#149. How to paint a rocky beach in acrlic

guru from Australia welcome to my channel, did you see that image in the opening credits? A

rocky

beach

scene with water and water, that's what we're going to

paint

on the canvas today. The sizes are there, just a canvas board I have there. you can use a canvas, stretch canvas, whatever you want to

paint

your service and we will upload the colors there as well. Well, we opted for the cigar color. Check out the link in the description below for my Patreon page. where you can join and support my content and there is a link. I'll put a link to my son's YouTube channel.

He is learning to paint and is filming his lessons. I'm not teaching him, but he is filming his process on YouTube. a link in the description below for the resis channel if you want to see him on his painting journey supporting them okay so let's get into this and I'll also enjoy my coffee so my coffee had problems with the monitors and all that this morning , otherwise I would have started an hour ago, but these things happen, you know, okay, let's get into the exhortation. I'm on the canvas here. I've outlined a bit of the disbursement of where I want some stones.

Me, the sky, the ocean and the foreground, okay, so let's go to the palette and I'm using my medium ratata and I have flowy white paint that has the retarder in it, so I'm going to take any brush and I want to load it up. We're going with the fluid white paint and the medium retarder, so they're both medium. Someone was wondering if the medium is fluid white and the retarder medium are the same thing or can they be used there. I want you to know that they are two different things, but each to their own. adding to your canvas is a medium, so while I use this white flow paint, I put it in the sky area and because I know I want to have some nice sky and cloud combination colors here like you can get with oils, so I'm preparing the canvas for that to happen, so I have it in the sky area, white flow paint mixed with retarder, they're two different things, okay, again on my palette here, I just put some phthalo blue and I'm putting a little more retarder.

The retarder slows down the drying time of acrylic paint. That slows her down. Withdrawn means slowing down. Okay, so I'm going to put it on this brush now. I want the top of my sky to be a little darker than the bottom, so I'm going to start from the top. I can see the retarder there now. I just want to put a little bit more white in here, so I took a little bit more fluid white and I'm going to start from the bottom and lift it up. A little bit more, look if it was a structured white, it would have been a lot stronger if I didn't really want to write the design of the sky, that's the color I want, that's it, now I'm going to take a brush that I can leave it to you. beginners if you want, but I'm a little picky and I'm going to blend those brush strokes in there, so I have my two inch blending brush and I'm going to stamp that in and probably a little twist as well. but just to blend all of that nice and smooth so it doesn't look like a scratchy surface, practice blending if you haven't like I show people and it's always important to look at what's on it's always important to clean your brushes and blend. if you're mixing this way to not pick up darker paints and put them in the lighter areas now with more clouds.

I want to try to have a little bit of dark shadow when I'm grabbing the phthalo blue. that I had and a little bit of red and I want to mix a little bit like purple, I hope it's purple, that's kind of like now, let's put a little bit more in it to see how the colors look, you can put it in here, yeah. there we go, I pushed it there, so what I want to do I'm going to get my good quality white, look, that's the shadow I want for my cloud. I have put some good quality structured white paint, there you go to collect. some of this and let's say I want something here.

I want to put that first. I've never done it like this before, but I just hope it works. I'll pick up some of this. that white structure on my fan brush and well, I'm going to make it a little bit zigzag like I normally would with my cloud, let's say like this, then I'm going to pick up a little bit of the white and let you know how I normally do it. This is not a big cloud, so I don't overdo it by keeping the whites there and dance that on top, let's see how that works.

I have this brush here. I want to blend like I normally do, but I'll be blending into that shadow there. I really should have tested this on a canvas before starting, but I think it's bringing out some colors of the clouds, pushing them through, it looks a little more realistic, not as white and sometimes tickling the tops of the big clouds. and massive. you can cloud your sky too much, it's hard to stop some things sometimes, yeah, I'm happy with that, that worked for me, we'll do another one, so put it here, so what I'm going to try to do is know that I'm going to have a great cloud here, so I'm going to put this that way.

I washed my fan brush and I'm charging it whether you use a fee brush or some other type of brush and I want to like let's go in a little bit, no good and take your cloud, now let's clean your little blending brush or whatever blending brush you use and let's blend both together, yeah, I like the way I have that darker color now, I think I have I killed off a lot of that white. Maybe I have to go back, let's put this. I have that purple gray shadow. Look, that's a little loud. I like to soften them.

