Painting a Sailboat on the Ocean with Acrylic | 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 will be listed in the video description and if you'd like help with the drawing process i'll have the traceable up over on patreon along with the reference photo for color matching with that said let's jump into it [Music] so as per usual i'm going to start with a slightly damp brush i will grab some of our primary red move that down here on our palette i'll grab quite a bit of titanium white maybe about double what we use for the primary red then i'll grab a hint of primary yellow and we'll mix these together the goal here is to render a pinkish orange and one that's rather bright i think that might be a little too orange though so we'll just add some extra red and that that looks beautiful so i'll take this and i'll start working that right here in between the smaller cloud and this larger cloud you can see that i'm really able to get some distance with my paint and that's because my brush is fairly damp and i'm also able to get this nice combination of sharp lines and soft applications because how the brush is essentially made here i'm using that sharp tip just to work around my details and on the horizon now as i get closer to this i'm going to want it to be slightly more orange so i'll interject more of our yellow will also brighten it so more titanium white when we get towards the sun we do want it to be a bit warmer and i'll just paint right around it like that fill in the large area by pressing the side of the brush to the canvas and then when i get to these smaller applications these detailed portions i just switched to the front of the brush just like that now we are working with acrylics and acrylics are semi-transparent and they are especially semi-transparent when we work with water so i'm actually going to let this dry i'm going to clean off my brush then we'll head back in and add a second layer and refine it so our initial layers dried and as you can see you can actually notice some brush strokes in here and you can see the white of the canvas showing through which is diluting our pigment to a point it's making it look less saturated so we're going to mix up more of what we had before however this time i'm going to make it slightly more pink heavy because i checked my reference photo and just looked a little bit more pink so here i'm using less of our primary yellow in our mixture and i'm mixing this new color right beside our previous one that way i know that it is in fact different now i'm just going to quickly do a little test and that is perfect so now i start applying this on top of that initial application now portions of the orange will show through just like the white of the canvas did but that'll just make our color more diverse and interesting so you can see i'm working my way around that edge when i want to cover a larger surface area i apply more pressure with my brush and i'll grab a bit more water just so i can keep the flow of the paint going but now we'll start working in here and again as we get closer to the sun we're going to build up those highlights and i will interject more of our orange not too much but definitely more than what we were using here you can see it's actually quite close to the initial mixture which i do feel was correct and then to transition it we'll add more red oh that's perfect it's so perfect i'll also take a bit of this throw it on the other side of our sun and blend that in we'll grab slightly more work it over here now this is our first application over here so it will be a little bit thin and this is an area we will want to go back to and touch up in a little bit now while we're waiting for that to dry we're going to take some titanium white add a hint of red into it just the tiniest amount a hint of yellow a lot of titanium white and we're building up the color for the actual sun we don't want it to be a pure white we want it to have hints of the other colors that we have in here but we want it to be significantly brighter and this is where i am using that sharp point of the brush to render something a bit more distinct going over it with many little adjustments tap here or tap there and we can add a glow to that once it's dried so i'm going to take that pigment off my brush and now we'll grab some mars black for the first time some of our blue for the first time some titanium white and we'll mix up a fairly dark blue with a hint of red that way it leans into purple we'll take this we'll start applying it down here now that does look like a really nice color it might be slightly darker than what i'm looking for so yet again i'm just going to test on here definitely too dark so what do we do when a pigment's too dark we add more titanium white now the titanium white and the mars black are going to mix together make a bit of a gray so they'll desaturate our pigment a little bit but that's okay not everything needs to be hyper saturated and if it is the painting can start to look a little bit odd just because the desaturated pigments are what make the more saturated areas really stand out so it's all about balance picking the areas that you want to have that saturation and keeping a bit of gray out of it and making everything else slightly more grays without that area can really shine so here i'm just working in my distant land masses i'm working the edges first because when you have fresh paint on your brush you're going to be able to render the sharpest mark and as it tends to dissipate as you use it you end up with a less sharp strokes so now that i don't have much new paint left on my brush now i'm moving in now i'm filling in these areas because i don't need that precise application you also notice that i've been avoiding that initial darker area that's just because i'm waiting for it to dry a little bit before i move on top of it there we go it actually gave us a bit of a gradient it looks like the backing of this landmass here is a bit darker and that adds some depth so it all worked out in the end there you can see that my stroke is a little grainy so i'm just grabbing some extra water that way i can have a sharp application right here and finish this land mass off strongly can also grab some additional mars black work that into our mixture and then i'll just put this in the bottom left-hand corner and then do a slight blend upwards that way the top is brighter than the bottom it looks like that light is shining over and creating this nice gradient in transition now this should be dry it is dry wonderful so i'm going to take all of that pigment off my brush make sure it's nice and clean then we'll come back mix more of that so red white yellow probably don't need that much yellow i'll add more red more white to work that back now i do need more yellow it's all a balancing act figuring out how to mix it in there you can see we've remade that color so i always like to mix right beside our initial mixture that way i can see how close it is and make sure we're working towards the right thing so that worked pretty perfectly now i think we'll get a bit closer and start working on the next step so next we're going to head over to this cloud right here and it's comprised of a grayish purple now if we look at our palette you'll notice that we don't actually have a purple we have a yellow blue red white and black so what do we do we take this blue and i know it's a very dark looking blue when it's condensed like that it almost looks like a black but when you thin it out you can really see that pigment we'll take some red we'll go about half and half initially because red and blue generally make purple different reds and different blues react differently though this blue significantly stronger so we'll need about double that of red and there it is there's our purple sometimes you just need a different mixture now i do want this to be significantly more gray and bright so we'll add a lot of titanium white just like that now we'll grab some mars black mix that in there and it's really leaning to the blue side so i'll grab some extra red there we go now apply my first layer right in here you notice with some of the pigments i test it immediately on the reference photo with some i don't this is just the base layer i know i'm going to have to cover it up again so i'm okay with placing this down as i'm pretty confident it's close so here it's a smaller area i'm using the tip of my brush and we're just trying to get something nice and sharp i'm going to now take that extra pigment off my brush with some water grab some more and that's just because in the mixing process we built up a lot of pigment on our brush especially on the tip and it made it quite difficult to render this sharp detail we're doing right here so if you ever find that you just mixed a lot of new paint you really like it but you're not getting those sharp applications just take that extra pigment off grab a small amount from your palette and you should be good to go now we're going to wait for this to dry no we're not there's a little bit more of this pigment right up here so apply that here just so i know for later you can see it's quite thin right now we'll wait for that to dry and then we'll come back in with our next pigment so our purple is now dried to the touch and i decided to test it on the reference photo while i waited and i noticed that it was a a little bit too bright and b a little bit too blue so what do we need to do when we make an adjustment so you know how do we how do we make it brighter how do we make it darker well we can add some mars black we can add some red and that should be significantly closer to what we want so we can just start applying it or again do a little test here so much better okay good so i'll just start working over that initial application you can see that it's darker because the pigment itself is darker but it's also no longer showing the white of the canvas through it so a couple of things are happening there all of which good something else we can do to make this cloud interesting is remix the pigment we used for the sky so lots of red tiny bit of yellow a little bit of white close there we go and we can actually just start taking portions of it out so you can thin it down if you need to you can create little openings and spots make it interesting just try to avoid a perfectly straight line we're looking for something a little bit more interesting we're looking for divots in it looking for different reactions that's what we're doing right here now after we've done a couple of layers we're going to take a mixture of that pink that we have and a mixture of that darker cloud color and with very fine small little strokes we're going to create little break off pieces for this cloud this is going to make it look so much more realistic and because it's a combination of the color of the sky and the color of the cloud they're going to look like semi-transparent clouds and it's going to add a lot of diversity to the visuals here in the painting now i think it's also worth noting at this point that you may hear a little bit of hammering in the background as i noted in my last cityscape lesson there does seem to be a little bit of construction happening around my apartment not entirely sure how long it will be going on for but if things get excessively noisy i will take a break and we'll come back to it when things are a bit more relaxed but just so you know not a permanent thing and we will work around it to the best of our ability but there you can see significantly more small clouds a lot of extra detail and a really really pretty effect we're using quite a bit of water here so that they are semi-transparent and we are using a mixture of the two pigments we've been predominantly using with that let's now start working on the larger cloud now this larger cloud is going to have quite a dramatic value change it's going to be very dark in some areas very bright in others and what's actually quite interesting is this color right here that we use for the landmass is essentially the bottom color of the cloud so we know what we're mixing towards we know we need a nice mid to dark blue with some gray in it we have that on our palette we can use that reference and here i've used all of those same colors except this time it looks different it's a bit brighter it's a bit more desaturated so how do we solve that well we solve the saturation by adding more of our pure blue into it that's good it's still too bright though so now we'll add some mars black not too much a little bit by little bit and there we have it that is our initial color so there we have some problem solving and some hammering apparently we're not the only ones doing a creative job today look at that matches so so well and i'm using the body of the brush meaning the majority of the side of the bristles to apply this very liberal amount of paint now i'm going to take all of that paint off my brush we're going to just use the tip of it and we're going to apply very conservatively so this is where we do our detail work this is where we create small little edges you can see how this portion protrudes out a little bit this part will protrude down and we're going to change the color of this because we're getting closer to the sun but i do want this nice dark blue base to start with and we work this over into that purple that we applied before now you can see that the more i stretch this out the more thin it gets there's a dramatic change between that and that and that's again just because we have a damp brush and it's a friendly reminder that we should consistently be going back to our palette and grabbing more pigment that way we have a good looking base layer now there's only so much we can do here because it is so wet we will need to let it dry for the most part but we're off to a good start and i'll just work this over here for now make some more paint quite a bit of blue quite a bit of black not too much white and you can see that we were closer with our mixture this time and that's just because it's practice eventually you'll be able to get it in your first one or two tests and there we have it let's start up here on this side because it's not all that watery don't need to let it dry to the same extent as the other side you see i'm still working on around my sail and we'll also start working up into the clouds like this now because i'm using quite thick pigment here i have a lot of paint on my brush i'm not getting all of these very notable brush strokes but if you are try removing your brush in a circular motion like this as you apply paint because it'll be less noticeable and when it is noticeable it'll just look like built-up form in clouds so it'll be quite natural now here we have the edge of this cloud there's another cloud that's right behind it but it's a bit more thin it's a bit brighter so we'll grab some extra titanium white work that into our mixture it's not much brighter we just need a subtle change work that along the edges fairly sharply and then i'll work on this cloud i think when a lot of people are beginning painting everything is a steep contrast and a heavy saturation but the more you paint the more you learn there's a lot of beauty and subtlety and not having a dramatic color change can actually be incredibly advantageous for the piece we'll have this blend down into this cloud right down here that way it looks like they're connected but this one's a bit farther away there we go we'll go back to our darker mixture so again mixing on top of slash beside need more titanium white made that far too bright so what do we do we make it darker the white and the black mix they make it too gray we grab more blue grab more blue we're gonna have a lot of this pigment and there we have it so now we can start applying over here again and start applying over that initial application because it has dried remember to do the edges relatively early while you still have a lot of watery pigment then you can start working up into these areas there we go we'll have a bit of an opening where we'll see the sky and some really bright clouds right there see if this is dry seems to be so we can jump back here now now we've done a lot and it would be easy to just look at the photo [Music] or move on and say okay you know what we're on a good roll let's let's keep moving but it's important to continuously take little breaks take steps back make sure that things are working together because when we do a lot of work like this we start and start to kind of focus on the details and we can lose track of what it looks like as a whole so i'm actually going to after i'm done this take a two minute break take three or four steps back look at the painting from afar and make sure that it's all cohesively working together that these blues look good with these that this does look different from that but not dramatically and we'll go from there remember if you want to avoid notable brush strokes that you don't want in clouds work in these more circular strokes so as i step back i notice what i really do like the transition from these blues into these but something that i did kind of get carried away with was building up this darker area right here i was applying the paint it was cathartic it was fun it was you know one of those things where you think you have a real handle on it but i neglected a detail so i'm just going to take some titanium white right now and this isn't the color that it should be but it's going to be a reminder for when i do add in the right colors that there's actually a real divot in this cloud and it works its way right back here there's also going to be an opening in the cloud right here so these markings aren't meant to be the right color they're not meant to be the right value they're just meant to remind me that there's supposed to be something else there i'll also do that right over here as there's another little divot and these openings are what give the piece a lot of life and interest so important to incorporate and now we'll remember for later with that said let's jump right back into this and continue working on this larger cloud structure so from here on yet again making sure my brush is nice and damp and i'm going to mix up more of this lighter blue that we have so i'm starting with some titanium white grabbing some blue some mars black and look at that we got extremely lucky it's almost perfect we need a bit more blue in it but we are so close and now we'll take that pigment and we'll do our second layer over this area right here being very precise around the edge of that and then we'll do a blend down into here now this is going to be a bit more difficult because this is dry so i'm just