How To Paint 5 Seashells in Watercolor Layer by Layer Video Lecture - Master

hi there Lindsay here the frugal crafter
well by popular request I'm going to
paint the five shelves because so many
people asked me to and also the
consistent consensus like that you
wanted it real time a long time so I'm
going to do this in real time so if you
don't like that then you could use the
little gear in the bottom of the screen
on YouTube to speed it up if you prefer
so I'm going to start off by sketching
and we are going to sketch out the basic
shapes of these shells I'm going to
start over here with this pink one I'm
getting that line there and then I'm
getting this kind of almost like cone
shape here you go with sketches on scrap
paper and and then transfer it over to
that's a really good idea so you don't
have to worry about ruining your paper
I'm going to do this over here which is
just another kind of like cone shape
this guy here which is it's also kind of
a cone shape they're all very conical
aren't they so I'm going to get the cone
shape in pretty much first and then I'm
going to get the little spiral
now this guy over here is we start off
with a big circle my perspective it's
probably gonna be a little bit different
than yours just because just because of
the way I'm looking at it I did scoop
shows a little closer acts as afraid I
might run out of room and so I've got
this kind of circular shape here and
then I've got this little this little
spiral that goes in and then of course
this has a break in it some sketching
out the the crack that's in there and
then this guy here it's also a cone and
we start with a circle I'm going to pull
that cone back and pull it forward like
that and it'll probably send up like
trimming off a little bit there so I
have a duck deckled edge on that side so
don't worry if you don't have it
perfectly proportioned not that big of a
deal and then again that's we're drawing
it on scrap paper helps because then you
can just kind of Center it up when you
go to when you go to put it down okay so
there's our sketch pretty quick that
took us two minutes that's not too bad
and then you can clean up stuff with a
white eraser just try to be gentle on
your paper you don't um you don't want
to rub it too much but just try to get
rid of any any stray lines that you
don't need and I probably drew a little
bit darker than I generally would cuz I
want to make sure you could see it all
right sometimes I'll use like you can
use like a stiffer brush if it's dry to
to brush off the crumbs I don't have
anything handy for that right now but
I'm just gonna brush off on my dry hands
all right we're gonna we're gonna be
working in layers here so um I do have
my my paints off-camera so I'll tell you
what I'm mixing I'm gonna start off with
a little bit of yellow ochre and a
little bit of um like a like a violet
pink color under these two colors here
so I got a yellow ochre and I got that
kind of
violet pink color and I am just going to
kind of mix them together a little bit
and I'm going to give it a very very
light light wash I'm going to add a
little more water to that because I'm
going to go right in on the dry paper
because I don't think I really need to
to lighten it up too much that's this
really dark so I'm adding just some
straight water to that it's pretty kind
of Salman pink shell you shouldn't get
blooms on a cotton paper if you're
working on a like a wood paper sometimes
should get some blooms do to like the
size of me have in it and whatnot just
tends to be like a slippery slippery or
paper and then you can also as you're
going if you need to adjust anything go
ahead and adjust it I think I need that
point over a little bit more alright
while that's still what I am going to
blot it actually your fresh paper towel
here blot it in the center this will dry
a little bit later but I just want to
link it up in the center a little bit
just to make it feel like it's rounding
up in the middle the next one I am going
to just add some water to that mix so
it's and maybe add just a smidgen of
burnt umber oops that's not burnt umber
burnt umber right there
you can use burnt sienna - I just the
burnt sienna I have in this mix is just
a little too too gold and I think I need
a little more water on that because this
is a very strong color using my mission
gold paints because that's what I
painted my original ones in and those
colors are very very strong in fact it
might be a good idea to wet of what the
the areas first the shells first just
because then you don't get such a
concentration of color where you might
not want it I'm just going to dab in a
little bit of that same reddish color on
the tip of that and let it fade out now
on this because I know I want to have a
bunch of very delicate lines
I'm believe my credit card scraper well
it's still let to go in and just scrape
in some of those curved lines and you
can see how it lets the pigment soak in
and gives you those lines instantly and
it just saves a little time down the
road so for this one wise I know that
the teals
are really strong in a set I am going to
read what I am going to wet this shell
first because what I do want this this