Look, I might put a little more in like this if I find there's not enough. there, move it around, put those colors in now, I'll put a little bit more white right in front of that to make it sink in a little bit, maybe just here keeping that gray, let's go and go down, okay, let's not overload our sky with clouds if you want to hit the clouds a little bit of background like I have a little bit of that, just a little bit there, I cleaned that same brush, really clean it good so you can tickle the bottom of that cloud and the corner gives it. a dark background seen like this and let's say like this, this has a nice shattered background, okay, so the paint that we mixed with the red and the Velo blue I'm showing you and this is an example of and approximately where the bottom part is you put a background on it, you clean that brush, the same brush will actually be fine and then you find it and you just sit and tickle that cloud and there we go, it has like a little bit of a background It looks like they're sitting me down.

I'm just playing with my clouds. These are not part of the lesson here. It's just me detailing off camera and a little bit more just because I want to, but I actually have the camera show you why I'm doing it or what I'm doing, you can virtually make a cloud with any brush haze, everyone goes in there, here it is where you can pause and catch up if you want, but you're pretty much just going. to make a sky your way the same way you make a sky in every tutorial that I do, I'm showing you how to paint a painting, but I'm not necessarily saying this is what it looks like if I'm putting a sky there in my tutorial that you I'm showing or paint your sky in this painting paint your type of tree your type of rocks your type of water and the more you put into our and the more you do it you will find the more you will get out of it and the better your work starts to look, okay, and I have stress for many beginners who post photos and always doubt themselves, there is no need to doubt yourself, trust me, as long as you know it.

Art is not a contest, it's not about who has the best picture, just remember that all art is different, okay that's it, they are different. Jovie bulbs are no better than Mary Lou. It's okay, they're just different from each other, so remember that. and don't doubt yourself, just give yourself confidence and if you are happy with how it looks and then you had fun doing it and you enjoyed it, it was a great feeling inside your soul, that's all that matters, okay, now I'm going to start put some water here and some

rocky

area after my coffee.

I'm having coffee and talking a little, but I hope you don't mind. I have enough space on my palette. Lee, now I blow dried this and we're going to put the horizon line there, so the top of this tape is where my horizon is going to be. I'm looking at where I want a good place to be there, so I'm going to turn it around and you can do this with some time, you don't need rulers and measure a horizon, as long as the horizon is straight, it can be at an angle, but always Let it be straight because the angles that give it are fair. perspective, okay, now we're going to put some water here because this is all my mixture done, we're not going to use retarder anymore and I want to put the border on now, okay, I've got some French down here. ultramarine blue and some phthalo turquoise or a turquoise color and I have my fluid white because I want to get a little bit of this this is a different blue than the sky we don't want the water to be practically the same color as the sky I want the horizon out there is darker than the next part, let's put this in there, so I'll pretty much start at the top here and I find that these flat head brushes are good for precision, so we'll get this nice, nice darkness. dark, okay, I have some rocks here, so I don't have to go all the way.

Now I'm going to put a little bit of water with that to help it flow down the canvas and then we'll be there. I'm going to pick up the turquoise, that's two, that's two, Lawrence, I want a little bit of darkness and then we'll bring that light color back in, so we'll work it all the way through, we want it to be out there, this is the ocean, so it's not delicious. Bright light colored lagoon is the ocean, remember, so we'll take you there now. I'll pick up some of the lighter color and carry it forward because my waters are going to stop around here somewhere, I guess, so I'm just picking up the white. now and it's because that brush is full of turquoise, it's lightening it as I bring the water closer, I'm just talking about that, now I want to clean and dry this brush.

I just wiped it off with my paper towel and I want to get this. Like this and look where I wet it, look where it meets the blue here, let's mix that up a little bit to mix and blend them together. We have a band of darkness and a band of light. Normally I put white strokes here like that and it just creates water movement in my water, that's an easy way to get a water surface, let's just get this and go across the whole board just to sink them a little bit down here, I've got a little bit of yellow rust. or yellow ocher and my fluid white again because before it dries it's drying a little bit before it dries.

