that way I don't take any breaks and it's all fresh the whole time but that's just it's not realistic for a lot of us and it isn't realistic for me anymore so now I say okay you know what if I can put two hours and do it here oh do that get a little bit farther a little bit better and over time it actually does quickly add up and I think it's actually beneficial in the long run because you do have to continuously go back remix colors figure things out again and it's a lot easier to do that you know in half an hour in an hour in even a day than it is you know two three weeks so rather than waiting for that perfect opportunity just getting to it doing a little bit here and there I think it'll really improve your work as I feel it has mine so anyways I'm working my way into these clouds as you can see I'm trying to give little pitter patters along the edges of a lot of these make them relatively soft you can tell that this as a whole is a bit darker than what we have over here I am okay with that I'm just moving this down first and then I'm going to go up and change it I said I was okay with it I'm okay with it because I intend to change it not because I actually think oh you know what that that dramatic changes entirely fine so we'll grab some titanium white we'll move that and do our previous mixture go up try that here you know what now it's it's a little bit brighter it's a little bit blue let some red which will make it less blue but it'll also make it darker because this red pigment is a darker value than the value that we already had so now I look at this and I say you know what that is that's a little bit too red so no we we take some more blue we're just work back and forth until we get what we actually want remember don't go with your first mixture make sure you're going with you right mixture it's definitely better see do a little bit more of it give it a fair chance maybe a hint more titanium white I find when going into there we go that's perfect significantly more complicated pieces and color palettes alike this a lot of people myself included initially just kind of start throwing color at the canvas and saying oh you know what that's Chloe sometime you know that's okay it very quickly turns into a completely different painting and maybe one that you don't necessarily want to make it's better to take your time and figure things out there we go and again that that took me a long time to learn but it's something that I am always cognizant of now when I'm painting and I still do make changes I edit the painting I do a lot with it but that thought process keeps the majority of it what I want it to be so I can take artistic liberties and still have what I want in the end but if I'm just taking artistic liberties through the entirety of it then generally I don't end up with that which I a really desire so just something to keep in mind but here as you can see I'm just working my way in and around all of these different clouds my brushes Semmy dip I'm doing a couple of different layers to make sure that it's nice and thick I'm doing slight blends over clouds and we'll go back and we'll do highlights along the edges again later to clean it up and then I got a closer to this area probably make it a little bit brighter and a little bit more pink yeah just like that straight gets more blue as you move out to the edges you know remember this is a cloud so we can work a little bit of this over the edge make it soft but not too much now if you look at how rough and toothy the edges of these clouds are you probably look at any say looks it looks a little bit too disheveled we want it to be slightly more clean so we're going to do we're going to take that read that titanium white mix up a nice really bright pink probably add just the smallest hint of yellow because we've been doing that to add a little bit of warmth diversify our color make it a bit more interesting or test it looks like quite a good match now I'll go over those edges again this time though the pinkish orange this almost peach ish color is overlapping bluish purple and the darker values so it's going to look like it's in front now where before it looked like the background was in front of the cloud and it didn't make much visual sense so this is great this is an opportunity to kind of go back and refine things my brush is quite damp which is allowing me to get this semi-transparent look and that's how we're making it look like a soft blend despite the fact that now the darker area is yet again dry so I'm just going to go back do this a couple of times bayaud it up because again it's not going to look all that bright in your first application because of course we're applying a lighter pigment on top of a darker pigment those lighter pigments are semi-transparent and so we need multiple layers really love the hint of yellow it might not be all that noticeable on camera but it's one of those subtleties that just had so much to it there we go tapping on a couple of extra little clouds here and there making sure they're consistently interesting they are breaking apart the reference photo has a couple of them winding around like that making the right-hand side a bit more transparent doing a slight blend of that way so that the more opaque side is on the left-hand side which makes sense because the lights hitting the left-hand side it'll make it brighter it'll make it pop more and that's what we want here I'm going back over these areas until I feel they are nicely filled out this is also another cloud that could use a hint more highlight might throw a little bit of this at the bottom just in case it's different than the other pink I wanted to still feel cohesive there we go from there I think what we should do is start adding a little bit more of that nice yellowish gold back into the painting so head over here I'll move the camera and then we'll get right on that so before we begin I think it's worth noting that this side of the painting we've been giving them significantly less attention to it looks a lot more rough it looks a lot more simple at this point it's meant to it's one of those things where again we just need to build up and this side is something that'll you'll get much more interesting when we start working the blue into this once we're done with all the yellows and the golds and on the note of the yellows and the golds I do highly encourage you to make sure that there isn't any blue in your water on your brush because if there is this next yellow is going to look a little bit more green so if anything is diluted dirty muddy go give it a good clean and then we start this next step but for this step we're going to start yet again with that same smaller round headed brush we're going to make sure that it's nice and damp I'm going to grab just a little bit of our yellow and a lot of titanium white mix those two together till we get something nice and warm test that in here make sure it looks cohesive it does I'm very happy with that now we can add those highlights to the edge of this cloud we can have it work its way around this one around the back and top of this one getting some really nice mixes of color in there we can have another distinct cloud right around here so I'm making a harder line on the right and then I'm blending it back with these rounded strokes and almost no pressure you can also blend it back with your finger I'll create another little cloud here like that and then I'll make my brush very nice and wet grab a bit more and we'll just blend up very softly from here and do our pink we don't want to go too far though because the edges do have a little bit of blue and we don't want that mixing in this is just a nice little addition there we go now we'll take that same brush make a bit of that darker purple that we used for the base of the cloud and we'll create some smaller wispy ones up higher I'm going to make them a little bit brighter so I'll test this in here see how it looks it's not bad it's a little bit blue so I add a hint of red I'll add a hint of white test that getting very close a little bit brighter and that looks really good so I'm going to look at my photo find some areas for some smaller softer clouds I think there's one right about here so I'm going to start with a harder edge on the left-hand side and I'm actually going to let this one just kind of work its way back there's a series of taps always trying to create different types of clouds that way it's consistently diverse and interesting here you can see I'm creating much smaller ones and as we move up in the painting you can see that it's getting entirely lost because this value is the same as the value up at the top there we go can work this down behind some of these just adding a little bit of detail to this side keeping a lot of the soft a lot of these semi opaque going over my hedges just soften things I wanted to show you this from a bit of a distance that way you can see how it fits in and how it kind of starts to balance both sides of the painting and now you can see how that little pitter-patter effect that I used on the brush on the top of the sky earlier actually where it's really well directionally with our clouds there you can see a lot of them are directional they're kind of pointing out that way we stick with the main movements of the painting and I think this one might be one of our last would you one over here just for the sake of keeping it cohesive but I think that's what I want for that area now let's head down into this bottom area because this is quite interesting it is all of these colors but then we also start to move into softer pigments and some blues so I have my reference photo tape so that's essentially on the horizon line of the water which is really great because it helps me kind of simplify the painting and where I'm working specifically with that I am going to mix more of that very bright yellow that we were just working with and again it is essentially significantly more titanium white than it is cadmium yellow dpu and by the way I'm using cadmium yellow deep you simply because it's a bit warmer than your regular primary yellow it's a little bit darker so when you saturate it with titanium white you actually will you desaturate it but it doesn't look too bright too vibrant it's a much more I think tasteful pigment in sunsets so that's kind of why I chose that pigment there we go that looks good that looks really good I'm going to take that yellow off of my brush now I'm going to mix more of our pink again we're working with very very bright pigments right now I'll get a hint of yellow let it lean into orange a little bit maybe a little bit more then I'll come along my hedges and you can see just how well that pink matched with the previously applied pink all of