going to use a very very soft motion and i'm going to try to get the paint to go on in much more thin layers right here so it's semi-transparent and that way you get to see a wet on to dry blend just like that so there's still that transition there's still a blend it's just done in a different way than our traditional wet into wet blend from there we can continue moving our way up and if we're confident with our stroke we're not worried about the pigment that we're using or how sharp our application is we don't have to grab additional water for our brush we can actually just continuously grab pigment and that'll make our applications much more thick to the point where we might not even have to do two layers if we don't thin it out substantially on the canvas and drag it about so here i didn't grab more water for my brush and i'm mixing a lot of paint because i know what color i want and i know i need to fill in a rather large area so here you can see it's incredibly thick and we don't have any issues applying it now if you look at the edge it's a bit more coarse because we don't have that water that's okay though for now just building my base remember not to drag it too far otherwise you will thin it out and it will get toothy see the canvas grain in between portions of pigment now we're moving up into this larger area we'll blend back down into here you can see that this is actually slightly brighter and you want that you want it to get slightly brighter the farther away we move from the sun there because the sun's creating a really heavy contrast with these in the foreground and the ones in the background have more light moving through them so so far so good i am now going to grab a bit of water take off a lot of it and now we can do some edge work portions of our edges will have to be redone because when we do the sky here we'll probably move on top of some of this pigment that's okay but we might as well get it as close as we can right now so there are a couple pieces that jet out here so i'm going to focus on them right now some paintings require not so aesthetic underlays in that when you're working on it you say oh no what am i doing this however so far is going really well i think it's quite pretty generally i feel like the the painting feels beautiful in that final kind of 10 15 percent of it i always tell people you know don't get discouraged if it doesn't look great initially because generally it doesn't and generally it isn't supposed to but occasionally you find a painting and the process is something that is quite pretty as well i think we're there right now we have some little wandering clouds we have some up here of course these really should be added in later in for the most part because we are going to be painting the sky we are going to go over most of them but here i'll just map in a couple so you can see what we're eventually working towards quite pretty there we are so from there we do need a transition from this into this you can see this is much brighter so we have this brighter pigment let's interject slight bit of mars black and a hint more blue let's work that right here as you can see we captured our initial color rather quickly and i'm trying to drag it out too far so you see it's getting quite granular not what we want now what we want you can see i left another divot there and now we're blending it up into that initial mixture i'm working in round throats and it is coming together look at that something to be proud of we'll also use a hint of this darker pigment for right down here we have quite a bit of water on our brush so it's semi-transparent i'm able to get this really nice blend from darker in the light despite the fact that that is just a bit fully dry you can also work some varying levels of highlight and shadow over here to create some slight separation of the clouds make some look like they're closer and farther away you don't have to but it's an extra detail you can interject should you want to with that i'm very happy with this area as is i'm going to let it dry i'm going to clean my brush i'm going to clean my water then we're going to head into this highlighted area right here and i want to clean everything first because we've been working with a lot of blues we're about to jump back into some yellows and if you have blues on your brush or in your water and then you grab yellow sometimes it can get a bit diluted and turn into green we don't want that so just make sure things are nice and tidy and we'll jump into there so now we're going to stick with that same brush and we're going to start mixing a pink relatively similar to what we have down there so i'll start my mix on top of our previous dry mixes here we have a pink here we make it slightly more orange and now i'm going to test it on my photo and just see what direction we need to take it like it just needs to be slightly darker so i'll grab the smallest hint of mars black take off the excess over here and then work that in now we'll take this pigment and you can see it's a bit of a darker pink than what we've used before we had to be really careful with that mars black because mars black and primary yellow do tend to make a green and now we're just going to fill in the top area right here this bottom area is going to be more clouds but they're going to be better lit and significantly brighter probably a little less saturated as well because the more light we have in it the more white it has in it and therefore the less saturation it can kind of show there we go it's a good start now i'm going to clean my brush off make sure it is ready for our nyx mixture which will be that but this time we'll take extra yellow we'll take extra red take some extra titanium white we'll build up something brighter something a little bit more warm so it's orangey you can see the contrast there i'll test that you don't have to test on your reference photo this is just something i like to do when we work with a lot of very similar pigments to now i'm on track but it really isn't necessary just kind of a potentially helpful step so here you can see that i'm working that right into the pink doing a soft blend using the corner of my brush for those edges then we'll come down here and we'll do more of the same don't want to work it over the blue too too much and then hypothetically this pigment is the color that goes here and here however this is quite thin and even when i try to apply a lot to it it still looks quite dark so how do we overcome that well we take all of the water off our brush we say okay we need that mixture so let's go to a clean spot on our palette that doesn't have any water let's grab quite a bit of pigment there we go now we'll apply this and we won't spread it out far at all the more we spread it the more we thin it that's not what we want may still take a couple layers but by going in like that it'll be significantly more quick and easy also throw just a small portion right over there and we can take this and we can create some smaller clouds up here blend it into the pink go over that initial mixture now that it started to dry build up the thickness and as i get higher up i do want to make this more pink so i'll add extra red make it even more pink again maybe slightly brighter because every time we add red we darken it because we take a predominantly white mixture and we add red and red is a darker value so there we go and now we have this very subtle diversity happening in our sky right up here so lots of different colors it's difficult to distinguish what they are and when those changes occur and that's exactly the detail and the diversity that we want so yet again taking pigment off my brush now i'll head back in here with an even brighter mixture of that peachy orange that we've been using you can see it's getting incredibly bright i'll saturate it a little bit more which will take the brightness down but there we go and i'm going to place this more so at the bottom and this is really the color that i want the sun to be so i'll take this and i'll work this down here and i'll start working it out from the sun i'm going to make sure my brush is damp that way we can blend wet onto dry create a gradient and this is where we create the glow for our sun there you go you can see it dissipating in all angles all directions in that sky then we'll make it brighter again more white add that to the middle and we'll build this up a couple of times we'll do this blend out a couple of times we go you can see it's starting to feel really warm i'm leaving some openings between strokes here that way you get a bit of a hazy warmth effect and we'll reinterject that circle once this is all dry right now there's a bit too much wet paint to really create anything sharp and that's okay there we go so far so good now from there i do want more of a darker purple cloud up in here so we'll grab some blue some red slightly more red titanium white mars black and as you can see this mixture is far off from our purple that we have here because it doesn't have enough red there we go now we'll work some clouds in this area we want this to be quite thick in the end so right now it's a little thin we can see the pigment underneath luckily it's not mixing you do want to wait for that peachy golden orange to dry first before you really do this and then you can take that purple and you can work it right around the cloud edges here and here the light from that is going to make this all a bit more purple but i wanted that dark blue base for something consistent all the way through so starting in the middle i'm working to the left i'm working to the right we'll throw a hint of it up here this is where we really diversify our color remember by keeping your brush damp you get those softer blends and transitions you know we'll make it down here because if you have a more purple base than a blue base then you can work yellow and oranges on top of it more safely but again i wanted to really stop here because i want this color and this color to essentially be the same that's important a defining factor of the image for sure there we go like that a lot so from there we hope that this is dried and we can go back over it with another layer it has to a point i was able to get in some extra paint not too much remember it's not really worth fighting if anything right now i'm just touching up details i'm not really building a more thick base and add some smaller clouds kind of working their way through there that's interesting but so far so good now what we want to do here is again we want to build more light so let's set a standard for what our brightest color can be we'll add more titanium white to our mixture that we used for this and oh look at that yet again we have a true highlight and some shape we have some form for our sun so now we're going to build more of a pinkish red for the light to work its way up onto these clouds so i start with some of our red grab about a quarter of that in our yellow quite a bit of titanium white like that maybe some more red now hypothetically we're lining the edge of this and we're trying to make the cloud almost get lost into the sky so i start applying that and then i say you know what let's just let's make sure that is miraculously close wow okay i honestly didn't expect that that's wonderful so the difference that's occurring is that in the picture the only pigment that's right here is the color we just mixed it is that color but what we have on our canvas is that color plus the dark blue that's underneath so we need a thick layer which we're not going to get in this initial layer because we have quite a bit of water on our brush and right now i'm instead of kind of trying to double down and make it more thick and put more pigment there that just won't won't really stick i'm mapping out where this is going to go it quickly dissipates to the sides we don't have too much and it will work its way up quite a bit we'll have some in here for sure i'm using a very soft stroke with my brush to avoid a lot of brush strokes and to get something fairly transparent it's a good start and you can kind of feel a bit of a glow from it which is what we wanted we're also going to take that and we're going to line the bottom of this and here you can see that the highlight and the highlight actually touch this is where the magic starts to happen now we need that but so much more thick so let's uh let's actually take all of the water off our brush just wipe that off right now paper towel painting cloth whatever you're using then with a dry brush a lot of titanium white a little bit of primary red even smaller amount of our primary yellow and we're rebuilding that pigment right there so i have a bit of it off to the side i know what we're working towards and there we have it so now with this thick pigment we go over this area again go over this area again and as you can see where in the past when we eliminated all water from our mixture and we just worked up this way with our blue we're able to get that pure blue with nothing showing through however these pigments just aren't as thick and i'm not going to get it on the first time it's also harder to cover up a darker base flare than it is a lighter one so here we're just applying that pigment accepting that we're going to have to do yet another layer and working it up in all directions so that it continues to dissipate taking all of the pigment off my brush working with a damp brush now and just working that pigment out a little bit it's a bit too much water taking that water off my brush now i'll work with the pre-existing water and again circular strokes a lot of trial and error happening here that's how it's meant to be we will get to that destination though don't you worry now once you have quite a bit of water on your canvas it can be difficult to work with so after this i'm actually going to advise that we put the brush down for 10 minutes let this all dry thoroughly and then we'll come back into it and continue building up our glow but you can see right along that edge that's what we want it's there we can see it we know what it is we just need to put a little bit more time and be patient so let's take a break maybe have a snack have a drink remember we stay hydrated we stay creative and then we'll get back into it so now yet again we're going to jump into this same brush our paints have probably dried by now so we're going to mix more on top of that previously dried mixture as you can tell this one is quite a bit more white heavy than our previous attempts so we'll just tone that right down add some more red and i'm adding red at a slow pace i'm adding yellow at a slow pace and that is so close and that looks like what we need so now we'll head back in round three and this is where it happens you can see i'm leaving a slight shadow right there for the top of the cloud essentially the other side and it's going to be darker because only so much light can work through this cloud and eventually an edge of it that edge is going to be darker just because the light can't get through that much now because we're not working with water here we have to be extra careful with our applications to make them sharp and then as i move into the dry paint i use less and less pressure there we go now start moving up don't work too quickly i think i just got got a little excited over there started doing more than i necessarily should have it's okay we stopped on time but it was a good reminder that yes we're filling in an area but we should still be taking this slow i'm also predominantly working with a horizontal stroke at this point there's a bit of a swirl in it but the majority of it is moving back and forth so if there are open areas it looks like shadows in these clouds now i'm going to take all of the pigment off my brush make that brush a little bit damp we'll go towards the edges of all of these applications and i'll just start a slight blend out this will give us a softer blend than what we were able to achieve with the fully dry brush it will thin our pigment more and more it's okay there we go you can see i'm actually just using that same pigment over these two and we are so close bringing the smallest hints of this pigment over out to the side to make it nice and cohesive you can even grab slightly more there we go you also notice that i'm holding my brush differently this is a bit more of a loose style than holding it like a pencil in a lot of academic settings will actually teach you to hold a brush like this lets you paint from a bit farther away lets you move a bit more naturally from the shoulder its something that i did a lot of and i think that it has a lot of benefits but i also think painting in a more natural way of holding a brush like a pencil can also be advantageous so try these different things and then do what works for you just going over this area good number of times until we get that real glow look i'll also take more of that pigment i'll head up here work my edges like that and then we'll do a slight blend out i want it to be semi-transparent though because i do want there to be a distinction between the sky and the highlight i'm currently applying if you apply too much and it's relatively watery you can take your finger and just kind of scrape it off like that just going to make it look a bit softer and a bit more cohesive there we go really coming along when you're doing this make sure that you don't leave a darker edge now that's another another thing a lot of beginners tend to do there kind of ends up being this outline as if it's a drawing but in painting there really aren't outlines there's differences in value darks and lights gradients so just make sure that you avoid those dark red lines and if you need to you can extend the edge of a subject slightly to make sure that it's covered there we go i'm also going to add a hint of this over here in between our dark and our light cloud putting it on the front of the light cloud and then i'll blend it back so we've applied it it's fairly watery i took the extra water off my brush that way i don't have too much and then we'll just move out very subtle but effective okay so from here we can start working on our next step which is actually a bit higher up you know i said we were going to move on and then i noticed this right here i did it i left this darker underline that's exactly what we need to avoid and you know what i'm actually glad that that happened just so you had a visual example of what i was talking about so here i'm going back over that edge and i'm making sure that edge is the lightest portion of the cloud there we go and then you can have it move into that darker pigment as you move up so now we're going to