off to remain a little more subtle than
I had in my original painting and I'm
going to be adding some peacock blue to
the mix this is such a really pretty
teal color and I'm going to take some
yellow ochre with that and that's going
to go on our shell and see how bright
that is even with the amount of water
I've added it's a really really strong
color
I want to keep it a little bit lighter
than what we want to end up with I'm
going to do some yellow ochre on its own
in there and I feel like I need to now I
think I move my I move my head but then
I liked the way I saw the shell so I'm
going to see if I can I can alter that a
little bit so I can see the tip the
other end of it now we're moving my head
and I like that so I want to see if I
can it's a little risky to do that at
this stage but I really like the way
that looks I'm going to see if I can if
I can alter it so definitely I think
when I get my shadows in I'll be able to
alter it fine but uh you know sometimes
you do that sometimes you you're
painting you like you know I wish I'd
done it this way or you look at
something in a different different way
and you're like oh that looks pretty
cool that way just making some
highlights with my paper towel love
lifting see because when you do that you
give it that roundness so now for this
guy over here we're going to do a
unifying wash I am gonna wet it again
because um it's a pretty it's a pretty
light-colored show and I will be adding
layers so the nice thing about this
doing something like this where you have
so many things that you're painting you
can skip around a bit so you're not
waiting for something to dry um I used
to have like I'd have five paintings
going at once especially if I was
getting ready for an art festival or
something um just because I would it I
hate waiting around I didn't want to
have my hairdryer going or you know I
just wanted to be painting constantly so
I'm just using some of that Brown mix
that has ended up on my palate just from
the other colors I've been using so we
got a little burnt umber and some yellow
ochre in there I'm just going to pull
that all over the shelve unify it it's
pretty much just the yellow ochre and
burnt umber I might have a little bit of
that that a peacock blue in there too
just because it was on my palette
and I also want to give it a little bit
of the reddish color in there and I
think I do wanna add a little bit of
that blue in there somewhere really
really faintly
it gives a nice shadow because it cools
down an area and makes it kind of push
back a little bit okay and then I think
I will do a little lifting right up here
in the back to kind of round it out a
little bit blot do not rub there and now
this guy here we're going to mix up kind
of like a grayish color let me see what
we can get from our let's do some of
that red that we were using it's kind of
like a magenta and let's do a little bit
of that peacock blue and then let's add
some burnt umber to that to kind of tone
it down a little bit takes a bit to that
balance eww honey was looking so I
forget that my palate is out of frame
and I'm letting I'll let other colors
get in there because so it's kind of
like a grayish purple because I want a
harmony across the painting
there's we've got kind of like a grade
purple and I think I actually do want to
wet that that little guy just be careful
with the bumps are if you're you can
always just kind of wet down the middle
and then paint around paint the bumps
out when you get to them so that way you
don't end up with just like a triangle
you have that shape to it it's really
important when you go to put the shadow
on because the shadow is got a little
tricky on this one
I'm just going to keep it light so we
can glaze I'm also going to go with some
of this yellow ochre color and add some
of that in there to warm it and to just
give me some lighter areas and I think I
will blot it a little bit because we can
always add more I think you do want to
put a little bit more of that purple in
there though I lost too much of it that
one I probably didn't need to wet
beforehand
we're gonna be glazing I'm just trying
not to overdo it but I do want to put
something down there all right so there
is layer 1 12 minutes not to shove a
okay so now we're going now like to um
sometimes I'll go in I'll decide I want
to get my darker layers and first
sometimes I decide that I want to UM I
want to go in my mid-tones it just
depends on what I feel like at the
moment I think I'm gonna mix my darkest
Pink's for here and for that I want to
do the same pink that I was using I want
to do some burnt umber yeah I think
something like that maybe a little bit
of yellow ochre and it's gonna feel very
very dark mix that background but when I
get the darks in there it does help me
help me with my values so I'm looking at
the darkest areas on this I'm gonna
start at the edge and just kind of hit
or miss I don't want to do everything
because there's not a dark edge
everywhere but whatever line I start I'm
kind of thinking it would if I followed
that rib on the shell the whole way it
would start on the outside and it would
go all the way back to the tip every one
of those little shell lines it goes back