this weight is working its way through the bottom of these clouds which is I they have this nice transition from the yellow to the pink just like up here so I'm just kind of filling that in work it out a bit farther and we'll go back and we'll add extra yellow on top of portions of this but I wanted to keep it a bit more simple initially give us a bit of room to play now we're working over a bit of my drawing here so I do want to use fairly opaque applications and not blend my pigment out too far otherwise we will see that line at the end of the painting it's one of those things I used to know you know it'll be fine I'll take that out later and then I and then I didn't so here we're just making sure that we do that nice and early so I'll go over it another time I'm going over it with a slightly lighter pigment this time trying to create more of a transition between the yellow and the pink that we have and I think I'm going to brighten that up just a hint there we go now we switch back to our yellow and you'll probably see a pattern here and that is the light itself is yellow and then from it you get this pinkish orange and then along the edges of the clouds you get more of that pinkish orange it's a little bit darker though and then you move into the cloud and it's purplish and seem to be bluish so while we're doing a lot of these different clouds complex clouds it all follows that same kind of rule set and that's something to think about if you ever get stuck or you feel like a certain area is a little complicated in theory and maybe even application get a little bit brighter continuing to just bump this up slightly here in there and up here you have a lot more orange so I'm going to work that down a little bit just because I want it to be nice and cohesive I also love the look of the orange so try this play it up here test it it's pretty good say okay you know what the light it's starting to move out so we'll get it right around here probably there we go the edges of these can also have a bit of orange ish pink already looks a lot better much more cohesive that set audio a little bit more we're just build it up slowly slightly I do recognize that this will be a bit of a longer tutorial but there is a lot happening with color and I just want to make sure that you get as much information as I can give you there we go going back thickening some of those previous applications might touch this pigment up into the top just to make things a bit more cohesive you know I definitely want more orange right in here here to maybe a hint here but remember that needs to be less as you move farther away from that light now we move into more colors like what we had in the sky but this is going to be a bit darker actually no it's going to be a bit lighter it's going to be lighter as we move farther down it's going to be a little bit less saturated just because there's so many colors blooding together when they do that they tend to make sure that one of them doesn't shine above all of the others it's kind of interesting but we're going to make that a bit softer so start with blue start with red then we'll take quite a bit of titanium white a little bit of Mars black we don't want it to be too dark but we do want it to be very gray okay try that in my previous mixture it's brighter that's what I want start applying that down here and you can see it's actually quite close to the cloud and that's good though I do think after doing this I will want it again a little bit brighter our cloud is also going to change colors in a minute so that's also something we can keep in mind if they look quite similar and you're just going to take some titanium white and throw that directly on here much better it's really nice actually apply some of it over here connect it back up to the light here you can see I'm continuously brightening it it should be extra bright right around here because we are so close to that light and of course the more titanium white we had the more we did saturate it which means the more it looks soft compared to the orange and there's other colors which is a good thing because it makes them pop makes them look good there we go I am going to make a little bit of a darker area here for a cloud but I'll do that once I'm done with the rest of this pigment and again how close right now this might look a little bit messy it's important that we trust on the process because at the end well you've seen the image you see them in the thumbnail I haven't seen it yet but I have a lot of faith that this is going to turn out quite well anyways I'm just making a slightly darker version for a cloud which is going to go right here blending it softly on the top and the bottom but this bottom area is going to be a little bit darker because of the lights coming down and the bottom of the cloud isn't receiving that light we're also going to use this pigment over here as an extension of this cloud but all that a little bit of this light move-ins of the cloud it moves this way and then it comes back around this way there's a little bit of an opening where the sky and the life can show through and the cloud will come almost to the bottom and then just with a little bit of white essentially just what you see I'll make that that pink that we had so I'm just going to continue with that and then we'll continue together here is a blurry shot of both the painting and the reference photo and this is essentially just to show you shape and form how that's all kind of going together and how ours again is just significantly less blue than the reference photo so we are almost at the point where we are going to correct that but first we're going to add some very subtle light rays in the distance this is also just a good test to kind of see again how your clouds your shapes all of that is going if you take a camera you focus on something else you look at the reference photo you look at the pane you can generally get a much better perspective of what is working what's a little bit bigger what's a little bit smaller and all of that so just again another quick little tip so now I want some of this nice golden light working its way down right here to do that I'm going to first mix a little bit of our orange so take red Oh take yellow or take a lot of titanium white mix those together give us a nice thick base then all kind of figure out where I want to make the lines and I'll make them in the air before I actually make them on the canvas this is something you do a lot in gesture drawing but can help a lot with painting too and it's just to give you a little bit of practice before you really do anything so making some soft impressions here they are semi-transparent right now so you can still see that purple showing through them they're also quite a bit saturated that is okay we're about to desaturate them I'm now going to take significantly more titanium white mix that in there also take a hint more red so we are eliminating a lot of the yellow from that mix and I'm applying this in the middle so a little bit of that orange might show on the outskirts just like this now that I'm making it blend so it's cohesive now cleaning my brush yet again taking extra titanium white we'll move that over here we'll just grab a hint of what we were working with now it's a very right mixture I'll start blending that down blending it down from that lights I'm actually starting in the light and I'm working my way this is a little bit less yellow than what we have that's okay and as I get more comfortable with where they are I start to move them out a bit farther you notice that this one is more straight down these are more on an angle and the farther we get the more of an angle we're going to create right now it'll look chalky you'll see all of these different colors through it okay now we'll take a hint of yellow a lot of white more white head up to that yellow base and this is where we solidify things if you find that it's still a little bit chalky clean your brush make sure it's just damp then you can go in with some pure water and just soften that bottom area keep things going this will make it semi-transparent which is nice for light generally I like it here and we'll just refine this over the next couple of minutes so here we have a bit of a wide shot to show you what all of those light rays ended up looking like in mind they're definitely more stark than what we have in the reference photo I actually prefer them like that I like that a lot so now that we're actually officially done with our yellows we're going to move up into here make this look a little bit more like this I am going to keep mine slightly more purple just because I like that I think it's a good look but we are definitely going to make it more blue and I'm going to start doing so with the medium-sized flat headed brush again this one is about 1/2 of an inch wide and I'm going to start by making sure that it is nice and damp that way we can blend on top of our dry layers I'm going to take quite a bit of our blue about maybe half that red and we're going to start with some trial and error grab some titanium white because we definitely need to gray it down some Mars black to make it a little bit darker and you know what we'll start by giving this one a try I'll just have that on here it looks relatively close to the darker areas but it definitely needs to be a little bit more blue and it definitely needs to be brighter so add more blue we will make it brighter there we go give that a test it's closer it's not what we want more blue hint of red it's more saturated now give that a try that looks pretty good along the edges here I think it could use slightly more saturation again hint of red double that of blue trying again and I think that's the mix I won so now I'll work my way in the middle of the body this way a little bit and you can tell just how stark and the difference that is from our purple and you know what I can already tell well it's closer to that I I do want to be more purple okay so this is good glad we tried it this is still too purple for me so we'll continue with this mixture I'll just add in a bit more red I'll work my way up to the edges of these clouds and you know what if you try a color and you don't like it that is okay you can always just go over it and it's not that I don't like this color it's just so I really liked the purple there we go moving this house down oh you know what it's starting to grow a monavie it's amazing sometimes you do a little bit of something in a painting and you say hmm I don't know then as soon as you start to elaborate with it you fall in love with it and that's something I'm normally very aware of I like to give a pigment makes the benefit of the deck generally especially if it's on the reference