I wanted to take my yellow ocher. I'm going to put a little bit of retarder on it just to help it stay moist and I want to virtually get it. to the blue, let's put it on quickly, okay, put it on quickly, take some real white dance, everything there's a little bit of green there, put a little bit of white on it to brighten it up all over, now see where it meets that turquoise like you. make the sky you're mixing I want to see we can mix it and blend it yeah that's it that's great okay what's your blending brush always what are your blending brushes let's put some water to break this up too clean it up again.

I can see it's bringing out the brown color here. I don't want it to be there. Okay, virtually using the colors I have to work with and getting the studs out before it dries. I picked up a flat brush and I want some kind of sharp breaking water right here just something that represents a little bit of breaking water. I'm using the good quality white pony, we're going to have some really heavy splashes here. I'll make use of that white line there in front of that again chisel the hedgehog a brush pig is nice and sharp there we go that will do just to break a little bit of water over there now I want to put the other water to wash here now to wash in the edges here I'm using my small, it's a small flat head brush, but it's been manipulated in such a way that it's ideal for small blends and a smaller fan brush.

I once made a kind of waterfall of water that is still little by little and I try to keep it in perspective with the image so we want this drip back this is the water now I want the sand is my hand not in the way we are killing the edge but keeping the sharp edge there well and we dance it back with what brushes do you go this and that just and in any case you're doing it horizontally, not in any old fashioned way, look how that part out there is horizontal, we keep the water horizontally, what your brush with me papers here is a million miles away, like this. okay and we're going to do that probably with a little bit of a wash here trying to keep it horizontal so with my blending brush I'm killing the edge softening and going back to the ocean there with horizontal movements sometimes you can squint and take a look at your work and see what looks good or what needs lighter or darker aspects and see how that's just water.

Now I'm looking at it on the monitor. I could see it probably needs a little more depth there. like that and do the same thing again, but it's out there in the vastness of it all, yeah, okay, just wash it off with water just a little bit, scrape it horizontally and manipulate it again in that scene, okay, I could put a little cascading here as well because it comes in waves or sessions from when I was a little boy on the

beach

I have often countered the water how many timesHe comes in and his movements and all those weird things that happen in a child's head and this is just my way of interpreting it, I guess from now on I've grown up on a canvas.

I'll take this paper off the horizon line right now, everything's fine as it is, but it's kind of floating, like always: we'll sit it down putting a little shadow there, shout out always keep something from floating if you've ever done anything on a canvas and it looks like it's floating there because it's missing a shadow, so let's take the darkest color of your canvas here. I'm not just going to take the black and that's I'm going to create my shadow. I only have the turquoise from getting it wet with the spray bottle. I'm taking my script liner and I'm twisting it because we want a nice sharp point there and dancing it in a way that it's not. one big continuous line we're here and there turning the brush as you go the finer you can get this the more real it will look okay I'm turning it because pretty much everything is in the sand I don't see how it's just sitting , turning it, this is fun because you can see that you are painting, it comes to life, turn it to the north, you can have a shaking hand without looking at the monitor, yes, that's it, it looks like it's sitting.

The lines in a painting should be as thin as possible, which gives it that feel-good touch. If you put certain lines in fat, that gives it that amateurish look, okay, but here we go, that's something you can see how they're placed. and look here, I'm looking at the monitor, this can probably work if there's a little bit of shade here, something like that, okay, we're going to put some stones in the water over here, so in my opinion, I've gone with a bit of raw shadow. Dark sienna, it looks like they brought it back and Payne is gray and obviously I have some white here as well and I want to take a flat, bright brush or a flat chisel type brush, and I'll choose the darker one.

The first color, which is Payne's gray, I just loaded it onto my flat head brush. I'll call it a flat head brush, but they caught a sheen, but I didn't know what a sheen was when I was learning, so I'll call it. It's the basics and we're going to put some kind of rock here so with these brushes look for acrylics and you can get nice sharp edges so this is going to be pretty much the shaded area of ​​our rock so over there and he's in the water and We can just color it, don't be too thick and heavy because we dried it to get the highlights and everything in there is fine, so we'll touch it around now that I've dried it so my mud wins.