work up into this larger area of the sky and i'm actually going to continue using this brush it's served us incredibly well thus far and i have a lot of confidence with it with these clouds so we'll start by taking some blue we'll take some red mix these two together create a bit of a warmer purple so let's make it red dominant like that could even lean into pink then we'll grab a massive amount of titanium white like that we'll grab a good amount of mars black maybe a third of what we used in titanium white because it's a much stronger pigment and we do want this to be relatively bright and then i'll mix that slightly over into our purple and i'm trying to create the color for our sky right here so i think that's what it is on the photo we'll give it a shot though so just take it and you can tell that it's far too dark far far far too dark so i'll take what i have on my brush i'll wipe that off i'll grab a lot of titanium white i knew we needed a lot of titanium white i just didn't know we needed so little of everything else so then i'll grab a hint of what we were using and i'll mix that right beside it say okay much brighter let's give that a shot now we have something that's far too bright and i think it actually leans a bit more orange so we'll grab some red grab a hint of yellow about half of what we're using red wise and you can see how dramatically our colors changed here see what that looks like by far the closest we've gotten still a little bit bright still needs more red add a hint more black and you can see just how strong that black figment is we need significantly more white now probably more red i think we're getting there though this is a friendly reminder that we don't initially go with the first color we mix that we keep trying now yet again it's too bright and we need more red so we'll have quite a bit of red this time we'll add some extra mars black we'll see how this looks there it is okay we finally found it the color we want that's exciting so let's start working that along our edges initially in between these clouds we applied quite a bit of detail with actually and we'll start working that out over here i am fully cognizant of the fact that we will probably have to go over these clouds again that is okay just be as delicate as you can be and now that i have the majority of my edges i can use the side of my brush should be a little more careful right there and i can work that out around the mid area of the sky that said this isn't going to be the only pigment we're using though so i'm going to stop it right about there gives us enough to mix with and transition also work on top of this cloud because it's so dark we'll still see it through this initial mixture and we'll know where it is worked well we're also going to take a hint of it and work it down into here that way we have more of a transition from one piece of the sky into the next so from there we are going to take that pigment off our brush and now i want to mix what we have in the middle of the sky which looks more blue to me so that's our initial mixture let's take some blue work that in test it let's see if it's that easy oh wonderful just needs to be a hint brighter and we're there so i'll add a touch of titanium white to it just to begin then because we need a lot of it we'll mix right beside it a massive amount so blue red like i said a lot of paint so much titanium white a little bit of mars black not much you can see it's significantly more saturated so i'll just try to take as much as we can off that brush we'll add a lot more titanium white we'll add again a small amount of mars black you can see on the edge we're getting close so just make what we have here consistent that way we don't have to go back and remix all of it again in a second make it brighter we'll make it darker brighter darker and brighter again and brighter again patience is so so important when mixing your colors now i have a bit too much paint along my brush as you can see so i'm actually going to take this off i know it's an excessive amount of paint and you can feel a little bad about not using that much but honestly it's necessary to continue the mix properly so we'll grab a lot more titanium white and i'll just mix this portion first and that looks correct so now we'll grab more titanium white we'll mix this portion we definitely made more pigment than we need to i generally don't mix a lot of paint at once just because i think it's very advantageous to continuously go back and remix your pigments but we did have such a large area i thought you know what why not so we'll definitely have enough to finish off the space we need we will have extra we can continue blending with that other colors if we'd like but i hope that kind of illustrates how when you do mix a lot of paint it is more difficult to get to the colors you want so your initial mixture should always be a small batch and then you should aim to remix it after that so here i'm actually putting it right on top of that initial mixture i'm working around the sharp clouds that we have over here putting it along the edges of everything we've done just like that and then i'll move it up just a bit because i have so much paint i don't really need water to make sharp applications and now we have a very hard line in her sky which we don't really want so what do we do from there well we'll take more titanium white we'll take more red take a hint of yellow we'll take the color we are currently mixing with we'll create something that's more similar to our initial application in the sky and we'll blend the two together we want a fairly smooth transition between the two you can tell that this is a little bit less pink leans more towards purple than our initial color but we can reinterject that red in just a second because we're using so much paint our layers are quite thick which means that they're going to stay wet for a longer period of time which is actually pretty great when you're working on a larger sky like this there we go remember to use soft strokes to avoid harsh brush strips starting to come together taking all that pigment off my brush i'm going to take some extra red throw that in there extra white brighten it up but keep it pink looks good throw that down here keep it cohesive then we bring that up at this point i am committing to making my piece slightly more pink and purple than the reference photo which does lean more to the grays and blues especially at the top but i'm actually very happy with that that's an artistic liberty i am pleased to take as i personally love it when she escapes lean more into these colors now i do want more of that pink working its way up so we'll grab some of that some of that i'm actually going to mix over here just because we don't have a lot of pigment over here would be easier to work with distinguish play with how close is that how close is that it's nice good orange so lots of trial and error i think a lot of great painters actually spend more time mixing than they do painting color mixing was something that was initially really difficult for me i was great at drawing i felt like i could wrap light around subjects i could do blends and all of the different applications well but the last thing that i really needed to learn and i needed to put a lot of time into was color mixing and i know that initially it can seem frustrating and it can seem time consuming and you just you want to make that paint and you want to throw it on the canvas but it's so important that you do those small mixtures first and then you can mix a lot more of it by mixing it twice you make sure that those ideas really stick in your head that way the next time you go and you paint you say oh you know what i do know how to mix that color i did it a couple times i'm ready you can go and do it with confidence you'll pick up on it much much more quickly so test your colors don't go with the first one you mix and play with it until you have something you like again definitely going with a more purpley pink than a reference photo but i really love what we're what we're making here so with that i will grab more of our gray mixture i'll head up towards the top and it's great that the edges and the top are going to be more gray because the more gray something is the more it looks soft the more the eye doesn't necessarily go to it as much and it will just really pronounce all of the saturated colors we have down here we may actually end up using all of this after all there we go then we'll try to do a blend right back down so while i was finishing that blend and waiting for it to dry i realized that i actually missed this area this area and this area right here so i took the same colors that i was using in the sky and filled those in yet again it's one of those things that you know you can do once with a very thick application or you can do twice with a slightly more thin application really it's up to you and how you like to work but with that our sky is now dry so i'm going to mix up some of our pink that we have right down there so i'll start with some primary red a lot of titanium white not too much but a bit of our yellow and just like that we are so close remember the more you do this the quicker it will be just bouncing back and forth i think it needs to be a bit warmer now i think it needs to be a bit more peachy a bit darker and just by adding red we will make it darker because red is a darker value than the white and just like that we have what we want so with this i'm now going to head up to the clouds that we have over here and i'm going to start working on the edges and their base now these clouds are going to be continuously changing they're going to be fairly diverse and that means that some of them are going to be more dense than others and some are going to be a bit more transparent so what we're going to do is create a simple base for all of them with this pigment because they're all going to share it and then we're going to go back inside of the ones that we want to be more dense more thick and we'll add in some additional pigments so i'm going to go down to there with this one and i will definitely need to go over a lot of this a couple of times i'm also going to have a cloud that kind of comes out here i decided not to draw in all of the clouds initially just because i knew some of them would be covered up when we were painting the sky and i also decided to paint over some of our drawn in clouds just because it was a an easier process to paint these in a little bit later than avoid them in the larger sky process so we're just throwing that on and here you can see an interesting contrast between this and this same pigment but because this has a white backdrop in the canvas and this has a darker purple draw backdrop in the previously applied pigment they look different so that's just something to remember when working with acrylic paints and thin acrylic paints that layering and what's underneath really does play a massive massive impact in it so we went around those edges i'll work this inside remember this is more of a dense cloud so it will have eventually a darker middle but not quite yet we have a horizontal cloud here which will be this color so it'll tie this top area of the sky down into that one make it nice and cohesive and i just about ran out of pigment so we'll go and make some more we have quite a bit here but a lot of it is white and not fully blended yet i'm also trying to paint from a little bit of a distance here so you can see these clouds work in conjunction with the rest of the painting because it is a bit farther away and we want to make sure that it's cohesive so rather than looking at it as a very small individual piece of the painting we're looking at it as something that connects something that works cohesive way and working from a bit of a distance can really help again by holding your brush like this you can really hold it from quite far away get a more loose look which can actually be great for clouds another thing beginners tend to really have a hard time with is continuously making subjects look original and when you kind of relinquish some of your control in a brush holding position like this you can actually get a lot more of an interesting application there we go so there are a number of benefits to painting like this and we'll just fill in this top area i have a tiny bit of a purple sky right there which i'm avoiding and then essentially as we get farther back here it'll all be dark but we'll fill that in anyway just for consistency sick and that way when we build that next layer the color underneath it won't be titanium white or the white gesso that was used initially on the canvas it'll be this pinkish orange that we've applied i'm also going over some of our previously applied areas now thickening that pigment and on the note of the titanium white gesso i didn't gesso this canvas myself this canvas came gessoed and you can tell if the canvas is predestined by the fact that it is white natural chemist is more of a beigey brown so if you're in a store and you see a white canvas it actually has gesso on it you can buy gesso and add additional gesso to take out tooth and to make it more smooth if you'd like and generally more costly canvases come with more layers of gesso just something to consider some people really like working on heavily gestured canvas because it allows you to really move paint about but some people don't like it at all because you have to do so many layers because the paint doesn't sink into it you work on top of it and then you have to do a lot of applications so it's one of those things that it's very subjective different people like different things so there we have our starter our base and now we are going to make a bit more of a darker purple something similar to that so we'll grab some red this is fully dry by the way so i'll work on top of that just so it can be close to that and we can see how they work together i'm going to make it red dominant we're going to make it quite gray so we need a bit of mars black don't need that much and we'll need quite a bit of titanium white mix that together you can see it's less saturated than our previous purple that's a good thing i'm going to put the palette down i'm going to pick the reference photo up then work there as you can see it's significantly too dark but it's the right color so more titanium white just like that and we'll test it much much better could use a hint of extra color now because the extra white and black de-saturated it but that's easy to do we just take some red we take some blue and i can trust that this will be what we need so now i'm going to head back in the middle of my cloud and i'm going to leave some of that pink around the right hand edge i'm going to start working down saying okay what areas of this cloud are going to be the most thick so far so good though i like this a lot and you know what i'll get you a bit closer because this is more of a detailed application so as you can see we are just continuing keeping the edges slightly more pink that way that does look and i know this is contrary to what we were talking about earlier but it does look like we have a slight outline of highlight and then i'll go over those edges again once i start to run out of paint and soften things get a bit of a blend going so you know what well actually i'll use the majority of what's left on the brush build up that base i'll take all of that pigment off my brush make it damp take off that water we'll grab some of the pink that we were using we'll come back up and we'll create a nice wet on wet blend here that way we have a transition it looks like the edges are more thin a lot of light can work through them but then it quickly gets thick and that light no longer passes through with ease there we go contain some of that mixed pigment and work it over here to make this cloud look more thick the majority of it at the bottom is going to be bright where just a a hint a line at the top is going to be bright that way it looks like the light is hitting the bottom of the cloud and then there's just a little bit wrapping up over the top there we go now initially in the painting we talked about how some subjects are going to look not fantastic in their initial stages and they're going to take some extra work this is one of them we've done a lot here where it's just went incredibly smoothly things looked beautiful through the process and i noted that that is not a common thing when working with acrylic paints just because they are so thin and just because they do require so many layers generally the the beauty in the painting comes a bit later on and we were we were getting quite lucky before and this is where that becomes very apparent because this is a cloud that does require a lot of layers of a lot of work so don't get discouraged through this one recognize that this is just how the process is meant to be we will get it the way we want and it will look just as good as the rest of the piece in the end i'm going to work quite a bit of this pigment down here have this come up go on top of that one here this cloud is smaller but it's dense and then we can see a hint of the pink right behind it then we're also going to have this cloud which will be more blue and dark but we'll get to that in a second i do want more of this to cover up this area because that first application of course was quite thin we start in the areas we want to be the darkest and then we work to the edges making them softer so far so good using quite a bit of water on my brush to get these very small strokes happening right now now because these lean to more towards purple and they aren't as stark as this these do look a bit farther away and we can bring them closer to us by taking some blue some mars black some primary red some titanium white we're essentially mixing till we get this nice dark blue that we had before so more black more blue so close a little bit more white and now a hint more blue should do it there it is you can see better on that angle friendly reminder acrylic paints are quite reflective and can actually be quite deceiving because they are that way sometimes you might be looking at a pigment saying oh you know that looks that looks great and then as it dries you say oh that's significantly darker than i thought that occurs for two reasons the first being that acrylics innately dry slightly darker than when they're applied but also because that reflection is probably going to make it look a little bit brighter here we're working this darker blue up here we'll cover some clouds create a really neat formation and you notice that all of these clouds are just so different that's really how