photo but here I was hasty and I said you know what I don't know that I like this I like the purple but I do like this a lot it is a little bit more purple but I'm a big fan this I feel is a little bit too blue grabs red a little bit more Mars black see that so easy to correct so I'm just going over the middle the body of our clouds making them all cohesive all fit together making sure my brush is consistently damped have this work its way back into this cloud or skip the Allegra's because this does have quite a bit of blue in it and if we went over that it would turn to a green I'm also adding the edges of all of these remain a little bit more purple so I'm doing a slight blend a little bit of a gradient towards all of them and that's just happening because the brush is quite damp and the water is allowing the pigment to run out as I move up to there as I release pressure so that it's a contrast a gradient from blue into the purple with all of those protruding pieces there we go this of course is a distinct cloud covering up the light from the Sun here Wow this is this is turning out really well I'm excited I will grab a little bit more titanium white brighten it up head over to my edges make sure they're a little bit brighter again not the true edges because those are a bit more purple but the area that blends into that purple this might be my favorite favorite mix of colors yet the subject itself the clouds it's quite loose but when you put this much time and effort into color like we did in the sky it can really take some time and in turn it can really pay off there we go brightening this a little bit just because I did love that area in the middle and I'd like it to work out I'm gonna get a bit of a gradient like to note that I am using the brush that I am right now because it has a nice sharp edge for working along any of these sharper clouds but also you can carry a lot of paint and this is a lot of surface area to cover make it a little bit brighter again so I removed our reference photo and this is what the sky turned into I did end up going back and just reworking a little bit of that I wanted to simplify it just ever so slightly and I'm really really happy with how this turned out so from there we are going to move down into the water and we're going to you some pretty interesting mixes for it as well now before we jump into the water that that was a that was a phrase that it meant something it didn't mean it didn't mean what I intended it to mean we're not we're not jumping in the water before we start painting the water we are going to start painting the sand right down here because we need to layer all over the water on top of it we want some of the water to be fairly transparent and I mean if you want some of the sand to show through and it's a much easier process to paint the sand before the water so with that said I'm going to be using a different brush this is yet again another flat head brush but it is an inch wide and I'm using this because we have a lot of space to cover and this will help us do so consistently now I'm going to begin and as I always do by making sure that it is nice and damp then I'll head to my palette and as you'll see I don't have any brown here when you look at that you probably say oh well it's sand it's it's probably round but in all actuality we're getting a lot of reflective light down on the sand here and it's color is going to be very much actually determined by the light in the atmosphere so what we're doing here is actually we're going to mix our own brown and we're going to do so with a lot of oranges because again we do have those colors kind of up there so I'm going to start by taking some of our red moving that down here going to change about same amount of yellow mix that up we want a red dominant orange here so I might grab a little bit more red then Mars black then though an equal amount of titanium white and this is just to get us started and as you can see we already have the start of a Brown doing lots of mixing going back and forth it's very orange dominant as I wanted and let's give this test you apply that right there it's far too orange it's also too bright and saturated so let's take some extra titanium white and Mars black to desaturate it and I'm using more Mars black than I am titanium white because I want it to be darker so now I have this let's give this a try I think it's closer in color but it's significantly too dark now so take more titanium white mix that over here we have a completely different Brown than what we initially had give this a try you know what it's different but I really like it so it is always interesting when that happens say oh do I do I go with that color that I do really like that I now have or do I keep mixing I'm going to keep mixing a little bit I'm going to take this darker pigment that we have work it over into this give that a try and I think that's the closest we've had so far but it's not quite what I want so give it a good look you know what I think we'll do a little bit more Mars black and I actually really like that so I think we'll take this pigment and we'll just start running it down here on the bottom lots of wide horizontal strokes and I'm not using much pressure at all because again the more pressure you add the more streak you can get here you can see I pressed a lot of pressure into that brush we achieved all of these additional colors it's because they built up on the back end of the brush now we could wipe it off or we could just kind of mix it in this is all of the same colors that we use before so I'm not worried about it grab more of that paint and I'm going to work this significantly far up into our water because the farther up I make this the more opportunity I have later on to have additional transparent water if we just have the sand stopped here then that transparent water would have to go fully opaque to here and then it could be transparent down here but I want a lot more room to play and as I apply this I realize that this is actually quite yellow maybe even a little bit green in comparison to what we have so let's start playing with it more Mars black more titanium white got some extra red this time you can see it's much more purple dominant let's give this a try mix it into that first mixture I like the two together it's definitely getting better and I'm also mixing as you can see in these diagonal lines here just so if there's any area that's a little bit brighter or darker we're giving it a lot of movement that way that area can become significantly more consistent so I started with that and again I do like it a lot I think it'll work really well with our water in a bit but I'm just going to continue tweaking it I think I am going to keep it a bit more yellow and I might make the back here a little bit darker because it will have water over it so extra Mars black extra titanium white extra red and you'll probably notice that we aren't grabbing blue and that's just because we're going to have a lot of blue working over it but also we have quite a bit of yellow in our mix and if we were to start working in that blue we would quickly turn to a real green getting a nice soft gradient here it's not dramatic but it does give us some depth you can see that I'm continuously able to work back on top of all of this as well just because my pigments are a little bit damp let's throw up some water on my brush and it's keeping it wet first and if you get any longer a period of time so here we have a wide shot of the piece so far and it kind of looks like it's broken up into three different sections which is kind of fun but with that I'm actually I'm going to let this dry fully then we're going to clean my water my brushes and we'll come back in and paint the water so the next up pretty exciting so our sand is now dry and we can go back into the water actually going to start here in the background and then I'm going to work my way forwards this back area is going to be a little bit darker especially on the edges we will have some light coming through the middle but for this next section I am going to continue using the larger one inch flat headed brush going to make sure that this is nice and damp and I have pre tested my colors on my reference photo and I'll show you what we're mixing here because it's quite interesting we're going to start with quite a bit of cerulean blue I'll take a little bit of Mars black make that nice and dark here a little bit of titanium white to give it some gray work down that saturation and then I'm actually going to take a little bit of a yellow and this is going to work some green into the mixture the blue yellow they make a nice green and we're looking for a good ocean color and we're looking for something quite dark to begin with as our base layer and we can add highlights on top of it but I think this is quite nice now I'm going to come up to my horizon I'm going to start working a nice edge in here you can actually ensure that you have a perfectly straight edge by using some painters tape applying it right across the edge and then doing this but I'm fairly confident with our abilities to make something quite straight so I'm going to skip that step but you are more than welcome to use it as you can see I'm doing this in multiple little strokes working my way across there might be a little bit of a bump here and there but I can go back to that later and clean it up and then once I have that nice defining edge I'm going to make some vertical strokes initially just to create kind of a safe area of pigment like this I'll cover the entirety of that base dragging down from the line we created and then I'll start working horizontally over it so that if you see any brush strokes they are horizontal rather than vertical and I started with the vertical rather than the horizontal just in case when I was going like this I didn't accidentally go above our initial line so it's just a little bit of a safety technique now I'm going to apply this all the way across I'm going to start moving down make sure my brush is nice and damp grab more of that pigment continue that blended down working in a little bit of an X shaped pattern to make sure I get an even consistency and then we're going to make this just a little bit brighter so it takes some extra titanium white and I'll also take just a hint of yellow as well there we go start applying that you can see that the difference is incredibly subtle and that's it's really just what we want at this point I'm going to work it up in that X shaped pattern just so we get a softer gradient and it doesn't feel like it's starting time to have out of nowhere and then I'll need to mix quite a bit more pigment we are starting to run out of course mixing Vaughn top slash B side that