to that it's almost like a perspective
point it all goes back to that one at
one point so no matter where I'm putting
a little like accent mark I am going to
make sure that it is going to go towards
that point
that one looks a little off but we're
still in in the first layers okay I need
a little more red in my mix so I'm just
going to go ahead and do that off camera
so I'm just adding red to what I already
have I'm going to add a smidgen of water
because I feel like it's a little too
concentrated these paints are super
concentrated and I'm going to get this
Ridge and here that's also extremely
extremely dark compared to the other
things on that are the other lines in
the shell and then I've got a couple
here on the end now these might seem
like oh my gosh it's really bold but you
have to understand if we do some glazing
on top it's really going to soften these
and that's an option you have throughout
this whole process is adding glazing and
the glazing can bridge together
different layers and can also soften
things now I want more of a Oguri
color so I'm just adding yellow ochre
with my dirty brush so I've got plenty
of that red on there already I'm just
going to add some yellow ochre and I'm
going to put that in here in this in the
front area just dragging it up and then
kind of like Halfmoon
shape and I know it looks really stark
right now but it will it'll mellow out
as we go add more water more yellow and
go up here do some more lines
then I think I can actually start to
pull some of those lines move your paper
so it's comfortable you don't want to be
reaching and uncomfortable while you're
doing this
and we're gonna let that dry I think I
might blot that and a little bit's
looking a little dark to me there and
now we can let that dry and move on to
the next thing and that way we don't get
too bogged down with any detail I think
I want just like a little bit of shadow
towards the edge so I've got some yellow
ochre and burnt umber on my palette
already I'm just going to grab that we
really haven't used that many colors
which is nice because that's what gives
us a really natural look so what I'm
doing is I'm just adding this shadow
color to each edge and this is going to
help me define that roundness and then
I'm actually going to grab a smaller
brush and I'm going to drag that paint
up towards the center because I got a
nice bead of paint there I can just drag
it inward and really that's all I need
to do for that one I think add a little
bit of just yellow girll on its own if I
wanted to warm it up a little bit more
and I could peach up this tip a little
bit so watch out for beads on your brush
especially the little little brushes
there okay now we're gonna go to this
one I like to kind of put the back of my
hand down on an area just make sure it's
dry enough when I go in to paint so now
I can now this is dry I can see my
pencil lines and I do want to adjust
things a little bit so I'm going to do
that with this fine brush and this
peacock blue and I'm adalah Brown to
that I just want to kind of tone it down
a little bit and now that I'm looking at
this with fresh eyes I'm seeing okay I
really want to change this a little bit
so I'm going to try I don't know how
much I can just because of the shape
that I have but I'm gonna gonna try here
because I really like seeing the tip of
that shell I think it's really unique in
an interesting look some people to
adjust it a little bit just like that
okay so now what I want to do is add
some of these splotches on there and I'm
going to go in with the peacock blue and
I'm gonna think I'll just start dabbing
with that and see what what happens
everything is kind of going around in
this you know whirlpool motion they
always kind of follow the shape of the
dot like the the ridges so I'm putting
splotches going in those directions
and I can also get some burnt umber a
little bit of oops I got a big bead of
water there I don't want this too watery
yellow ocher and burnt umber and going
to add it's almost just like little bits
of sand in here something you see that
color I think it might just be sediment
this is the end I want to kind of get
that in there and you do see little bits
here and there and I can do some well
some of the lines some of the scales
that you see like the just the ridges I
can do some of that with this because I
think that's what you would see that's
how the ridges would stand out because
they would have some kind of like crud
in them basically have some silt or sand
or something
and again if it ends up being too much I
can always tone it down later and I
think it'd be cool to kind of take some
of this reddish mix and add it to the
blue and get kind of like a slightly
grayed purple and get some of that in
there too because there are some darker
patches in there and again it helps help
stuff something right in front you to
look at because then you can really see
the details and undertones in color
all right you think I'm gonna let that
layer dry there and we're gonna move on
to the next one and I am going to go
back to this brush I think because the
number 8 round um I think I'm going to
start with this shadow here and I'm just
going to wet the inside of this crack so