you're going to build an interesting sky an amalgamation of varied clouds we're not doing the same cloud over and over again and we're not we're not trying to make it look cartoony we're continuously having it evolve there we go also checking my reference photo all the time just making sure that i'm following its general ideas it's okay to stray from the path it's okay to make it your own but it's going to give you ideas that you innately wouldn't come up with in our minds generally we simplify things and so it'll make sure that i'm not just simplifying not just doing the same thing over and over again there we go i think what we'll do is we'll let that dry for a couple of minutes and you know what i say that i see one more thing i want to do and then we'll let it dry i want more of the pink that we have here so red yellow white more red to make it darker more yellow to make it orange there we go now this should be that color it is good we're going to have another cloud semi-transparent right there and then we'll have a bit of a more elongated cloud right here of course the paint is semi-transparent so you can see the color underneath showing through that's okay i'm just going to take this and work on the edges a little bit probably spend five or six minutes doing this and then i will see you for the next step so it's been a couple of minutes and now we're going to get very detail-oriented so this is the highlight we were using now we're going to grab some titanium white move that off to the side right beside it so we can continuously compare i'll add some red i'll add some yellow and we want something brighter just like that anything we can add just a hint more red to it but not much and now we're going to find the edges that are going to be receiving so much light so generally the ones on the bottom but occasionally the ones at the top we'll work this along those edges and then we'll do a slight blend up into the rest of the cloud see that i'm just doing it a small little tap and blend you can do more there make sure you keep your brush nice and damp you'll probably want a clean clean brush and clean water for this just because we were working with blues a little while ago and this is another pigment that will not like blues in the mix or on the brush so this is just going to add another color another element of depth we're wrapping more light around the subject with a different hue which is going to make it more diverse and interesting and you can see i do move up i relieve pressure i let it get more transparent and that way it doesn't look like we have any flat pink anywhere there we go now our pink moves into a darker color and value in the purple but it also also has a lighter value and a lighter hue to move into so it's constantly evolving you can see i'm going over this a number of times because of course it is thin will need to be built up different edges have different opacities different amounts of pigment some are sharper some are softer again diversity is so key in this then i'm bringing it down a bit farther good really good now that you have a wide gradient if you want you can take more pink and work that back in until you get the balance you want if you want it to be a very dramatic cloud then have a massive contrast between that highlight and that don't have much pink if you want it to be a bit softer incorporate more pink and lessen both the darker values in the purple and the lighter values in that i'm personally going for something softer so you see that i'm continuously working over my darker colors with these thin layers of lighter colors and just building that up this is something that will take time this is something that will take many layers and there's nothing wrong with that there we go so now we're going to take that same brush and head over here to the left hand side the right hand side this is the right hand side i'll take some of our blue i'll take some of our mars black some of our red but just a hint just a hint we don't want much and some titanium white yet again we are mixing our darker blue so more mars black now it needs more saturation more of our blue needs to be a bit brighter white titanium white still too desaturated more blue still too dark more white and there it is hopefully those abbreviated thought processes kind of help you figure out how i think about it when i'm mixing color again just asking is this color too bright too dark too saturated not saturated enough and you know you ask yourself those questions over and over again and you continuously mix until all of them are yes that that right there that is what i want that is great so i will paint these clouds in like this you can see some of the edges are a bit more transparent the bodies are much more thick i use the corner of the brush for all of the really detailed areas however this is important as you can see part of that sky i decided i didn't want to cover it up with clouds just because i like the movement down and inwards so i still have some of my sky color because we mixed a ridiculous amount and when you do that generally the inside of the paint remains wet so i can just grab this but if you don't have any left on your palette you just need to remix that middle sky color again we mixed a lot so you should have a large area on your palette to see what that looked like but here you can see i'm just working my way around our new cloud making sure that there isn't any canvas showing through and occasionally also work into the cloud it'll give me some softer edges and that can be a nice look for portions of it just like that so it's a good start right there now i want additional clouds like that right down here but i want them to be a bit brighter so i'll take some of that pigment that we have grab some titanium white hint of red just make it a more cohesive color with the rest of the piece and i'll leave some openings in between portions make it smaller then make it bigger again make it really small right here and then larger right here so as you can see i went ahead and threw in a couple of additional horizontal clouds there just trying to add some extra detail to balance this side of the painting but if you look at both sides you'll notice that this side has quite a bit of pink and this side is relatively void of it so we're going to add some over there balance it up and that means mixing more of this color we are incredibly familiar with possibly while there is drilling in the background we'll see um always always quite funny because these seascapes i think they generally elicit these very calm relaxed emotions you know you can kind of just sink into them and then all of a sudden power tools add some comedy to the process i think but again if it gets too bad i will cut we'll take a little break and then we'll come right back to it but here as you can see i'm working in some of these paints in between these clouds and we'll also extend some outwards as well so we're just trying to work back and forth between these darker applications and these brighter ones going over a lot of the edges very softly once i have my main application in that way it's a bit softer a bit more feathered and it looks farther away than what we have right there so we're not going for anything high contrast we're just aiming for settle so as we take a step back we can now see an almost entirely finished sky and it's actually just about half of our painting so we are getting there however all we need to do now is work on the sail right here and i do want to do that next because i want to put in a dark base layer for our boat which will allow us to work a bit more with a rough stroke here on the water at least initially because if we do go over our paint here we'll probably still see that boat because it'll be such a dark pigment so next we're going to hop right into that and continue applying some very sharp lines so i'm actually going to continue here using the same brush and we're going to see how much of this painting we can do with it because as i noted initially it's incredibly versatile and i think that will get a really consistent look by working with the same brush for the majority of it so i'm going to begin here by taking quite a bit of our blue about an equal mixture of mars black and a hint of titanium white we're going to aim to make our darkest blue yet there we go and now i'm going to take all of that pigment off my brush all that we use to mix because that can build up and stop us from rendering sharp marks now that i have a clean brush i'll grab some of that pigment i'll come up to the top find a good angle for this and i'm using my pinky finger and part of my hand to ground my hand on the canvas that way i eliminate some shake from my application now i'm going to make a myriad of strokes downwards until i eventually get to the base of the sail which is right there i'm going to work my edges first rotate my hand a bit you will find that different positions for your hand will make applying these pigments significantly easier i do recommend moving about trying different things and getting it exactly the way you feel most comfortable i am slightly limited here because i don't want to be in the way of the camera but you should have a bit more option and therefore probably renders slightly sharper marks than i am here i might go back over this a little bit later with the camera off just so i can clean up a bit of these lines but i want the first application or really the first couple of applications to be with you that way you know exactly what we're doing why we're doing it how we're doing it and here you can see i am just moving into that sail it's very transparent and what's interesting about this is that it actually shows us what this will look like essentially if we do have those pinks and purples and i think it's quite beautiful so later once we're done this more silhouetted look we will go back into it with some additional colors but for now what i'm really looking for is a nice dark base layer that's not a pure mars black still wanted to have those blues still want it to be nice and cohesive with everything else again i'm just trying to move around find the best angles and there you can see a slight bit of white on the canvas i'm not going to move the sail out on top of that i think that's the easy answer well we can just cover that up with the pigment on the sail but it's not the right pigment and it's going to change the shape of the sail and in turn we'll have to make it taller so the peak maybe ends up there and then it kind of gets lost and there's other dark values i like that right now the peak is in a brighter area therefore it can really stand out so there we have layer number one layer number two starts down here connects to right there so we will make sure our brush is nice and damp and right now we are just painting a line kind of a funny technique i use when i have to do something that requires just a massive amount of concentration so i kind of hold my breath for a couple of these strokes and just try to eliminate all other movement in my body of course that means we can't talk and describe what we're doing so it's not not super ideal for lessons but you might find it useful of course don't hold your breath for a long period of time take breaks and if you find it uncomfortable definitely don't do it it's not necessary it's not something a lot of people do it's just one of those things i found works for me but again here i'm making a myriad of strokes rather than one consistent long one that way i can consistently make sure that it's moving in the direction that i want it to and i don't kind of slide one way or the other there we go now i can move in start plotting my edges we have a lot of different movements happening here it's pretty interesting almost like painting with watercolors right now because it's so thin but it's that amount of water that's going to allow us to get those nice sharp edges so from there i'll mix right beside that because that area has a lot of water in it and now we can go in with that much more thick application and i am fully cognizant of the fact and you should be too that this layer is essentially a temporary layer we are applying this right now so that we can paint the water and when we do and we inevitably get a little loose with it we go over our boat because of the space layer will be so dark we'll still see where it is and we'll be able to repaint it and fix it up quite easily of course you could always use the traceable just to put it back in there you could rewind the video to see where it is should you lose it you do have a number of options but this is kind of kind of just the easiest so it's a good start now we'll grab some red some white smallest hint of yellow we really don't want much yellow for this next part since you have this fairly saturated red just going to work this into our sail the reference photo actually has the sail in the boat much darker but i do want some extra color i think it was really pretty when we could see through portions of it and i just want to reinterject pieces of that so right now the mars black is still wet as is the blue so everything we apply onto this is going to be significantly darker so it's going to mix with those darker mixes it's good to be cognizant of that here you can see what was a very bright pigment quickly dissipate and again i know i said don't have outlines on your subjects this is another time where i'm breaking that rule just because i want it to look like there's another darker subject right there it just doesn't reflect light the same way this does so it's important to remember that sometimes you follow the rules sometimes you break the rules and that's okay really really beautiful so far like this a lot then you can add just a hint of it on the other side using the smallest application the smallest stroke just getting a bit of magic right there so as we step back here we have almost the entirety of the sky finished as i noted there is that one little open spot we will go back over that but i do want to let this dry first before we do so because if we go in with those yellows those pinks and we do accidentally mix with that mars black and that blue we will get a green which just won't fit in with anything else in the lesson so we're going to give that a minute but as you can see this is this is a big milestone we are just about halfway done still have a lot of water to do which is actually pretty exciting but before we continue i would like to take a minute to just talk and say big thank you to you for getting this far i think that it shows quite a bit of artistic bravery really to attempt to sky with these many this many colors this many different applications and clouds and good for you for really taking the time to you know sit down and learn something thoroughly i think that it's just it's so incredible it's so wonderful when people are willing to take the time to get as good at something as they possibly can and i just i really like to commend you for putting the time in here and for you know not just looking for the quickest tutorial on the internet but one that will take a lot of time will go into a lot of detail we'll go over things multiple times so you retain it i i really try to make these as informative as i can i try to always explain what we're doing how we're doing why we're doing it and do so a couple of different times so that again it is retained i know that not everybody wants the long answer a lot of people do want the quick answer so if you've made it this far good for you for being someone who is willing to invest the time the energy the thought and to do something as good as you possibly can i started this channel with the 10-minute painting lessons and they were about doing something quick and just getting into it just you know getting comfortable with acrylic paint and that was the point of it but you know as you move on in painting i think that it's important to continuously grow and look for things that you can invest more time and that are going to teach you significantly more and that's it's really what i'm focusing on right now just creating as dense as um informative lessons as i possibly can and good for you for you know wanting to learn from something that is going to be as long as this is going to be i i just i think that says so much about a person and good for you i'd also like to take this time as i try to do in every lesson to say a big thank you to our supporters up over on patreon you make this happen doing these lessons it isn't a quick thing it isn't necessarily an easy thing it does take quite a bit of time and it is because of you that i'm able to paint like this each and every week that we were able to continuously put up these lessons if it wasn't for you might get one of these up every month maybe but because of you you you provide these for everyone so so thank you thank you for allowing me to teach painting um for a living i think that's a wonderful thing and i very much appreciate it and i just i want to say thank you i know i say it in every video but i feel like it should be said in every video i feel like you deserve to hear it over and over again because you are you're doing a great thing for me and you're doing a great thing for just so many other people who watch these videos so truly thank you if you are new to the channel and this is your first video and you are aware you can support the channel up over on patreon there is a link in the video description and up there we do have a bunch of really fun things like the traceables the reference photos i have five ebooks up there right now one of which is acrylics for beginners which essentially teaches you the essentials everything you need to know before you jump into your first acrylic painting in it we talk about different brushes how to mix your paints how to you know work with glazes create compositions do all of that good stuff but i also have a bunch of books of traceables for those uninspired days also up there we have access to our exclusive facebook group where we all kind of share our work help each other out i do personalized art critiques i have a bunch of bonus lessons as well so there's a lot of stuff up there on top of the tracer boys and the reference photos and if you're interested in any of that i highly recommend checking it out but again the point of this little break in this paused segment is to just really say a good for you for getting this far for wanting to be a person who does invest time and learn how to do things right and as well as possible and also big thank you to everyone who does support the channel up over on patreon and who makes these lessons happen with that said