way I get a good comparison make sure we're mixing in the right direction and I think we'll give this a try it's quite nice it's a little bit blue it's a little bit gray so I'm going to add some extra blue for the saturation and then I'm going to add some extra yellow to make it less blue perfect blending back up into our previous application it's still wet because we are using a damp brush I'm going to make it significantly brighter now like that a little bit more yellow a little bit more blue just for that saturation coming to this edge working it back and normally I say work your brush very very softly that way you avoid brushstrokes but they can actually look quite nice here now I'm also going to start blending forward and this is going to work on top of our brown as you can see because of the brown isn't wet we're getting a little bit of a chalky toothy effect so I'm going to make sure my brush is nice and damp that way we can work wet on to dry and I'm going to start skipping areas so I'm going back and forth I'm starting to move with a bit more of an curve and as you can see I'm creating these little bits of water washing up on the sand going over a lot of it softly that way it looks like there is a little bit of water here still but I'm looking for something incredibly subtle right now so I'm back the painting has fully dried I have some clean water X and clean brushes and before I proceed I would just like to preface this with the fact that I am starting to deviate a little bit from the reference photo in terms of form and our subjects I've decided to take out the raw that we have right here just because we already have such a visually complicated sky as in the want to subjects to kind of conflict with one another so we're going with a more traditional bottom here but I'm still going to be utilizing the talent that the reference photo kind of suggests with that said I am going to now start going in and working on some highlights I'm going to be using my smaller flat headed brush this one again is about a quarter of an inch and we're going to start with the light that's coming off of this so here I'm going to look at the pigment that we had for the highlight at the bottom and we're going to say okay we need something brighter than this and we're going to probably have a little bit more yellow in it so I'm going to take a little bit of blue I'll work that down here on the pallet and I'm giving you a very wide shot here just so you can see all of the colors in conjunction or take quite a bit of our yellow and then I'll take quite a bit our white as well here you can see we have almost a lemon color and we want something significantly brighter so yet again a lot more of that titanium white this is just about what I want you can see it just has a hint of yellow going to head right up here come right down below that and I'm going to start working my way from the middle out to the left and to the right I'm making very sharp little applications just like that I'm going to make sure that my brush is nice and damp that way we get a smooth application we don't have any of that grit all of our strokes are significantly sharper and this is going to make it semi-transparent so you will see that darker blueish green underneath that is okay all of these colors are going to be combining and you know what now that you've seen kind of all of this from afar I think I will get you a bit closer and then you can watch some of the detail work in here so here we are a little bit closer I'm taking more of that pigment but not much it's just on the tip of my brush I'm starting my strokes in the middle and then again I'm working my way out to the left and right I'm kind of going back and forth that way I don't make things too consistent here you can see that these stretched applications stretch out to different areas each time it's not consistent what is consistent is that the middle is the brightest and the most opaque see that and I'm also relieving pressure as I get towards the edges both on the left and right hand side here you can see I'm almost making no impression at all and that's just to get it a little bit sharper but also to stop applying as much paint so I do get that thin tapered look but I also make it semi-transparent at least more so than what we have here in the middle and I'm continuously going back over areas in the middle to build that up further now as we get a little bit farther away from that background I'm starting to make broader brushstrokes and I'm also as you can see skipping larger areas this is going to create the effect of a couple very small waves that mean there is a mistake I'm just going to get a very wet brush take all of my pigment off of it and I'll just move that pigment out there we go no worries so coming back I'll thicken a little bit of that I'll be a bit more playful with these strokes just kind of continuing to add I'll add some of these strokes over here not to the same extent there will be as large but you can start connecting them so here I have this one I'll move it down very softly it's incredibly subtle at this point there we go but we don't just want the light right here it's still a fairly bright scene so we want to move it out even more so so I'm going to take something that's a little bit darker than this so you know what we'll take some more yellow more titanium white hint of our blue and we'll give this a try on the edge I think it might just be a little bit too yellow for me I think we'll move into something a bit more ready that way we don't fight the saturation so I will start using some Mars black and our mixtures here like that I'll use a bit more blue a bit more titanium white there we go that's really pretty see that go over that yellow that I just applied to see if I like it stretch it out from that middle area very much like the reference photo good here you can see I'm moving horizontally until I get a little bit closer to us and then I'm moving more loose and there is a bit of a dip in some of these applications I'm also not leaving any true openings back here we're getting a consistent coverage but you can still see the strokes accidentally just grabbed a bit of extra yellow there you don't want to saturate it too much so all remix light so remember you want it to be mostly gray with a hint of color and I'm just going to do a couple of layers here and we'll just continue this until we get to this middle point in the water making the lips of the water the area that's a little bit wider more opaque than the rest so I'm just going to go ahead kind of perfect some of these edges soften things up and then I'll see you for our next step so here yet again is another wide shot as you can see while we did make a lot of this quite gray it still looks green because we just have all of these different colors and it stands out next to all of the almost Red's that we have red and green or complementary colors and while we don't have direct red and direct green we do have a lot of colors that are similar and they're kind of helping make each other pulp which is quite nice I think something we might go and do a little bit later is add some extra purple and pink into the edges but for now I'm really happy with that area and I think we should continue moving forward into the mid-ground where again the waves are starting to change so this is where we are actually going to start seeing waves because in the foreground everything is very clear it's sharp you can see detailed is even farther away everything kind of compresses visually because of perspective so with that in mind there are waves back here they're just too far to see that's why you have those little lines all of those little horizontal strokes and they get a lot more character as we move forward so that's really what we're going to start focusing on next and we're also going to start making the water a little bit more blue as we move forward because we're moving away from all of that yellow light which is working into the blue which is making that green so again just something else to consider but with that let's jump back into it so what we need to do is create a transition from this area into this area we're going to continue making more of these and right now I still have a bit of that wet gray and I'll take areas that I don't feel like are the lips I'll bring them down and I'll create a new subject like that take a bit more I'll say okay you know what this looks like it's dipping down so this is up this is down this is up and then from here we can move forward again and my brush is quite damp so I'm really able to move around this pigment it's giving me a lot of opportunity to change things that I might not necessarily love and here you can see I have very transparent applications which are just allowing me to kind of figure out what exactly I want before really committed into it see that I liked it I said okay we'll add more pigment and we did so here I'm moving down I'm creating larger gaps than we had before I might work it back a little bit to create another little wave that's starting here and moving forward and then we have this one that's in front of it once I have the main idea established I'll come back in with some more thick pigment and work that forward there we go so far so good now let's take what we have right here and make it a little bit more blue so take that serene blue will take less of our cadmium yellow deep you like that will take quite a bit of titanium white because we know it needs to be very bright and then we'll take some Mars black because we know we need to make it significantly more gray so here we get again mixing on top of slash beside my wood mixture as you can tell it's a little bit brighter but it's also more blue so this is Dave I start working this along some of the protruding lips I'll work it into some of the background ones very slightly see that and this right here I didn't really have a good stock on the edge so I'm just going to continue moving that for a second now I'll create more of them you can see I'm being a little bit loose I'm going forward I'll move back my brush just kind of left the canvas there I said okay you know what that seems natural I'll let it happen now I'm creating my brush taking off that excess water or excess paint and now you see I actually grabbed a little bit of yellow from my water because I'm gonna clean it before I move to the blue which is okay we won't have yellow in this but before this dries I'm going to start moving it around I'm going to make it a little bit more horizontal see that and I'm just going to start reshaping remember that the openings in between each wave is now going to be a bit wider and you'll really start to see the form soon right now we're just placing