I'm just wetting what's the inside of
the shell here because that way I can
get a nice smooth blended shadow and not
have to fuss with it
take off any excess water though you
don't want puddles because that will not
be as pretty and I'm going to do the
burnt number and the peacock blue and
some red so I get a nice balanced dark a
little more burnt umber burnt umber
because I want it a little bit warmer
and go in there just kind of let it fade
out
okay now well I have that dark color on
there I can paint the darkest part of
that spiral which is a little it can be
a little scary because you are putting
in a really dark band of of color
and I have to stop gabbing and think
about it because I'm like looking at
both sides of the spiral trying not to
get confused because there's a very thin
white strip between both sides
it's very dark in the center
all right then I'm going to go right in
with the burnt umber on its own let's
see what that looks like on our pallet
that's much warmer so that's gonna go
Nick's on the whoops I got don't worry
if you get if you lose your edge because
you know if it really bothers you can go
in with a gel pen but I think honestly
it's gonna it's going to be fine and it
will look less fussy and it'll look more
natural so I'm turning my whole thing
around because I need to get this pull
this color out a little bit more and
then I'm gonna wet my brush and we try
to fade it further and then I'm gonna go
with my credit card scraper to get the
kid to get the really really faint um
okay so this is what we have right now
these lines are very important
and they they kind of swoop
hopefully my hands on the way while I'm
doing that they've got to kind of swoop
out around and that's going to help give
you that round shape because they go in
that spiral it's very cool-looking so
what I try to do is accurately as you
can and that's really hard to see on the
interior I don't know if I'd bother too
much on the inside of that but
definitely if you can see those lines
it's really important to get that
especially up there where it really
gives you the roundness of that shape
I'm just going to grab my smaller brush
while I have it here and I'm just going
to drag some water in just to help pull
that color around um and then I'm pretty
much gonna let it dry me I can sneak
that a little bit close to that edge I
don't want it to go into my shadow in
the middle of the the shell but I just
want to kind of drag that a little bit
so I didn't have to go back and later
and and repaint it so there that's
probably this the the hardest one to do
that's really they like good that's
probably like the whole most intense
portion of the whole painting is that
that I went to what technique there okay
I feel like I want to brush this in
between the two sides that I've been
using some of that grab this one right
here it's a number four round mimic faux
squirrel these are my favorite
watercolor brushes right now they're the
ones I have all came in a set from
Jerry's Adorama they are really
fantastic I'm gonna start by mixing up
some purple you can do it ticked up
let's do it together shall we okay so I
put some some of that peacock blue and
grab some of this magenta color the
pigment is PR 122 for this if you're
trying to match it with what you have at
home any sort of quinacridone magenta I
think will work fine for that just like
something nice and clean and bright and
um I'm going to get that a little bit
darker actually so a little bit more the
color and then next door I'm going to
take some burnt umber and just put it
next to it so I can adjust the mix as I
need and also Samuel ochre now the
yellow ochre in this mission gold set is
a little bit because this is the perfect
pan set and it's using a mix and it's
actually a little has some green gold in
it a P what is that py 150 so it has a
little more neon mist to it so you do
have to be careful with that if you're
expecting a traditional yellow ochre it
will surprise you especially in mixes
all in all I really do like this like
this set I've just picked up the purple
and tipped my brush in the into the
burnt sienna I mean I'm sorry burnt
umber so you know all in all I love this
set it's just some of the mixes it's
good to write down the pigments and get
familiar with your pigments so you know
what's going on
it just has you know that's just one of
the little surprising things about it so
I'm pulling that shadow out of the
center I'm gonna rinse my brush blot it
and then I'm just gonna fade oops I do
not take enough water off there just
going to fade that down now I think I
want to warm that up a little yellow car
while I'm at it but so you can see how
how kind it's got that green cast right
there so I'll grow a little burnt umber
into that
but I have to tell you I love to try
different paints I find it so
interesting to see what one company
deems to be because I mean all companies
are doing what they think is the best
way to showcase paint and in pigments
and it's just interesting to see how
different companies choose to do
different things so I am actually just
kind of painting in some of the shapes
that I see some of the ridges that I see