let's jump right back into the painting and head into that bottom half so now getting back into the painting i'm still using that same brush and we're going to start off by mixing a relatively light purple so i'm making my mix on top of our pre-existing purple as i'm aiming for something that is on that brighter more desaturated side so we'll grab quite a bit of titanium white not too much mars black because it is just such a strong pigment more of our primary red and you can see that we have by far the brightest purple we've mixed before make it slightly more warm slightly more saturated and now i'll take this pigment test it on my photo and that works quite well so i'm going to start by applying this along our horizon you're going to want to be relatively careful here so i'm making a number of strokes be careful around your boat but again remember that the boat was painted in not to be perfect and it is not finished it's just there to kind of reserve its spot so we know where it is fill that in and then i can use the side of the brush to start working my way out towards the edges a little bit now i did just about run out of water on my brush so i just grabbed some more i'll head back into these more detailed delicate areas using the pointed portion of the brush quite frequently in here and then we'll head to the side you can see that i am clipping the edge of the boat that is okay and then we'll proceed to continue taking our water out so that's a good start now we're going to come up with a bit more of a blue mixture so i'm adding some extra blue in there i'm also going to add some extra mars black and make it darker this is going to go on both the left and the right hand side i don't need quite a bit of it so blue red black white you can see we were quite close just needs to be slightly darker and there we go so yet again be careful along that horizon line you can actually use green painters tape here if you want to make it a perfect horizon line i'm fairly confident with the line making there so i'm not going to do it here but recognize that it is an option while i have a lot of paint on my brush i'm doing this sharp edge it was um kind of calling that i start working in here and i start moving down to those larger areas but i remembered you know what i have an opportunity right now that i won't have in a minute so let's fill that in i'm going to grab a bit more of that pigment with water on my brush smooth out that edge bring it in and now i'm just going to start wrapping it along the edge of our purple so right now we have two fairly coarse edges and now we're going to take that darker pigment and we're going to start working it into the purple using very minimal amounts of pressure and then we move in when we do this we pick up portions of that purple and then if we go back out here we redistribute them on this side so we start to create something a bit more cohesive but we want essentially this flickering purple light in the distance so we have all of these little strokes where the purple will pop eventually again we talked about different portions of the painting coming together quickly and other portions requiring time and effort to get to being something quite aesthetic this definitely finds its way in the camp of taking extra time requiring extra care and trusting the process there we go continuously going back and forth in this area building these layers let's get you a little bit closer so here we are we are a lot closer to the canvas and i'm actually switching my brush for the first time to just a slightly smaller version of what we were just using so it's still a rounded pointed brush this one instead is about an eighth of an inch where the last was about a fourth so just a bit smaller with that we are now going to continue those general applications and at this point everything's just about dried so we're going to remix some of our blue right on top of our previous mixture definitely needs more actual blue and that should that should do it now if you look at my brush i have a lot of pigment on it right now which means i can't make a sharp stroke when i go to apply this it's really quite large and cumbersome so i'm just going to get that off on portions of the canvas that could use a base layer but don't necessarily need any detail right now i'll make sure my brush is nice and damp we'll grab this yet again and then it's tiny starts i'm moving up i'm moving down see that so minuscule you want them to be different sizes occasionally they can connect but in the end you want the purple to be just a hint that way you see a pattern you see a secondary color and this will be the base layer we will be building quite a bit on top of it here you can see i'm working in between my portions of boat going back over old areas just continuously filling things in and i'm trying to jump around quite a bit you'll notice that i'm just kind of working in different circles back and forth and that way i don't continuously do the same thing over and over again in the same area it kind of just ensures that there is consistently change and growth happening with these applications also raising this slightly there we go now again we'll take some of that extra purple and let's work that in the sides so into the areas that were entirely blue again the idea is that we go back and forth and we create a transition that slowly moves us into the more purple reflections in the middle of the painting because the light shining down it's creating this light right there and the edges don't get as much of a reflection so let's mix up more of a nice highlighted bluish purple now that we have a base layer you can see it's quite close value-wise to the purple but it leans more towards blue and with this we're really going to start building our water so i'm going to create those horizontal lines for the most part but then i do occasionally dip down and connect them to another portion i'm starting in the middle here as you can see and then i'll work my way out to the edges and just naturally allow it to dissipate i'll also up at the top here connect most of those strokes so that it connects and feels cohesive the farther away water gets the less detail you can see of it and therefore it's going to look less sharp you're going to see less of these small impressions so in the background we can work with more of a continuous horizontal stroke as you can see and then as i move forward i relieve pressure that way we get a slight gradient here i'm covering more and more of my boat as we go but that's okay because i can still see it heading back to our new blue continuing forward in our painting we can see some purple show through which is a really nice addition we have it bouncing in between the darker values and that's really how we build the water in the distance this is why i was telling you not to worry too much when the purple didn't look fantastic because it wasn't meant to and because it wasn't the real highlight and it wasn't the final layer here's a base layer to make this color more interesting and to make sure we weren't layering on top of the white canvas and there we go to also practice our stroke in our application a little bit because we're doing a fairly similar technique right just something to consider head back over here more of that technique let it dissipate as we get into that right hand side and that is step number one now we will have to go back clean up that boat but i don't want to do it quite yet because we still have more to do in this water but before we do that we need to extend it so i'm going to move the camera down a bit so you have a better view and we'll continue and as we move forward we'll make these applications these openings in the way of these highlights and these shadows larger because the closer it gets to us the more detail we can see and the larger the subjects look because of perspective so we're now a bit farther down i'm heading back to the larger version of that brush because we have a lot of surface area to cover and then we'll switch back to that other one once we're done with the base layer so let's begin here like we did before by creating the base blue and the base purple so we have quite a bit of blue there quite a bit of mars black titanium white and we are so so close as you can see to that initial color so we start by applying that to our edges as we did before spread that out and you can see that it's starting to get a bit grainy so we are going to grab more pigment and proceed rather than move about what we already had and just make it thin and not a good base layer need more paint mars black blue white here you can see we're mixing quite a bit this is the second time in the lesson where we've started to mix a massive amount of paint we did it once in the sky we're doing it once down here generally it's something i avoid but i also feel very strongly that sometimes it is advantageous to break these rules and this is one of those times so a lot of paint as you can see we have that right initial color it doesn't match that because of course we don't have the purple but we were mixing it beside our first mix of it and it did match so i'm going to avoid my drawn in darker waves here these are actually going to be darker than what we are currently applying there we go i know it looks so easy when you have a lot of paint and it's so enticing to always mix a massive amount but it really isn't frequently ideal friendly reminder i'll do it once in a while but it isn't generally the best way of going about things it is occasionally but not always so we are starting to get a lot closer to the foreground we are avoiding these painted in darker waves and i think i'm going to stop relatively soon we have quite a bit of surface area to work with right now so i'm just going to move out a bit more of what i have on my palette as to not waste too much again i think when you paint with acrylics you just you have to accept that you are going to waste some paint don't stress out about it it's okay if you're working with winsor and newton or liquitex basics as i tend to they are relatively affordable acrylic paints still good quality very good quality always trust these two brands but it isn't like using a 40 or 50 dollar tube of oil paint right there we go i went to get a turquoise blue in an oil was last month i think and i went into the art shop and i said oh you know there's the color great and then i looked at the price and it was 44 which you know if you're going to make a painting that sells for thousands of dollars yes makes sense good investment right invest in quality to make quality but there are other options um and i think i think things like that really move people away from oils they think that they're all hyper expensive like that they're not you can still get you know fairly decent uh eight ten dollar tubes of paint and they work quite well but funny how that happens and it's just it's a good reminder that working with acrylics you're working with liquitex basics and winsor and newton quite quite affordable relatively right so just something to think about with that said here you can see i am going back to my purples creating that blend in between the darts and the lights you can see that these strokes are much larger than those because of course we are still working with this larger brush and because our pigment is still so wet these applications here are really getting lost and that's okay right now we're kind of practicing our stroke figuring out where we want these applications to be just working down and at this point i can't even see the difference in value but i can see the stroke itself which will help me plot later on again it's like practicing it's like sketching there we go let's get a little bit closer and switch to our smaller brush so here we are the closer we get the more messy it looks and again that's okay it's part of the process we will refine but here i'm going to start by mixing up that desaturated purple that we were using before so quite a bit of mars black and titanium white with just a bit of red and blue but not too too much and then i'll start by creating those horizontal lines for the most part like that and as i get closer to the foreground i start to work more with these slightly diagonal slightly curved marks like that do more over here so stroke stroke stroke you see how they're larger where these they're so tightly knit and you have these small openings right this we have this larger opening larger opening larger opening though that we might want to make a little smaller so as you move into the foreground start to work slightly more diagonally with a bend and in the background more horizontally without that playful stroke and there should be a transition between the two which we're currently working on so we're continuously going back grabbing more of that every time we apply this to a previously applied area it gets brighter gets more of a highlight if you find there are openings that are too big you can just kind of interject a stroke in between break up two areas it's all about finding balance and we'll also go back in and add more of our darker colors and values after to balance everything out so don't worry if you do a little bit too much of one thing or the other i find the best practice here is to really just go back and forth okay so i'm looking over here and saying you know what i could have some extended purple remember that we are going to go over all of this with a bit of blue later like what we did there that needs to be brighter let's break this and this in half just so we can stagger that progression a little bit better now at this point i was going to keep continuing i don't think there's much point to it i think we just have so much wet paint on here that the more we add the more we kind of muddy up our colors so at this point the most advantageous step to take when your paint does become a little overwhelming difficult to work with let it dry wait five ten minutes doesn't take much time then we'll come back into it we'll add the appropriate highlights and we'll continue to build from there but at this point we're just we're not really doing much and i know when you see unfinished areas like this and this easy to get discouraged easy to say oh it's not working i'll paint over it you could do that or you could wait let it dry come back in do what you actually want to do with it and that's what we're going to do so i will see you in just a second also while we wait i thought i would just take a couple steps back and show you what this looks like what it currently looks like from a couple feet away because all of those strokes you were making that looked so so rough up close that looked like brush strokes from far away it's honestly starting to look like water it's starting to come together and it's important to remember that the majority of viewers with your painting are not going to be standing half a foot away from it right they're going to be at least four feet away if not a room away so recognize that the the strokes you incorporate can be seen up close and you can still have a very realistic painting from far away because of these details they do amalgamate and they do represent something through impression right so it's okay for things to look a little bit messy or to see brushstroke i actually personally love seeing brushstroke in paintings when you get up close i love it when it looks like two different things up close and far away so just something to consider and you know do take five six steps back do take breaks do look at it from afar and make sure that it is going the way you want in that regard because generally again that's how people see the work and again i think it's really neat when you can see both the highly textured brushwork but then also something clean and clear and crisp from far away just something to consider i am going to let this dry for a couple more minutes and then we'll hop right back into it so we are back everything is now completely dry to the touch and we can grab some additional blue hint of red quite a bit of titanium white quite a bit of mars black we'll mix up more of that bluish purple that we've been working with and might make it slightly more gray slightly more blue we definitely want less red in the mixture as we get farther away from the sun so i'll try this i'm going to take the excess paint off my brush because we are working with fine strokes right now so now we'll grab some more i'll head back into these areas that i just couldn't apply to earlier because they were simply too wet and now here you can see we're going back we're applying these highlights it is more of a grayish blue mixture and that's not a bad thing so we're still leaving these larger openings and you know when i look in the i look in the viewfinder i say you know what okay this could be slightly slightly more saturated so we will add hint of gray hint of blue they are darker values so they will require us to add more white and we'll try this i started off in pre-existing areas just to see how it meshes and then we'll start working into these new areas that we are just starting to establish here you can see we're skipping that area we'll skip that area for the most part they are slightly tilted horizontal strokes and all of the open areas that we've left are going to be significantly darker there we go now i don't want these to be as dramatic as they are at this point you can see that they have real peaks and spikes and i want it to be slightly softer than that this isn't a lot of dramatically moving water it's a bit more calm and therefore we're not going to have those incredibly noticeable peaks and valleys in the water so you see how we just kind of go back through those say okay that's a it's quite a peak that's quite a peak we'll do more of a horizontal stroke through that we'll keep a slight movement but not a great greatly large one grab more of that pigment and here we have an opportunity to build more so i have this it's a bit of a curve and then we here we have another one it's a bit of a curve these are connecting there we go so from there we're actually going to mix a very dark pigment so quite a bit of mars black quite a bit of dark blue and the smallest tint of titanium white this essentially should be the darkest mixture we've used in the painting thus far and this is where we fill in these bottom areas of the wave so these are the areas that have a lot of shadow these are the areas that are opposite to the light directionally you want to keep these nice and sharp there we go it's okay if your initial mixture is a bit thin like that we can build these up over time as we talked about in the beginning of the lesson