the ID of these subjects this right here will be an actual wave there we go didn't move this one out yet so I have to do that combine it to this one so far so good now that we have some waves starting to be established we get into the sand where things really start to roll in and you don't have anything that's really picking up a lot of size so this is where I say okay you know what I can see a separation between water and land right here maybe I'll create a little bit of a dividing line like that and you can see it's a little bit wobbly that'll give it some character make it interesting let's say okay here's another dividing line so I'm going to the edge of the blue bluish green and I'm incorporating this brighter pigment like that and it's starting to look like water and waves also if the color if the values keep seemingly changing that's just because it's one of those days where it's semi cloudy set me sunny and it's changing how bright the room is but also the values a little bit because the Sun gives off warm light then when the clouds come in you get less light but it also gets less warm so if you're noting a little bit of a change in these longer shots that's just kind of what's occurring and I used to then over this in the last lesson I used to try to paint around this only on perfectly sunny days but it's actually good to paint on days like this because it allows you to see your painting in different lighting scenarios here I'm going back and I'm accentuating some of our more prominent pieces but I think we have a lot of the base in this so we're going to take a step back look at it as a whole say okay where do we need another way where do we need to corporate more detail we're doing it to take out detail things of that nature and then once you've established that we can come back in add a lot of detail reflection and highlight so here we have our wide shot and again we're looking for little changes we might want to make when we paint really close we're very close to the painting it can be difficult to kind of differentiate areas and how they work together what's go he Civ what isn't because we're so focused on the technique on application on detail of a certain area and it's so common to work really hard on a single specific area step back and say hey that doesn't that doesn't fit with the rest of the painting so right now we're just making sure things are cohesive and what I'm noticing them fairly early on here is that I almost do have a block of darker water that is more green and then I have a block of lighter that is more blue so I need to continue the transition here between light and dark I need to interject a bit more of that yellowish green into this area and I also feel like I need a bit more detail right here maybe a little bit right there and I'm going to do this from a distance just so you can see how it kind of starts coming together so for this I do want a bit more of the green gray that we have initially so I'll take quite a bit of yellow a little bit of blue lot of titanium white good amount of Mars black mix that up I need to make it darker it's close I think you could use a little bit more saturation and I'm just comparing it to what I have here on the edge so a little bit more yellow a little bit more blue and now I have a lot of pigment over the entirety of my brush to the point where I won't be able to deliver detailed strokes so I'm just wiping that excess off I'm making sure that brush is nice and damp then I'll take just a little bit of that pigment and I'll work in some extra detail here where I just didn't feel like we had enough add a little bit more over here to balance it so far so good quite a bit more highlight right there bit more right there soften the edges via finger-painting never never forget just how useful finger painting can be and then as I move down here I do want it to be a bit darker so that's my highlight pigment all makes a bit of a darker pigment for it blue black a little bit of yellow quite a bit of titanium white we want it to be very gray and I think we're quite close okay let's give this a shot so I see these dark pigments here I'll test it here works quite well good I'm going to come right at this point and this is about two-thirds between this highlighted wave and this highlighted wave so this will make this the base of the wave and I'll just have a little bit of darker pigment there because the light will work its way up the wave because it gets more thin as it moves up and then we get more light right down here at the bottom because then you see the top of the next wave curving so this is just a little bit of a darker area I think I want it to be a hint more blue it's quite green and I might make it a hint darker that worked really well so now again 2/3 down between this and this highlight starting in the middle I'm doing a soft blend up I'm doing a little bit of a blend down but not far and this is just going to create some extra dimension see that really enjoying our seascapes lately I feel like I'm actually learning the like playing with some really interesting palates and they're kind of just forcing me they're forcing me to learn which is not a bad thing at all never want to feel like you know everything it's vendo stop learning so that's working really well I think I'm actually going to divide this area with that nice dark pigment that we have just work it up here a little bit that way it's nice and cohesive it's thread the entirety of the painting there we go and now I think we can get a little bit closer again and start working on some highlights now before we do start on those highlights I did just want to show you up close where all of these darker areas were interjected again this was the highlight this was the highlight this was two-thirds down I blended up quite a bit i blended down just a little bit the same goes for that and all of the others and I do I do just want to do one right up close here with you here I'm blending that top up grab a bit more of that pigment I don't have too much left but here highlight highlight and here I'm just going back with an almost water brush and softening some of those edges there we go really really nice but now let's start working some of this highlight of this green back down so start with the smallest hint of our yellow quite a bit of titanium white there we go I think you can actually make that a bit more white it's quite nice now we'll test it up here build it into those highlights say okay you know what that works really really well good so I'm spending more time here than I intended to just because it did hits so well I'm just building up that light a little bit you want to make sure my brush is nice and damp that way I can extend it now there we go I started with a little bit of light and I'm slowly adding to it and building it out similar to everything else in painting generally better to start with a little bit and then if you like it start adding more because it's a lot easier to add more than it is to take away so we're just brightening this now we'll take some more and we'll start working down I'll say okay this is the top of a wave so I'll give that a hint of highlight say this is the top of a wave hint of highlight a little bit over here - so this is quite subtle so really the only technique that's happening is a horizontal stroke right see that things are going to get a little bit more complicated in just a second when we take a bit more we move down this one this one we call us that probably be the horizontal line let's get this as could this let's get this yeah lots of travel in there okay good now I'm going to skip this one just to show you how I'm doing the next one so we're not getting too repetitive but I will go back and do that in a second here I'm lining the top of the wave with this highlight as you can see grab a little bit more build it up have it dissipate as it moves towards the edge of the same as we did back here but other things get a little bit more interesting because as you can see here there's a little bit of a lip it falls the water and I'll show you with a mixture of the blue that we mixed and the yellow so there we have our blue there we have our yellow we have our white we need to remember that it needs to be bright but not too bright so Mars black that's a good mix it's now the water it comes up and then it starts falling towards us so I'm making the edge of the water here at all this dark area in between those two highlights is water that is falling and then you can bring that highlight forward from the back and have it soften as it moves this way and the same thing with the water that's had the peak of the fall you can start blending that back up so right in between this highlight on this highlight you have a little bit of a dark area and highlights on both the top and the bottom but I'm also going to be taking a little bit of that highlight the corner of my brush and I'm going to do a little bit of a pitter patter for the water that's kind of falling off creating a little bit of a mist that effect and this is just happening at the bottom of the wave and it's connecting and blending to that previous application and again this is where it's interesting so the top is more yellow the bottom area is a mix of the yellow and the blue both of which are quite opaque the middle being transparent and darker and then the very bottom of the wave in the fall you get this little sprinkled tap effect and I'm just working my way around the wave here we have another wave that's falling this way tap tap tap tap tap tap I feel like a lot of artists on YouTube and instructors of that sort and they kind of all have these catchphrases different things that are said repeatedly I used to say with that being said unintentionally quite frequently and then people brought it to my attention and then I said it very frequently intentionally just because I thought it was humorous but I'm afraid that people might start to notice what I say tap tap tap a line it's just it's a big part of the process and I don't know by bringing it up one of two things is going to occur people are either one to really start saying it or Rogers going to move on move past it actually never ever really happened but we'll see it'll be interesting anyways back to back to the procedure here I'm mixing up a bit more of that highlight because it started to dry I might make it a little bit brighter as we move into the foreground which seems a little counterintuitive because you know you think their reflections back here and that should be the brightest point but the eye does recognize a lot more detail and a lot more kind of individual colors in the foreground and values so here I am going back with something that is a little bit brighter and I'm adding