It's not my mud, so my paint doesn't get dirty there. Now I'm picking up the raw shadow color from my brush, which was what was there. There are three, they are Payne's raw shadow gray and raw dark Sienna, this one here is the dark color. of the rock, but the Payne gray is just the actual shadow of the rock, so we don't want to use the shadow of the rock as the dark color of the rock. We're putting this there indirectly, let it scratch. your way through keeping a little bit of where we are you know Briana Beltway there's a dark color of the rock now I have to clean this brush and I'm picking up the raw dark Sienna and I just want to refrigerate it and probably put a little bit of this on the rock, one species of rock can be so mind-blowing and difficult that sometimes I find they can be very difficult.

I'm just squinting and doing a little dance to get that crest there a little bit, carry it. so I don't know what it looks like on the monitor, that's not too bad, so to top it all off, wash your brush and draw it with a piece of paper. I'll probably get some of the good white build in me. brush there and I want just a little bit, not too big, see a little bit there, don't go overboard either, look, they're starting to look what I call cartoony, so what I'm going to do, I'm going to clean that brush, just clean it and bring that shine from that white back to the color there and hopefully that will soften it.

Sometimes you can go over the gloss and I just give it that name, cartoon look. I think that's not so bad. There's still a bit of shine here. Well, then there were our three colors, so I'm collecting the growing pains. Oh, before I do that because that's behind, I want something like in front of that. I am picking up the good quality structured white. I want to put some water in to break it up, let's just say. on the outside there's a little bit, so because these brushes you can control what you put there, I feel and now we want a little bit of water just splashing inside that darkness, keep them parallel, the waters at the base are here, keep them parallel, no, no, parallels. the horizontals become parallel and the horizontals blend together sometimes, so you have all these opaque white splashes and then you put some really hard white like that and just yeah, okay, so we're getting our pains back Gracie, I want to come. facing that rock now, so we'll go up here, just leave a little bit of water in the middle, break the top off a little bit and peel off the paint, anyway, it's good to peel off the paint in an upward motion, however you are. making mountains or sloping sides of the earth or something like that.

I was told that as a person who has been painting much longer than me you would have heard of Leonard Len when I went to visit him a few years ago or a year ago. He was telling me some certain aspects about painting and he has a very good knowledge, he has been painting as far as I can remember in the 70's and 80's. I only started with the naughty ones, I know in my teens, so I'm not going to take it all away credit, okay, that's dry. I'm picking up the raw shadow on the same brush.

I cleaned the brush and we're pretty much going to find our shadow areas, so I'm pretty much one of some shadows. Up here I want these rocks to like looking up, okay and we'll just want some kind of dimension to them as well, like I said, let's play with Ted, we're artists and let's go ahead and keep some darkness in the background. We're harvesting that year, be careful not to kill your ass because we have to get some water in there. I'm not going to blow dry this because it's not as heavy as Payne's gray. Now we're picking up the Ross in the dark and we want to get something out of this.

I think I'll keep the background dark. I'm just stabbing it at lengths like this. We will go up. Can. As we move forward, this is. pretty much the rock color with tones and shades, you can clean your brush, probably grab another one and see how they all look, you can probably, well, that's wet, I'll get a dry one that blends, just let me draw that blend. brush first I almost killed it if it's still wet enough we can smooth this all out just an idea maybe it's not a good idea not everything we do on YouTube is perfect now I'm just going to put a little bit of the white on that I just finished it of pick up and I want to use it to highlight that rock, so highlight it in a way that you just clean the brush and pick up a little bit of Payne's gray and dance it back in there because I feel like I've removed a lot of the dark tones.

Now I'm just getting the white and really highlighting some parts that are very bright just to make it look like the sun is touching places here and there. However, I don't want to overdo it and I'll put a little bit more water splashing in there as well, you want to sit it in the water there just like that, grab my blending brush, my little mounted flat head brush that I use for blending, then we'll blend this. here then we can put some heavy paint, why can you see that? It just makes it look like it's splashing against the rock, so the water underneath was dirty and this is nice and wide, but we still have some paint left, so I'm going to put one more rock on this side, something with a shadow Where is this pain scale?

Just Methos's form there now in my mind. I have a three-dimensional vision in my head. You have the The sun comes this way or that way. I want it virtually coming from the front like this, so I'll get a rock where I'm keeping the shadow reasonable to the rock and we'll map it to the shadow as well because the shadows are really cool, they really feel things out. I'll detail that shadow when I turn off the camera. I'll put it there so you can see for now. Okay, so let's just finish this rock with its half. shades and shades lighter there and then I'll probably sign and I'll remove this tape and see what it looks like.