taking our time doing those first semi-transparent layers so that we know exactly where we want them can be incredibly advantageous and that's what we're doing right here so you can see the brushstrokes in there because it's thin it's not a bad thing after i'm done this i'm going to pull the camera back so you can see what this looks like from a bit farther away and how we're going to balance both of our sides so here we are yet again at a bit of a distance you can see everything we've done right there you can see that we are mixing more paint and generally again when i mix my paint and i mix a lot of it i initially take my brush and i wipe it off this time however i'm just going to use the majority of it in the center of some of these larger ones and avoid the edges as best i can now i'll take the little bit of excess off grab more of that paint and we'll just work that on there we go you can also throw in some extra ones in the shadowy areas which will naturally occur when you're adding on your highlight painting this really is an intuitive process there is method but a lot of it is kind of in the moment decision making that's how i find painting waves is anyway because if you try to break it down to the simple method of you know making those triangular shapes and we have done lessons on that in the past it can quickly look quite repetitive and that's not necessarily what you want so these are all the backs of the waves going over areas a couple of times to make sure that they are nice and thick remember that the majority of these will need a couple of applications and they will look significantly better with each application you apply there we go this one was still a bit wet so going back in and trying to add more pigment actually didn't work it just kind of stripped off what we had there if you let it dry fully though you won't have that issue there we are so now we are getting some more dramatic movements but they aren't implying that there's a lot of wave happening they're still subtle it's just a dramatic contrast to go with the dramatic contrast that we have up in the sky now portions of this aren't going to be perfect and you're going to want to take more of the light blue that you had so just mix more of that light grayish blue remember we do have a hint of red in it but we don't want much because we are farther away from that sunset so mix that up that looks just about right and you can make these smaller by going to the tops of them and just working on pigment like this so i'm just refining putting things together see how it's a series of taps horizontal in the back very straight and then you start to see that wispy movement and now here it's these continuous strokes you want that progression that's what's going to create depth in it now i do feel like this one is slightly more stark than i want and i want more of a transition into those really dark values so we have that pigment right here i'll just move it to the side i'll grab slightly more titanium white slightly more blue make sure that it's still nice and dark but lighter than what we had there just play with it a little bit and now i'll head back over it and that's so much better see how we just made it tone down small small percentage and now it just doesn't have that same visceral pop that it did before i'm also transitioning that one and this one as well so my newt changes but ones that in the end will do quite a bit for the painting as a whole with that it's time to start moving even farther down in this now while i just noted that we were going to start heading down in the painting i i had an idea for a technique and application i was looking at the reference photo and i thought you know what this could be really neat and i started working on it and i said you know what this is this is something we're doing this will take it to the next level so we're going to take our smaller round pointed brush make sure that it's nice and damp we're going to look at the blue that we've been using for the highlight we're going to make a slightly brighter version not much and we also don't want it to be any more saturated so we're aiming for a brighter but the same hue here you can see i'm mixing it right above and that looks good to me so i'm going to take off all of that excess paint really excited about this um i'm going to take this and i'm going to find the highlighted areas and then i'll just create some little motions of swerves like that and i'll connect different bodies of water together different sections of wave it makes it look like the waves are comprised of all of these mini movements which they are in real life but it's not something i've ever oh wow look at that i feel like it's nothing or something i haven't ever really had an opportunity to move into a lesson i feel like the bodies of water that we've done in recent seascapes just haven't had this or at least really personified it in the reference photos and this one does and you can see just how much extra movement and intricacy this ads so here we're moving down you can see that i'm continuously leaving the darker value to show through there it's that contrast that's going to make it so interesting starting to run out of space but you only want to do this really in the foreground like what you see i'm doing here as you get farther back you just wouldn't see detail like this you can take a hint of the color and move it up more in those broader more horizontal strokes but we'll save these diagonal intricate lines for the bottom here so nice to finally find a photo that visually articulates as well and again we are essentially taking lines or making them semi-horizontal or putting the bit of a twist a curve on them and we're building highlights leaving darker areas in between just like that of course if you wanted it to be more subtle you could do that i am purposefully making mine quite visually prominent partially because i really like the look but also partially just because i want you to be able to see the technique and how it's working with the previous applications there we go so glad we got to finally do this it's amazing i think i've done five seascapes in the last couple of months none of them really had this feature not to this extent here i have a real highlight pigment be careful with how bright you get but again if i if i don't like this if i feel like it's too bright i can always go back over it with some darker values just really wanted to show you what that technique looks like built up there we go now that we are starting to add these greater levels of detail i intended to do this a little bit later in the lesson but might as well play with it now i'm going to take some of our yellow quite a bit of our red quite a bit of our titanium white mix up a paint similar to what we had before so we will need significantly more red we also need to be careful with our yellow in this mix because we were just working with quite a bit of blue but if you clean your water and your brush you don't have to worry about it so once we have a nice pink i'm going to look for where the sun is make a mental note of horizontally how it falls and then we'll just do some taps in the background leading to the foreground following the tops of these darker marks and starting to make these different impressions there you can see i skipped a step it's very subtle initially looking for the brighter areas again avoiding that avoiding this but the blue part on top bluish purple that's where we apply going over previous highlights don't be afraid to trade detail for detail there we go let's head back to it make it even brighter more titanium white head to the middle of those initial applications and add that sparkle that sheen not covering up the entirety of it heading mostly mostly to the middle working out to the left to the right there we are lots of tapping with a slight drag generally in the diagonal direction that the waves in the foreground are moving and we'll do significantly more of this as we get down farther but you know what nice nice to practice nice to make that mix again again instill it that way we don't forget later and we're better at it later try to leave openings there we go so it is now the next day i had a good night's rest and now we can reapproach this with a fresh perspective now i'm showing you a bit of a wider shot to start things off just so you can see how all of those bright pink reflections turned out here in the water i feel like we're doing a good job of now taking all of the colors that we have in the sky and interjecting them down into the bottom we're going to be doing a lot with those nice pinks and oranges right here especially but before we do that i do want to hop right back into this boat right here because we started refining everything else in this area and this is still something with its initial layer the edges are fairly rough and we actually have quite a bit of our watermarks kind of washing up onto it so we're going to get in quite close clean that up and you know let's uh let's continue having some fun so i'm going to re-enter this here with my smaller round pointed brush and it is quite wet because we're going to be working with some real details i'll start off with some mars black hint of titanium white a little bit of blue a little bit of red just a splash of color in there and we'll start off by working on this bottom piece because it is just so fine so detailed we want to make sure that's nice and sharp there is a piece that extends right off of it i can see the majority of the boat and that initial drawing because we did put in that base layer and it's really quite useful but little portions did get lost and i'm going to be adding on additional pieces as we go with that i did just about use all of the sharp pigment that i could so now i'm just heading back into the boat and using up what i have left on the brush in the body and the areas that aren't necessarily detail heavy so yet again i will rinse my brush make sure it is nice and damp we'll head back to our mixture pick that up and okay looking looking at my reference there's a piece that jets out right there there's a rather tall piece right here that we didn't work in the first time so i'll work that down this would be quite neat because you can see in the photo there's a cloth or something something that's semi-transparent that occurs right in here and it will have a lot of warm orange light we also seem to have bars of some sort perhaps for safety right there and then there's a lower level to the boat then it gets a bit higher like that i'm not doing an absolutely perfect rendition of it i am taking liberties we are working on a relatively small canvas which means we only have so much room for detail but i'm doing as much as i can here we can also put the silhouette of a person which essentially just looks like a larger mark for a head and then a longer mark for a body nice and easy we'll also continue this right down there and we'll have to continue this side of course connect that work on the shape a couple of times once we also don't have much pigment on our brush and it's just watery and dark we can create a slight shadow for the boat not much don't want it to be stark this is just to make it look like the ship isn't kind of floating on the water so we're just taking some of those dark pigments working in some horizontal lines that occasionally connect that way it looks like we have a slight shadow there we go now something that we don't have to incorporate because again smaller canvas artistic liberties all of that good stuff there are a couple of additional details like another bar that wraps around this way there is a little piece that juts down i have a lot of water to the point where you can almost not see pigment so just grab a bit more balance that out but the amount of detail you want to incorporate is really up to you here i'm being a bit more playful with it and i want to do two lines one coming down here and one going down this way however i'm going to have to move in some very particular angles and i will most certainly block the camera i'm going to be doing it in the same way that i did these so just short very controlled strokes quite a bit of water on the brush only touching the very tip of the brush to the canvas and i'm going to do it very slowly it'll probably take me about 20 minutes so i'm going to do this part by myself and then we will catch up together for the next part of the painting so it's been a couple of minutes and as you can see i added another line right down there and a very very small one right there something that's been suggested in the patreon facebook studio group is acrylic pens which i think could also work really well in the scenario i've never personally used them but the amount of detail i've seen the members up there kind of create with that is just miraculous so something to consider for those types of lines if you do struggle with the brush i'm assuming you can find them in them just general craft stores with that said i am now going to take some yellow about double that in red and about triple that in titanium white mix up a nice orangey peach that should do quite well and as you can see i have a lot of pigment on my brush so much so that rendering a clean line would be relatively difficult so i just took off that excess pigment i grabbed a significantly smaller portion of it and now i'm just working in whatever semi-transparent subject we have right here just a hint of light on that boat i think it's really beautiful and we can also take a hint of that and apply it up into this we already have pink happening here that pinkish purple from before so this will just make the color a bit more diverse and interesting but i'm very very happy with that so from there let's continue working farther down in the painting oh wait no that's not quite yet let's take a little bit of yellow that peach make a yellowy peach something definitely yellow dominant slightly more titanium white and you probably don't have to do this this is probably just me but i'm finally going to fill in this little spot right here there we go glad we didn't forget that test the color over here just make sure it's cohesive or there and good now we're going to head into this bottom area and this is going to be one of those areas that initially looks really messy just you know brace yourself for it it's going to be okay we will work through it and in the end it'll actually be one of the most detailed beautiful pieces of the painting so with that here we're going to have some actually dark sand here we're going to have sand with just a little bit of water running over it and we're going to have some tail ends of waves washing up as well we're also going to have a reflection working right down here following that line so those are all the different things that we're thinking about going into this and let's start by mixing the darkest sand color now i think a lot of us innately think of sand as brown but in this case we're actually going to mix a dark orange so i take quite a bit of red good amount of our yellow now we will grab some mars black work that in there some titanium white extra red and it's actually starting to look like a brown you can see that in comparison to the black see that looks like a brownish gray so i'm just going to continuously play with this until i get the dark orange that i really want that again is a bit more brown and there it is i think we'll give it a try we'll apply it on the canvas oh that looks fantastic very very pleased test it on our reference photo so far so good but as you can see we don't have a lot of titanium white in it and therefore it is very thin you can really see the canvas showing through and that means you'll need a couple of layers or a very thick application so i'll grab some extra paint and we'll see what we can do with a single one i would assume we'll just kind of be picking up paint by applying more and that does seem to be the case so what we're going to do is we're going to let that dry for a minute and it's actually looking a little bit red right now if you want we can tone that down by just working in a slight bit of green so we can take some yellow some blue work those two together and when you work this in because it's the complementary color and we're blending them they're going to essentially nullify each other and make it more gray we don't want to add too much because we don't want to turn it into a green but it's a nifty trick remember complementary colors beside each other make each other pop like red and green and complementary colors on top of each other mixed in with one another make each other significantly less saturated so that'll be good for our first layer now let's start working in here so we need more of a brown red black yellow hint of blue not too much blue less blue than everything else and then we'll add quite a bit of titanium white for this one start applying that right here work that out work it up and you can see that this is significantly more thick than our previous application because it just has extra titanium white in it and that is a significantly more strong pigment we'll work that up until here we'll mix more of it remember this is going to look messy for a minute that is okay looking for the same color actually you know what i'm looking at the photo it's a little bit darker we'll throw in some extra black throw in a little bit of blue red have this lean more purple and now start applying that here this is actually a fantastic sand color let's work that in here as well it's okay to go in oh it's great to go into the plan but it's okay to deviate from that plan should you find better ideas or options adapting is not a bad thing we will grab more titanium white and brighten this up you can see that i'm leaving slight lines to separate areas so far so good grab more of this work it on the other side of this wave and as i get farther back here i'm going to transition this into a bit of a blue so i'll work more blue into this mixture there we go that's perfect so we have a slight gradient we're going to be working a lot of pigment on top of all of this so it's okay that it's messy we do still want a relatively thick layer so you'll see that i am going over things a couple of times we can have some of this over here as well this is still wet of course because my brush is fairly damp but it doesn't have to be wet if you get a bit more of a coarse application it'll be okay because again it's going to get a lot of pigment covering it now we'll grab some red and this is something we should be careful with because we were working with a lot of blue we're now going to be working with quite a bit of yellow