more texture to my wave X little taps and all of that and we will have more waves so here's one just doing that same tap with the corner of the brush right now my Russia actually has quite a bit of pigment on it so it's a little difficult to work with subtlety so if you do have too much pigment do you remember to take that often that and work with less I'd also like to know that the biggest wave is going to be right here and then they get a little bit smaller as you move closer and towards the shore and it start to taper down lots of additional taps right there and it's okay to make them incredibly subtle some of them you want to be very notable but summing down I'm going to make them significantly more soft not necessarily with my finger like that but just with a softer touch over on the edges just because I don't want too much attention being drawn to the edges because I want the viewers eye in the middle of the painting and remember the peak of the wave the area that might start dipping down that gets you brightest applications and the edges get more transparent we're gonna have just a little bit down here as well but we do have an entirely different idea technique for the bottom here and we'll talk about that in just a second I think I'll actually go ahead and just finish off these medium-sized waves here grab a little bit more of that nice light yellow for the tops of some of these but I'll see you in just a second and then we'll progress with a new part of the painting so here yet again we have another wider shot just to show you how all of those applications work in context with the rest of the painting and I have to say at this point we can really start to see coming together and I am just so so pleased with how this is turning out it's really making me fall in love with these ocean scenes and honestly just I'm not even done but I'm inspired to go and start another so you have to love when you get those feelings when you're working on a piece but I would like to take this moment to kind of pause and reflect and ask you to do the same as well for you to look at your painting and ask yourself a couple key questions just to make sure that things are flowing in the direction that they should so with that what I want you to look for is this area right here make sure that this is essentially the brightest pigment that you have in the water with maybe the exception of some highlights in your two to three larger waves right here make sure that it starts to taper in this way and that as your waves move forward they get larger and larger that you have this gap between them and that your waves are also different distances apart you want a bit of diversity there so that it's consistently engaging in interest and you don't want the viewer to look at just a couple waves and say okay I understand it I can move on you want it to continuously be engaging well you also want to make sure is that the middle area right here has the most yellow that descent as it moves to the left and to the right also that this is the most opaque applications again to the left and to the right should get significantly darker they should get softer they should essentially just fade off into these edge pigments also we're building up our waves to get larger and larger until we get to this point we have two or three big ones and they get very small very quickly that's also quite important and if you kind of put all of these things together you should end up with a really really nice landscape it's not too late to go back and change any of these things or to just kind of play with them and work on them I am done with this area for the most part I might go back into these waves and add a little bit more detail but before I do that I want to see how much detail is in the foreground just in case I had too much here I don't want this to be more Teachout than the foreground I don't want it to be this kind of awkward balancing thing so I'm going to wait there for a little bit we are going to move into the foreground but before we do this is the same incredibly wildly important I've been thinking about the tap tap tap thing and I think you could actually be quite fun at this point we're quite far into the video everybody watching at this point is obviously really invested they care about this and that's a wonderful thing so that's kind of a point of pride and honor at this point go and leave a comment in the comment section and then have the very end of it just foot tap tap tap that way I know you've got this far you are one of the few and I just I think that could be special let's turn this into a fun thing um and you know what we'll keep tap tap tapping along with that said though let's let's jump back into this right down into here start having some real detail and then we can move back up into the painting yet again so let's clean our water clean our brushes and get right to it now we're going to start on our details down here with that same smaller flat headed brush I'm going to take a little bit our read for the first time in a while I'm going to take about an equal maybe a little bit less amount of our cadmium yellow deep you mix layers together grab quite a bit of Mars black a little bit of titanium white what we're trying to do right here is mix a similar color to that of our sand but I want it to be slightly darker than what we achieved before I can still see a little bit of it here on my palate so I'm just kind of comparing those and then once I have something nice and dark I'm going to go right under a couple of our waves the area that's the brightest that's really standing out and this will just look like there's a slight shadow underneath that the wave is actually causing I do feel like what I just created is a little bit too saturated so I'm going to get some extra Mars black some extra titanium white mix those two together I think when you're working with a painting with a lot of colors generally subtlety is ideal initially at least and then you can build up saturations or what-have-you later on but I like to start by making things a bit softer that way I have some more room to play and if you have just so many different colors happening at the same time it can be a little bit distracting so by making things subtle you get to choose over time what you really want to stand out and that's essentially what we're doing here but as you can see still just finding little spots that could be slightly darker because of the waves our most almond is in the middle I'm letting the edges kind of get more transparent taper out in the same way that we did the actual highlights and if you do accidentally go over a little portion of the highlight don't you worry about it we are going to go back over those anyway my lights but we don't need too much of this it's just a little added piece that if you want you can start blending that shadow forward just a little bit so I'm just working my way picking up whatever little paint I can and just doing a slight blend this right now looks quite stark but it won't in just a minute now I do recommend waiting for this to dry fully before you continue but I think mine is just about dry so I am willing to continue I'm going to take some of our blue this is fully dry by the way a little bit of our yellow a lot a lot a lot of our titanium white make a nice highlight hint of Mars black just to nullify hint of that saturation now I'm going to come back here working my way along that edge this time with significantly more highlight I'm using a little bit of a tap here that way it's not absolutely perfect I won't slight changes I want some areas to be more opaque some to be softer now that's a good start but we still have quite a ways to go so I'm going to continue taking more of that and I'm actually going to extend a couple of these out farther than the setter area that we have right now just because I want it to feel a bit more natural and initially we put it all in the center to draw the eye there but I think it needs to be a bit more balanced so I think all makes a bit more of our pigment I might make it slightly more blue this time but I can well still have a hint of that yellow there we go head to the edge and just do a little bit of that and I'm going to start moving this back into the shadowy areas of previous applications and have them kind of connect into one another so this right here this can continue and it will go back into this one this can come out and then it can come back again just trying to create a lot more detail and create some surprises now I'm going to wet my brush and while all of this is still wet I'll do a little bit of a blend every time you do this you'll lighten the value slightly creating a greater contrast between the shadow part and the rest of it but it'll also give it a slight glassy wet effect there we go already looking so much better next to highlight over here another one here again being more mindful of my edges when I was before and I'll go back and blend that back use a little bit more blue on the edges and a little bit more greenish yellow in the middle now we'll make that same mixture a little bit more Mars black this time though we want our next application to be a highlight but a bit more of a subtle one and from this front piece we'll just kind of create these little wispy movements of water that moved back primarily diagonally but also they're meant to be sporadic and you just want them moving back around the foreground they can connect to other ones so you know that it's a really subtle very simple detail but it can do so much for the painting again we weren't sure how much detail we wanted and the foreground and this is where we really find out remember if you add too much it's okay we can always go back just paint over it but you can see I'm kind of moving in these ebb like patterns back up towards the top and we're going to stop this before we get to the true waves but for now in the foreground it looks great I have quite a bit of water on my brush so that this is all semi-transparent and so that it doesn't overtake the main highlights don't neglect the edges remember we are working harder on those now there we go starting to come along and this is also another application that's going to look really fantastic from farther away I tell the story a lot when I was in high school when I took my first painting class believe us probably 14 maybe 15 and one of the peer tutors looked at my painting and they took a couple steps back and then they looked at my painting again and they said you know what you're really good at painting things that look great from far away and I was so insulted because I thought what do you mean it doesn't look good up close and doing all of these details and then they want to explain