You could put a little bit of water around this too so it doesn't look like it's floating, so we're I'm going to grab the same brush that I'm going to use, but I'll probably use this one for me with acrylics, these are as good as a knife, so that we have our raw color, which is a raw amber tone and a raw dark sienna again. We're going to cook the raw shadow color and we're going to give this rock some dimension, so you'll see this on top of the Oh coming down because it's going to be like this is the top of the rock here, that's what I've got things on my mind, so this is going to bring this to keep the shadows dark so it doesn't look weird, it's important to keep the shadows dark, it's kind of descending dark on that side of the rock because that's where our son, I gave him a quick drawing lifting the pan with the brush, now we're going to get a little bit of that light color that's already mixed in with the white just to give it some different highlighted areas, you know, I'll make it a little rock in front of it, welcome, yeah, let's see if it doesn't work dry, which is what I'm going to do to let the sun hit this side and it doesn't look too bad and then we'll put some water around it too, okay.

I just picked up some of the white paint that's flowing with blue on us and let's join together, let's bring some water here and come out like in a pool because the water around the rock, if something sits like that, it's a little bit chiseled into the edge of that. brush work for you, yeah, that's it, sit down, put on a little bit considering the shadow, okay, oh, what a drag, like this, I'm following the grain of the canvas here to keep them straight just to finish it off. getting a darker shade of this yellow and white rust, which is the raw Dark Sienna and I probably don't know, I'm just putting a little bit on because it's all one color, it doesn't look as real, so I'm taking this and let's say I'm putting some dark beans here and there and then I'm going to put some even darker shadows on this because I probably want this to be a little bit darker here all the way.

Okay, so we'll just go a little darker. Find the dark color on your palette. I have some of the gray and raw umber paints. In fact, I'm just going to use some of these raw numbers and I just want the smallest one, giving us some depth in these shadows, some like rocks or something like little pebbles. or something like that, I'm just going to sign it here and then we'll remove this tape. I'm excited to get that tape off, always do it down there, okay, now it's dry before I go. I want to show you a new idea.

I adopted it and passed it on to my son Rhys last night and he used it in his video because he's starting to paint and I'm just filming his painting journey. He's not an instructor or anything, he just shows you how he gets by with painting himself. so I call this tape mining now you know you have horizons or you've heard me say or I hate using a knife and you want to get these nice sharp lines in your painting adopt this tape liner idea now what I do I'm going to put the tape along the horizon line because I want a little bit of white to come across that horizon line Halak, okay, so I'm going to have to be really good with this, so find your horizon line and you're probably doing half. a thousand space, just place it like this and then we'll take another piece and you can say, okay, I've gotten to the part of the painting where I have a line of tape and then let's get the thinner line now, please don't do this line, it's a big solid line, break it up on that ribbon, okay, just push that little bit down, use a flat head brush and use good quality white, I'm just getting back into it now. a flat head brush and if you want to go like this look at these broken pieces you want some of them there so I'm going to start from the edge here so you want the broken pieces coming off the tape and then and I'll tell you that the tapes of different quality they bleed, which means it lets the paint through if you follow your line, if you follow your line you have less chance of bleeding if you cross it and push it out, you may get When painting, you will have a big, ugly line and then we removed this tape and because I went heavy and dark, heavy and dark in some places, you can see what was done, okay, and I call that tape coating, okay, let's remove this tape from this painting. and then they'll put up a frame to give you an idea, there we go, that's not bad at all.

Hey, we can still detail it over and over until the cows come home, but I've got my clouds with some darker shadows in there instead of just black and white, so we've got our nice soft blues at the bottom a little bit darker at the top and we have some shadow there and I have noticed that in the clouds you always see the red in the gray anyway, we have like ocean horizon line we have different shades of water we have water washing we have some shadows cast on the sands of different colors is okay, that's not bad at all, I hope you like this exercise for beginners,we will do it call this rocky beach or somethingsubscribe to my icon in the bottom right corner and add me on Facebook if you want to be friends and ask me more personal or individual questions about how to do things or what we are, how good if you like what Ya I did it, tell your friends, but if you don't tell everyone, okay, all the best, bye, good luck, good luck.