so if you find that you're getting greens wash your brush mix up this nice orangey peach and we'll start applying that right here as our base highlight pigment you can see that i have some brown still on the brush and that it's mixing with what i'm currently using i'm okay with that because we are just going to blend into the sides and the brown anyway there we have a slight transition i'm going to create some marks in the same way that the water will be moving so long strokes for long blends very soft applications the majority of this is actually going to be more of a blue but we can add a hint of it just so the middle of this is the brightest point and it pops so i'm still moving in this direction every time we do this though we take brown and we interject it back over here so just be careful of that the more you do this the more you will dilute that middle area there we are it's a very good start we'll also grab more of it apply it right over here it's going to mix with that previous application that's okay we're just going to build it up over time we want these slightly darker base layers so that our highlights really pop on top of them i'm going to clean my brush relatively well i'm going to take off as much excess water as i can i'm going to grab more yellow more red white significantly more white there we are and i'll just work that back into here now you can see that this application is significantly less saturated than this one why is that happening well essentially we have quite a bit of mars black and titanium white in this mix and it's mixing with that so it's getting this additional gray that this didn't have to worry about so because we were working on the white canvas we were avoided that issue now could we could we have just left this area white like we did that yes we could but i think this is a good lesson so to re-saturate it we'll take some yellow we'll take some red take a bit more yellow make an orange this time i'm adding nothing else no mars black no titanium white it's incredibly saturated what happens when we apply it in this area you get this brighter yellowy orange we can work it over here if we want make it a bit more cohesive remember it's just the base layer doesn't have to be perfect we're just trying to figure out colors and movements right now i think we need some additional red in this there we go now we're just going to add a second darker layer of brown to that right there so i'll just mix that up quickly here on our palette and then once this is done we'll let all of it dry and then come back into it with some fresh applications in a minute as you can see that mixture was a bit more blue so we'll throw in some extra red and yellow and you know what i actually like that a lot i think it works with the rest of the piece a little bit better so yet again just going to let all of this dry and then we will be back in about five minutes my time maybe three seconds yours so it's been about five minutes and everything is now dry to the touch so we're going to just head in and essentially do more of what we were doing add that second layer make those applications significantly more thick because portions of them are going to show through the next very detailed application and i just want to make sure that what we have here will look proper i'm also as you can see adjusting colors in this layer this mixture is a bit more pink our sunset does a lean pink more so than orange so i just feel like this makes a bit more sense and we will still see some of that orange showing through this pink because it isn't fully opaque either so here we're just doing some small edits to what we have head back to my water mix up more of our lighter but dark sand getting close brighten it up of course we're mixing all of these mixtures on top of our previous applications that way we know that we are getting something in the very least quite quite similar this time i'm opting for a slightly more blue mixture just because it'll be more cohesive with the rest of the painting and this is a really really big benefit to doing multiple layers and building up those thicknesses is that you can try things you can adjust things you can just make it better so that is now quite thick looks good and over here still have a bit of pigment left on my brush so i'm just applying that grab more apply it to the bottom over here and as we get higher up we're going to interject slightly more mars black and finish this off sir significantly quicker to do the second time that's generally how it works and you know we retain these things for the next time we work on the paintings which is great so yet again i'm going to let that dry then we'll head in with some detail so yet again it's about five minutes later and i'm going to hop back into this with the smaller pointed brush we're going to be grabbing some titanium white some mars black just a hint this time not much and you know actually we'll do the mix over here just so you can see it a bit better so primary red titanium white hint of yellow will build up a significantly brighter version than what we worked with previously so we'll just grab a hint of that we'll head to the base here where it's going to connect with this that way we have the right line work that way it's not off to one side and i'm going to start by creating some horizontal applications like this and eventually they're going to start moving into the same direction that this is let's get you a bit closer though so here yet again making some horizontal strokes leaving small portions of that darker red showing through and then as i start to get over to the left hand side my stroke starts to move and change here you can see that it's starting to get a bit more diagonal and we want a slot subtle subtle transition from that more horizontal into that diagonal now occasionally there are actual lines being formed occasionally just starting to talk for the day sometimes it's a bit of a process do you ever find that you wake up and just the act of talking is a little resting it's kind of funny should be one of those things that just innately comes but i don't know can't imagine being a teacher who has to go in and begin teaching literature at eight o'clock in the morning for high school so that would be such a challenge so to any of you who have done that you have so much respect for me with that said here you can see i'm just continuously going back and forth filling up more of those darker areas using an incredibly limited amount of pressure and then as i get towards the front here i'm actually going to start transitioning into some taps but i'm going to do so in the general movements that these were going in this is just going to give it a bit of a shine a bit of a sparkle it won't look that way quite yet but we'll get it there this is especially going to be comprised of it there we go that's a good start so now from there we're going to mix a bit of a bluish purple so significantly more blue than red a bit of titanium white a bit of mars black we want it to be a grayish blue that's dark but lighter than what we have here and we're going to continue the marks that we had now as you can see that isn't quite bright enough so we'll take some extra titanium white work that in and now we'll try to continue it and that's much better so we'll just go over what we just applied start moving that out and we'll do some subtle taps back in this more pink area that way it's a bit more cohesive and in the back here we're really going to connect things a lot more so here i'm making a larger stroke a larger stroke oh there's a connection larger stroke connection here the water is a bit more thick and it thins as it gets closer to us down there so we'll just use what remaining pigment we have left on our brush to do this area up here and then right around here is when it needs to get significantly more detailed again so we take that pigment off our brush grab some more and you can go back over those previously applied areas build up some extra highlight it sounds so important that if you find that your stroke is getting significantly larger do add more water to your brush do go back and grab more pigment starting to turn out really nice still have a lot of work to do here but it's a good start you can really see the pattern on the edges that's where it becomes apparent we are now going to mix up more of our blue because we did run out we'll add a hint of red not too much and there we go so we'll start by connecting to some pre-existing little lines there and here you can watch a brand new one from the start i'm coming out then i'll work backwards and then i'll work forwards and then i'll work backwards it's like a little z pattern but occasionally i'll take an end and i'll move it into another spot that way it doesn't look like that same pattern over and over again you kind of want to trick the the mind and the eye with that where you can use that general pattern but then you need to throw in inconsistencies so that it doesn't look so simple and can be a bit more visually captivating we'll now mix in some extra titanium white find some choice areas go over the tops of our previous strokes that way you kind of have a bit of a blend down it looks like the top of the water the top of this movement here has some extra light and then as you work down that movement it gets darker and that looks like depth and it looks like a change in value and it makes it look like a three-dimensional subject that light is wrapping its way around so i'm going back in with these highlights i'm applying it to the tops of my previous strokes and i'm also trying to get very subtle tails and heads in these strokes as well and what i mean by that is the middle of the stroke is to be the most dense and then as i get towards the back and the front i relieve even more pressure and i kind of let that paint run out and the goal there is just to get something that shows that light is dissipating as it moves away from the top so i might go back and i'll blend those edges but here you can see it's starting to look a little bit better again working that into this the blue will be a bit brighter here now i will go back into some brighter pinks so quite a bit of white this time a little bit of red accidentally picked up some yellow in that white that's okay we will work with that something to be careful of though when you get farther into your painting is those colors will start to dilute your main pigments on the palette and you will have to be cognizant of where you're grabbing from or put new paint out that isn't diluted so here we're going back and forth we're connecting more areas we're building up those highlights remember we need to do a couple of layers because we are building on top of a dark base layer there we go starting to look better blending back into my blues letting a lot of things just kind of happen naturally right here doing some taps as we get into the foreground should be very careful with these i'm being a bit more liberal with my application that i'd recommend just use the tip of your brush don't apply any extra pressure build up lots of little marks now i think we'll actually go for a slightly darker version of what we were just using so we'll just add more red to it we won't add any mars black and we're going to start working back into that also grab some yellow make it a hint warmer again now i'm going over some of those pre-existing darker areas with a slightly lighter pigment and we're just going to play with it back and forth i'll probably spend another 20-25 minutes working on this area just refining making sure that the middle is the brightest that it's a collection of colors we've used before and then it transitions well into the blue and then we can jump into the next area together actually something else i'd recommend playing with before we spend quite a bit of time on that is just work your edges right out here onto the canvas so i'm using a slightly brighter blue than what we used i just added slightly more titanium white to the mixture that we used for our highlights i'm bringing that along these edges working it back into the pigment a little bit that way it looks like there's a transition that's occurring like that and when i get towards the pink then we'll just grab some of that pink highlight that we've been working with we'll do some taps along this edge like that try to make these marks as small as you possibly can exceptionally small apply as little pressure as possible go back grab some extra blue work that in between some of this there we go again something else to spend quite a bit of time on but that's that's essentially what we do we just do a lot of it now it's time for refining so i spent quite a bit of time going back and forth with this adding different colors kind of playing with different values and what i think i've come to the conclusion of is that i'm not really going to know how exactly i want this to look until this area is done so switching back to the larger round pointed brush making sure it is nice and damp grabbing some mars black quite a bit of our blue hint of our red smallest hint of our titanium white and like we made these darker impressions earlier for the water we're going to do more of those right here so i'm actually just going to fill this area in and then we'll work some lighter blue waves and movements on top of it so like we always talk about i started by working on my edges while i had a lot of paint then i applied the side of the brush to the canvas to get more pigment on there once i worked into the middle of these applications and here yet again we are starting from the edge working our way over we'll do the bottom edge like that we have some movements in there note that it isn't straight and i am making some changes again to the reference photo i do think that's important to note but we are following it for the most part okay so now we'll do quite a bit of filling in you can see canvas through this mixture right here because it's very water heavy this side wasn't so much so so we won't have to do a second layer with that but we definitely will with the application on the right hand side so i'm just mixing more of that pigment i'm not grabbing any additional water i'm working this on top of our first application and i'm just giving it an even look to it so once that's done i will just switch back to the smaller round pointed brush we'll mix some of our gray blue we'll do that right here just because it's close to that mixture the blue underneath has dried don't have to worry about it that looks pretty good we'll test it on this works well for a base color so now hypothetically this water is washing up it's moving up we're catching the top of it and then it's coming back down so we'll have that move down into there essentially taking pigment from the top as if it's come up rolling along the top and then swinging back down i'm also taking some of that darker pigment and you can see that i'm interjecting that down in between some of our previous applications that are a bit brighter there we go now we are working wet onto wet so everything that we apply is going to look significantly more subtle right now but as we continue to apply what we have on there will continue to dry and eventually we'll get something that's a bit more visually notable and we'll have some practice in the application in the meantime so here yet again look at that same mixture brighter the second time i'm making the top of it slightly brighter as a whole and then we're doing that movement that arch let's get closer so yet again we'll mix up more of our blue i'm going to opt for it to be slightly brighter than the previous mixtures because we're slowly going to build those highlights going to go along the top of this like that and then going down some of the areas we've already applied now you're going to when you're going down with this make some sharps start some sharp strokes and then blend the back of them into that darker mixture that way it looks like you have highlight touching the top of the wave and then [Music] dissipating as it moves down and you can see that i'm using almost no pressure letting my pigment kind of run out here i'm keeping the top of this as the brightest point on it keeping different openings varying sizes there we go and then i'll take some of this highlighted pigment work that over the purples and the pinks that we've kind of established in here and then i can work those back up and make this a bit more cohesive have it start to fit together so again i'm finding highlights that we've previously installed in here and i'm just going over them again with this color that way it isn't close to this but it's the same oh i say that you can still see the under pigment a little bit so it is going to be slightly different but it'll be very close to being the same there we go let's grab more of that highlight this time with added titanium white continue to build that up bracing my finger on the easel so there we have our first line i take some of that pigment and i drag it forward and down you can have it dissipate as you move over to the left hand side here because we don't want the attention being dragged off the canvas so this is really where you want that brightest set of applications and the area right in front of the wave will have a bit of a shadow from the wave but then once you move just a little bit out you can start incorporating those highlights again we go now you see this area right here for that we'll start with a bit of a darker blue so i'll mix beside our current blue that way we have a good reference point make it a bit more desaturated that should do we'll work this along the bottom so that no almost black is touching the pink and then we'll work this into that pink and up into that darker area as well we can have some protruding pieces that eventually connect and this is where the painting starts to come together here we go from there we can take that pigment add some extra titanium white to it make it similar to our previous highlight come back into all of those applications we just did and on the tops of each of those little strokes add in that brighter mixture that'll add the depth now the same application idea goes here for here so we will pick some areas and drag that paint down we'll do right here so highlight at the top and then down a couple of places makes the wave look smaller right there nice to have a diversity of height and i think i actually want a slightly darker portion right in here just to create some extra depth now i think we'll cover this up with a second layer and continue from there so now we're heading over to this side now that it's dry and i'm going to start with