that note when you get up close you see all these beautiful colors and they strokes in these applications and then even farther away and you see a whole painting and it's great because you get two very different things out of it you know it's great that you also get to see the process work and you know once there was explained that I was like oh that makes sense thank you prior to the hoe again I was a little taken back and now it's something I really work towards I love seeing the brushstrokes in paintings and this is definitely one of those things that looks so so nice from far away it looks so realistic but up closely you can see all of the hard work all of the brushstrokes and that's a pretty amazing thing so with that said I am now making a brighter slightly bluish green highlight there we go and I'm going to build up the middle areas again as we add more layers we're going to be increasing the because of course we're working on a darker background and when you apply fairly thin pigment over a dark background you don't necessarily get the light pigment that's on your palette you get the transparent layer that's a light but you see the darker pigments underneath the more light pigment from you layer on top of light pigments the more light it actually looks so here just by going back we start to fix it all so I think I'm losing my voice lots of lots of talking lots of teaching the last couple days luckily we're not too too far from the finish line there we go really really nice I'm going to continue moving this forward and you know what we might actually cover up the entirety of our sand with this one I initially intended to keep a bit of it but the more we extend the water the more I like it the more natural I think it looks and we can still keep that nice color showing through portions of it this is very watery you notice just how transparent this is that's a key feature as you start to move over the sand make sure you're using much more water on your brush then you our actual pigment something else I'm still making sure I'm doing is I'm creating my stroke and then I'm blending the top half of it upwards while I'm keeping the bottom half of it nice and sharp now I did intend to move back out into the waves but before we do I had another idea that I think is going to turn out really well and I did a quick Testament on this way but we're essentially adding a pitter patter a little tap tap-tap of this almost white pigment essentially what we're using for the edge we move it up we allowed to dissipate we leave little openings and course I'll show you how we do that so here again just more of the highlight we've been using I pick one of the main dominant waves so this one right here I'm doing this tapping like that you can see it gets brighter but then I start to move up and it's occasionally connecting with the previous application but it's not always I think I may have a call hmm only rang once or buzzed once anyways there we go if you find that in this process your line starts to get lost just go back add more thick pigment and then start again this is just one more detail you can add think we need a bit more paint so white hint of blue hint of Mars black hint of yellow find the edge make there's glitter pen err pitter patters start moving back and then we'll see what this was like from afar or so though don't forget to do an edge or two so here's a little bit of a wider shot to again show you how that all works with the rest of the painting and I have to say I really really like that detail we didn't get all that much opportunity to incorporate it or play with it in this painting just because we're working with a rather small area on a rather small canvas but if you are working on a significantly larger canvas I think this technique can really add a lot to the foreground and I actually feel like it did it made our foreground pop more so than the middle of the water here or even the background and because of that now we can go back in and add all that extra detail to the waves that I did really want to do earlier so that's exciting we will use a different brush for that a different technique and I'm also going to have a lot more highlight back into the middle of this area with that said though I'm going to my clean it pause for just a second and I want to say a big thank you to everyone who is supporting the channel over on patreon all of the patrons you make this happen you you make sure that I can spend this much time multiple days each week working on these lessons and just give them I'll and make sure that we make something that we can all really honestly be proud of I've been trying a lot of different things lately I've really been kind of exploring painting medium colors and I'm doing that because you provide the opportunity for me to do so this channel is primarily fan funded and you know I wouldn't have the time I wouldn't have the opportunity or the ability to do this without you and your support and I just want to say a really big thank you and everybody else who's watching this you know say hey say your big thank you to the patrons because they they really make this happen so big thank you to all of you as for usual if you would also like to help support the channel you can do so up over on patreon up there we have the traceable and the ref it's photo for this one there are also things like individual are critiques I have an exclusive Facebook group where we all kind of share our work and help each other out there are a bunch of bonus lessons that can't be seen anywhere else that I also have all five of my ebooks there as well so you know go check that out if you're interested it really does mean a lot it it is the reason we are able to do these lessons and it's also just a great way of saying thank you for the lessons if if you want to do that as well so with that what we are doing the jump back into the lessons I feel like I feel like I have to say thank you at least once in all of these videos and yeah so with that we are we are going to continue with the lesson I'll grab my new brush I'll show you what we're going to do and let's make this even better next we're going to take a smaller flat head brush this one is about 1/2 of an inch but you can take something that's a bit smaller and I'm going to actually peel back the bristles on this to the point where we get something that's quite disheveled and we're doing this so that we have all of these very randomized bristles that I kind of stick out now when I take this and I apply some paint to it each of these will have a very miniscule amount of paint and when I tap it on the canvas I'll get hundreds of very small impressions that really they're so small you couldn't render them in any other way so it's a very quick and easy way to create just so many little applications it's great for splashing water and just creating all of that detail in our waves with that said though I would like to note that with this you want it to be completely dry if it's wet it'll condense the bristles you won't get as many markings and you don't want to apply much paint to it you want a very very minimal amount to the point where it's just on the tips of the brushes if you apply a lot again it'll condense the bristles and that just is not what we want so use a very minimal amount of paint don't wet your brush first and if you have to go and clean it because we will have to go and clean it just make sure that it is fully dry and repealed before the next part of the process and again this is just a regular flat headed brush I've peeled back on so with that let's get into it so here I'm going to take a little bit our titanium white move that out onto the pallet I'll grab a hint of our yellow create a nice gold and as you can see there's barely any pigment on the brush that's exactly what we want then I'm going to come down to the bottom of one of these waves and I'm just going to do a little bit of a tap I'm rotating my brush and as you can see we're starting to get these little markings they're incredibly small I'm rotating my brush in the air so that I get a different application each time but I'm not rotating my brush once it's touched the canvas because if I do that it'll start moving that paint around and we will quickly end up with a much larger stroke so here we have a little bit of added detail but we're only getting so much because I only mixed so much paint here on the pallet so what I'd recommend is to do this in a more effective way is use another brush here I have a smaller flat headed brush we're going to mix quite a bit of that paint here on the pallet with this one because I don't have to worry about that paint running up it or getting condensed and then once I have this I'm just going to clean off that other brush really quickly set it aside head back to this one grab some of that paint now I have significantly more and just like that look at all of those extra applications so much more quick so much more simple and now we can kind of jump around grab a bit more just like that and I'm trying to get it again around the bottom the area that is falling this waves closer to us so hypothetically it should have more and yeah I'm being I'm being very cautious right now you could add a lot more paint to the brush you could get a lot more impressions but I really do want to take my time here make sure that it's just right and I'm not applying to biggest strobes because we're really getting close to the finish line here of the painting and I just don't want to over do anything quickly at this point so we'll grab some more a little bit of gold and water just dancing around and yet again we are just doing a little tap tap tap technique with our brush you can also throw a little bit of it down here you will still have slight amounts jumping around and it's really nice I'm going to try to make sure that I have some of this over on the left hand right hand side as well that way it isn't too centralized and again it seems a bit more natural there we go it's a lot of detail very quick and easy now I'm just kind of jumping around adding a little bit here and there still being thoughtful about it but quite loose as well now from there I'm going to clean that brush I have done it all that I want to with it you can add significantly more should you want to but again I want mine to be a little bit more subtle than this piece from there we're going to take our smaller flat headed brush the same one we use to mix this initially all makes a nice highlight with yellow hint of blue make that select golden green and a lot of titanium white because now we're going back and we're working on more highlights remember the more times you do this the more it will really start to pop and I'm going to do a little bit of a pitter patter to bring that highlight down more so into the falling area of this wave making the edges a little bit brighter as you've done a number of times even creating a new wave here and there but what I essentially want to do now is create something a little bit darker a bit more gray and I'm going to find that highlight and I'm going to move a bit more of it in the center of the painting but closer to us so I'm kind of working back and forth there's a little bit of a zigzag there as you saw there we go and I just want to heighten that highlight that we have in the foreground because it's so prominent in the background and while it'll get lesser as it gets closer to us because we're getting farther away from the light we still wanted to feel cookies so I'm going back over this again this is probably the third or fourth time in the full painting just because it's such a prominent piece as is that as is this and then I'm building this one back up again making that middle area just a little bit brighter we can do the same down here now as you can see this middle area definitely looks significantly more detailed and I feel is much more balanced with this bottom piece so the next step is to yet again tapes and steps back and see how this looks in contrast with the sky both with color but also with the amount of detail I do have a suspicion we'll need to merge the colors a little bit more but we are getting really close so here we have an extremely wide shot and now we can start looking at the sky in conjunction with hypothetically maybe our finished water so this is a really exciting point in the painting this is where we start to kind of move into touch-ups and this is apparently where the Sun Goes Down and makes the room extremely dark but look at look at what it did to the painting that's really nice again it can be great to paint on days that are semi cloudy just because you do get to see your painting in different lighting scenarios and you know when you put your painting up in the house or in your apartment it's not always going to have the same consistent light so it's always interesting to see but with that I think from even this darker shot I can articulate that I really love the amount of detail that we've incorporated down here it feels very real and now when you look at the painting the ayat goes to the brightest spot that's the sky and then when it's done there it's kind of led down and you just you feel like you're there because there's just so much detail and so much to kind of connect you with the painting so I really really have with that what I do think we can work on a little bit is color because something that I really love is the transition from this very soft blue that we have here to this very soft green they're essentially the same value it creates a nice movement from one to the other and I just think we could have a little bit more of a transition in here so I'm going to add a bit more blue up into this cloud and I might add a little bit of purple down into the water so those I believe are our next steps with that let's jump into it so now that we're back up here let's take a little bit of our cerulean blue find a relatively clean spot on our palette get a little bit of Mars black probably about double that titanium white and we'll mix up a nice bluish gray then we'll need to throw a hint of red into it because we are working on top of a purple and we don't want it to be too different initially I'll try this right down here I do like this area a lot but you know we can always always out always improve and I'll just work this along that bottom start to blend it up and I'm starting to run out of paint so I'm going to take that paint off I'm going to make sure my brush is nice and damp and then I'll just do a slight blend up with the color that we have here and this is really just going to create a bit of a wash and a wash is like a glaze it's when you take a very thin pigment you apply it over a pre-existing pigment it doesn't change any of the harsh values it just kind of augments the hue a little bit so that's what we're doing here just adding a little bit of blue up into our painting think I'll thin this out a little bit more another great thing about it is if you feel you add too much of a pigment you can just add a lot of water and move it about until it's not thick on a certain area and so it isn't as noticeable now that right there it's quite noticeable I'm going to take a clean finger and I'm just going to start wiping a little bit of this off and as you can see just like that we have a significantly more blue cloud it's a little bit less dramatic we can continue working with it there we go you'll see I'm just slowly stripping off a little bit of that paint grab a bit more working over into this cloud over here to the right work it in between the sunrays if we apply it on top it will make more of a green so we don't want that but I think that right there is a good start let's take a little bit of yellow now turn it slightly into a green and we'll work that in here by the way I am doing a lot of experimenting right now so I do recommend just watching this next part first before you actually try it because I may not keep it it's a very cohesive color with the water let's see if we like it though oh I think that's really really interesting hmm wow that's neat okay I'm going to do some of that over here it's important sometimes to pause give your painting a good honest look rather than just continuing whether you like it or not there we go it's significantly more subtle which is really quite interesting I feel like we now definitely have a transition upwards bias but I do feel like the cloud doesn't it doesn't pop as much anymore so what we're going to do we're going to take some of our blue our red our Mars black titanium white more blue more titanium white more Mars black we're going to mix up a nice dark purple something similar to what we initially had in our cloud and I'll try applying this back up to the top significantly darker and could be a little bit more blue as well so add blue will add more white there we go give this a try that's really quite nice maybe out a hint more red and hint more Mars black there we are start working this up to the top again and all of this is actually going to go on incredibly smoothly because we just added that wash which made a lot of this wet and now we're blending into a very thin layer of paint so it's a really easy application process at this point and we can even do a glaze with this right back down now doing multiple glazes can be really interesting because now we have a gradient from this purple down to this blue now glazing is a bit more of an advanced technique so you don't have to do it you could always just repaint the area but if you do want to give it a try you are more than welcome to that said I do recommend trying the technique itself on a painting that you don't particularly love just in case it takes a little while to learn because you know new techniques they generally do that's okay I know the first couple of times I tried glazing I just found old canvases that I had laying around and I said you know what let's try some different things different amounts of water different amounts of pigment and you know once we have what we want I'll apply it to the actual canvas I want to and that worked in quite well so now that we've adjusted the sky I am going to take a little bit more of that very watery bluish purple that we have and I'll just work it into a couple of the edges in the shadows of our water make it very transparent very soft I want this to be almost unnoticeable but subconsciously it'll help tie the piece together so this is another part of the painting where we take a step back we look at our canvas and we ask ourselves some very important honest questions that being is Vista painting that we want it to be our values and our hues correct do we have our details where we want them to be is our painting balance as a whole and if like me your answer to all of that is yes this is this is exactly what I want it to be then this is simply a time to celebrate and to go find a new home for your painting on your wall I am incredibly pleased with how this turned out I feel like I actually learned a lot through this lesson and that's it's always such a wonderful feeling and I'm so grateful to all of the patrons who voted for this lesson in the latest poll it actually it didn't win the last poll it came in second but we did the first-place winner last week and this one actually only lost by a single vote so I said okay you know what we definitely need to do this one as well and I'm so so glad we did I'm actually really excited to go and start another seascape but with that said thank you to everyone who did get this far thank you to all of the patrons who do support the channel if you'd like to help support the channel you can do so there is a link in the video description where again you can get all five of my ebooks you can get access to our exclusive Facebook group individual art for teets traceable with reference photos all of that fun stuff and again it's just a great way to say thank you and support the channel but with that I will see you next week with a brand new painting lesson next Saturday provided you press the subscribe button but more importantly the bell button because that will actually notify you when the new lesson goes live but also also us also remember if you made it this far in the lesson make sure you leave a comment and you end it with tap-tap-tap that way I know you did get this far it could be a fun way of kind of keeping track who's getting through these and yeah so so thank you for spending this time here with me today in a fantastic mood I'm really excited and really happy I can't wait to share this with you to edit it and put it up so you know I think that's the next thing I will be doing so yet again just thank you for hanging out thank you for spending this time this was a pleasure I will see you very soon with a brand new painting lesson and above all as always stay creative [Music]

Channel: Stay Creative Painting with Ryan O'Rourke

Views: 58,367

Rating: 4.9467773 out of 5

Keywords: painting tutorial, how to paint, ocean painting, ocean art, ocean acrylic, how to paint a seascape in acrylics, how to paint a realistic seascape, seascape painting tutorial, seascape painting techniques, seascape painting lesson, how to paint the sea, how to paint an ocean view, how to paint a beach scene in acrylics, seascape painting, beach painting, art, paint, how to paint a beach, waves, wave painting tutorial, how to paint waves, stay creative painting, Ryan O'Rourke

Id: SedEFq9969s

Length: 167min 10sec (10030 seconds)

Published: Sat Aug 17 2019