some of our blue our white a little bit of mars black not too much i'm going to work on building our mid-tones first so i'm going to work this along the top drag that down just like we have before again applying minimal amounts of pressure grab more of that pigment we'll head up to the top and we'll say okay you know what it looks like it could be coming down from there coming down from there we'll try to go a different interval so there's a large space there's a smaller space picking up from the top and then we drag down and we can bring that into our previous wave over here and into these smaller marks that we made a little while ago now when you get farther down you can start connecting them so here we have one that works its way back up we'll have this come down here and again this is deviating from the reference photo but i really like this technique i think it looks quite good in this scenario so again recognize sometimes you can follow the rules sometimes you can break the rules whatever is going to make the piece that you want in the end there we go it's a good start we'll throw some lines in here connect them at the bottom like that cover up portion of the uh the transition between the dark and the light and then here hypothetically we have another small one so we'll just take a bit more of that pigment quite a few blue mixes on my palette right now i'm not really sure which ones are still wet so i i do jump around but recognize that they are essentially the same values and colors so it's okay if you're working with blues are very different values and you're working with different mixing blues like say a cerulean blue and an ultramarine blue then you don't want to be that lax with it but when you're using a single blue and you're using similar values it's it's okay so here we start to move out doing a lot over the sound starting to create some wider openings we'll head back we'll mix a brighter blue so additional titanium white additional blue significantly less mars black but still some head to the top and an incredibly light touch remember and work that down starting to lose my ability to render real detail so just took that extra paint off made the brush damp heading back in remember we don't want to do too much over on this side so i'm just going to stop it right there this blue will look so nice with the pink we have there we are i think we'll connect these when you use this highlighted blue over pre-existing blues you get this really nice bright blue but when you use it over the black or almost black instead you get more of a semi-transparent gray and it in itself can be a really nice color there we are now as you move down here there's actually a lot of water right in this area and then it really thins out as we get to there so i think we'll mix a mid blue so not dark not bright not saturated i think if we make that darker and we add a bit more blue to it it'll be perfect that's just what we wanted so now we'll have quite a bit of water right here so i'm using more pressure with my brush i'm creating a larger stroke doing so predominantly over on this right hand side and this will also be that same value for the base layer so while we have this on our palette we'll just start filling in this area you want it to be relatively thick you want this edge to be fairly sharp the edge that faces this way can be a bit softer so if you are intending to do this in a single application do the edge that's facing us first and then do this edge second because if you start to run out of paint you can just kind of scrape it on get that semi-transparent look that i am right here gives us a bit of a gradient into the sand and just a really really pretty look there we go now we will grab more of that blue we'll connect it some lines that are consistently changing connecting to one another again that z pattern we worked with before works quite well now we switch to a brighter blue so we'll add more titanium white to that mixture we'll start by applying this on the top of this larger bit of foam that's rolling in we'll soften it down so the opposite to the initial stroke where we made that blue we made the edge facing us sharp the edge on the back softer now we're making the edge on the back harder and more dragging it in towards us we'll also take some of that highlight and we'll just follow a couple of the trails that we have leading into the distance we'll also have those highlights through here this in itself is a bit of a wave rolling over this pre-existing wet piece of land and that's a good way to think about it again you can go in and apply this brighter blue over the pre-existing blues but you can also apply it over the browns and that will give you a more transparent desaturated look which isn't a bad thing as i'm close to the foam i'm also just taking the brush and i'm doing a little movement that way looks like we have this slight bit of raised water technique we haven't incorporated it's quite neat so we just spent quite a bit of time working on the details right in there and i thought yet again it's important that we take a step back look at that area in context with the rest of the painting and make sure that it really fits in the way we want to and as we step back here i can say without a doubt that i absolutely love that area and i feel like it did everything it needed to do in that it did interject that extra detail into the foreground that made it feel like something you could kind of reach out and touch kind of reach out dip your toe in and it just made it a very connective piece it also brought more of those blues that we had up here down into here balanced the painting again we have blues in the sky so now the top and the bottom match quite well and i'm very very pleased with that but with that said i'd also like to take a moment here to note that this area right here probably looks a little different to you i liked this area so much that i started to take that brown that we have in between the water and interject that into this left-hand side however i got um a little too excited with it i did a little bit more than i should have and i didn't like what it turned into so i opted to just remix more of that sand pigment and i covered this entire area from there i waited about 10 minutes i went back into it added all of these details yet again redid the reflection in a slightly different way and i just i wanted to bring this up because i think it's really important to know that regardless of how long you've been painting for these things happen it's okay don't let it get you discouraged if something doesn't go the right way the first time or if you have to redo an area this happens to all of us and you know it can actually be a good thing because going back to it it means that a you're going to have a chance to do it again you'll probably do it a little bit better because you've had practice you are going to really reaffirm those skills in your head so the next time you go to work on a similar subject you'll know what you're doing and it can just be a really good practice so still worth noting we're working with acrylics they're incredibly forgiving all we have to do is wait 10 minutes let that paint dry and then go back in and paint another layer so don't ever be afraid to redo something if you don't like the way it turned out especially this far into the painting i think we've just done so much good work it'd be such a shame to not love one of the finishing areas so just consider that when you're working on your own pieces with that said as noted i did redo this area a little bit differently i essentially just copied the reference photo and that means that it wasn't done necessarily with a specific technique a specific repetition a specific pattern it was more just look at the reference photo say hey is this brighter than that yes is it more yellow yeah okay so add some more yellow is that area a bit darker down here than there yeah okay so we'll make that a bit darker and you can see i have a couple bright strokes there's a little bit of a curve there and it's nothing difficult it's essentially just matching what we did so you're more than welcome to paint it exactly like the reference photo you're more than welcome to keep what we already did together i think that actually worked quite well i just i i kind of messed up that area and in turn i had to redo all of that so just something just something to keep in mind with that said we are now going to hop into this last spot right here and finish up this piece minus the touch-ups which we will definitely have to go back and do so let's get a little bit closer and have some more fun so here i'm going to head back to the larger round pointed brush and i'll start by taking some of our red some of our yellow about an equal mixture about an equal amount of titanium white and we'll mix up this fairly average orange i'm going to start applying that right here this is a similar pigment to what i used there if yours leans more pink make it lean more pink you essentially just want a copy of what's right there i think i could use a bit more red in mine and i think it's also a bit more desaturated so i'll add a hint of mars black again this will be slightly different for everyone but we will brighten it again and you can see once you have that mars black it's fairly difficult to bring it back to something bright and vibrant just something to consider and that's why we always use black initially in our mixtures very sparingly so test this there great it's less saturated and this is another little bit of water so you can see that kind of works underneath the folds of this and this right here so from there let's make it darker we'll add some red let a very small amount of black this time more red slightly more white and we'll test that right here perfect so now i can put that on the side and it'll just make it look like it dissipates as we move this way so i have a lot of water in my brush which is why i'm able to get this fairly smooth transition from my current pigment into the brown kind of scraping back and forth a little bit with a very soft touch and i'm going to leave a darker mark right underneath the wave so it looks like it creates a slight shadow see that it's a little technique that can make a big difference for the depth in your subjects in your painting so good start right there now i think i'll make more of what we had in that so red white yellow hint of black we'll try that and there really isn't much detail here in the reference photo i think i might do a couple moving strokes like that but nothing nothing much i want this to be relatively simple because i don't want the eye coming to the bottom here and staying there we don't want it getting stuck we don't want it moving off the canvas this is essentially just an extra little accent to the rest of the colors in the piece so actually i'll come back or darken some of this by remixing more of our darker red grabbing incredibly small amounts of mars black now just to make sure we stay on the right track there we go oh it's darker that's working well and you can see that i am just now blending this back a little bit getting a really neat effect in here we can also grab some blue a little bit of mars black a little bit of titanium white and we can work that on this edge and then work the blue back into the red that way we have all of our main colors down there again we're trying to leave a slightly darker shadow which you can also add in post you can just take darker paint and apply it there and that'll work quite well now we're not going to bring this too far because we don't want it mixing with the yellow so i'm going to end that transition right about there now we are going to switch back to the smaller brush we will look for what color do we think we need there i need a darker color that's for sure so i'll start with some dark purple hint of titanium white and i'll create the shadow for this water that moves on top of this water you can also use this to further pronounce these there we go and you can make the shadow slightly larger as you get closer to us you also have the option of blending it if you want something a bit softer like that now we'll just make that highlight slightly more prominent so take some of our red yellow again when you're working with yellow and blue do be careful i think our brush and our water are relatively clean though so i'm just going to proceed apply this along that edge just get a slight bit of golden sparkle and we can do that right down here as well now for our final touch-ups we are simply going to take some of that primary red find a clean spot on our palette grab some clean titanium white take the excess pigment off of our brush because we are going to work some extremely detailed strokes here and i'm going to brace my hand on the canvas make sure i take out any shake and then i'll just create some horizontal little taps that coincide with the movements of our waves brighten this up a little bit and create that real magical shimmer this is something you could do for a solid half an hour just perfecting make sure that in the process though you do leave varying openings in the the reflection so here it's a bit darker here it's a bit darker darker darker and i'm also trying to make sure that my spacing in between them is consistently changing so these are very close to each other while these are farther apart now we all will have different areas to touch up but this is one thing that i've been eyeing for the majority of the lesson and really happy to go back and play with you can see that i'm also extending it out occasionally a bit farther if i feel like something is really raised and can catch some of that extra light but we do want it to be quite small in the background there we can also and we're going to be very sparing with this take more of that pink so i just mix that up here just put a little bit on the edge of our boat and our figure and everything else that light is going to touch here there we go little detail that just does so much so now as we step back we can see the entirety of our finished painting details and all and i have to say this was such a fun return to seascapes i feel like we learned a lot i feel like i i actually learned a lot we were able to incorporate that new technique where we threw all of those smaller slightly diagonal strokes into the larger waves and i feel like that just added so much detail so i'm glad we finally got to use that technique in one of them and it's a good reminder that not every seascape is the same and that we do frequently use quite different techniques i would like to say a big thank you to you for making this far for watching the video you know as we get to the end of these i like to give you a word that you can use in the comments as kind of a a sign that you made it this far that you are one of the very committed few and that word today i think we're going to go back to a classic we're going to go with tap tap tap it was the first one we ever used it was in a seascape and it'll be it'll be fun and nostalgic to see so go to the comments you can either write tap tap tap or you can incorporate it in a sentence but by doing that i will know and everyone else you got this far will know that you know you really are committed and i like to say good for you for being this committed for wanting to learn as much as you can that's what's really going to get you to great places with this so thank you for tuning in this has been an absolute pleasure and with that said as i i try to say in every episode i try to say it more than once in every episode just because it really is important to me thank you thank you to everyone who does watch these videos thank you to everyone who does support the channel up over on patreon as i noted earlier i really wouldn't have the time to make these each and every week if it wasn't for you i'd be lucky if i got one of these out a month and it's because of you that we were able to spend three hours on a painting incorporate all of this detail do everything to the extent that we are i i just i can't thank you enough not only are you supporting myself but you're also providing these for everybody else who's watching them and that's a really honorable thing so truly thank you i hope that you found this incredibly informative and if you are new to the channel you can also become a supporter of the channel up over on patreon i'll leave a link to it in the video description and up there you can get things like the traceable the reference photo which are great for things like your drawing process and your color matching process but up there i also have all five of my ebooks including acrylics for beginners which essentially includes the essentials everything you need to know about acrylic painting before you jump into your first acrylic painting in it we talked about composition glazing how much water to use what brushes to use how to you know just figure out what colors to use right what happens when you mix them so everything you need to know up there i also have a bunch of books of traceables for those uninspired days and there are also a bunch of other bonus perks like access to our exclusive facebook group where we all kind of share artwork help each other out i also do personalized video critiques just to you know really help you out if you need it and on top of that we uh we also have a bunch of bonus lessons so there is a lot up there we've been able to build that catalog over quite some time now i think coming up on three years and we've been able to do that because of the incredibly generous support from the patrons so thank you so much for supporting this channel for making it what it is and i look forward to working on the next piece with you um next week we'll have something out next week next saturday so make sure that you're subscribed make sure that you hit the bell button that way you're notified when the new lesson comes out and i will see you soon with a brand new painting lesson remember in the comments tap tap tap you

Channel: Stay Creative Painting with Ryan O'Rourke

Views: 557,084

Rating: 4.8678093 out of 5

Keywords: acrylic painting seascape, how to paint with acrylics, painting for beginners, ocean painting, seascape painting, sunset painting, how to paint a sunset, acrylic sunset painting, acrylic ocean painting, step by step painting, realism, realistic, step by step, how to, acrylic painting tutorial, acrylic painting (how to), how to paint the ocean sunset, stay creative painting, how to paint clouds, cloud painting tutorial, painting ideas, painting inspiration, art, sunset, ocean

Id: IqzVX1FGqdw

Length: 221min 47sec (13307 seconds)

Published: Sat Oct 12 2019