I'm going in first of all of the ridges
that I see that are more of the blue
blueish purple color that we've mixed
now I'm just going to dirty brush pick
up my loaded up pretty well with the
burnt umber and go and where I see the
burnt umber colors this one doesn't have
as much detail to it so this one will be
a little quicker to paint actually and
remember if it gets a little too
striated we can go in and and glaze over
it and unify it so now I'm picking at
the yellow ochre which I did get into a
little bit of brown just to kinda unify
it a little bit and getting some of that
in there I don't think I'll probably
need
to soften some edges so I'm just going
in with a damp brush in just softening
some bits and that does blend it
together a little bit let's see what I'm
doing here I'm just going in clean damp
brush blotting the brush going in and
just softening any of those really harsh
oops I just made that a little bit
bigger but I'll just don't just keep
doing it I guess and make it we gave
make it a little fatter of a shell
that's alright who cares I'm alright
with that not only one has to be alright
with it quite frankly and I think that I
would like a little bit of the a little
bit more of a fresh purple in there so I
am gonna grab a little bit of that
magenta and just add it here and there I
think it adds a little bit of life and
since I do you think I have the whole
thing a little bit too dark I ain't
gonna blot and then some of the staining
colors will cling and it'll just look
kinda cool you see that we're not done
yet but that is layout - we're doing
good got layer two down okay so now what
I want to do is jump into the shadows
which can be a little um a little tricky
and freaky and that's what I want to do
it now instead of those the last step
because when you if you wait to the last
step and you kind of mess it up it can
it can be just overwhelming to deal with
so for a shadow color I want a cool gray
we're gonna mix it together we're going
to do um run into our red or magenta
color we're going to do a peacock blue
so we're going for a purple balanced
purple here we're going to use our
number you see that I'm getting this
kind of
this kind of a weird color there this
kinda it's just kind it's a little whiny
so I'm going to go a little bit more
blue more umber meses midge more red and
I'm just going to pull in some of these
other colors too and basically it's just
a balancing act you go until you get
kind of a neutral gray and a lot of
times you can kind of clean your palate
and and just add colors as you need it
it's nice because you're using all the
colors you've already used like if it's
too purple dragged in the little yellow
um using colors you've already used and
you're picking up a lot of waste so
that's not going to be rinsed out of
your palate you're not gonna have to
clean that up okay so now I draw look at
that I dripped some water I drop some
water right on that shell so I'm just
gonna blot it that's a bummer that was
coming out really well I was gonna blot
it and I'll go back over over it later
so just be careful not to draw paint on
your painting well you probably be
lifting your palette over your painting
anyway but uh word to the wise there
okay I think just because it does reduce
the chance of screwing up royally I am
going to wet my shadow areas so I'm just
basically gonna go around here and wet
the area where my shadow a little bit
beyond where my shadow is going to be
and that way I'm not going to have an
awkward hard edge hopefully my brush is
the boy that brush is a little very
clean there may be an awkward an awkward
edge anyway because I don't think I
clean my brush oh very well
well that's how it goes sometimes
and then I'm picking up the color and
I'm going to put it wherever my shadows
gonna be the darkest which would be
there's any Nicks
or any any place where the shell might
lift up from the table a little bit
swear it will be darkest I've got way
more color that I need there so I am
going to blot quite quite heavily in
fact a blotting most of it off because I
went way overboard with that let's try
that again
I'm gonna go Kenny a million-two frame
yeah you can see that right okay and
you're talking to me now talking myself
now this is not a good sign so now I'm
just going in and just kind of hit or
miss putting in these shadows where
there might be any ridges it would cause
the shell to lift up a little bit there
and that looks really dark but I think
it's gonna be alright umm and then
really kind of debating whether I want
to wet the paper first I don't think I
did on the other one but um it can just
it can be very difficult to get a
natural-looking shadow I apologize for
the furnace I'll be moving to the heated
area of the house upstairs very soon so
basically you just want to go around and
do this to your shells I don't want to
leave you high and dry though during
this because um it can be very tricky
or maybe not so much it's tricky it's
just like when we get to these shells
where you're there lifted up it's it can
be you you kind of have to know where
the shadow is going to be so um gosh I
wish I knew if that furnace bothered you
or not uh I don't think it's out loud so
I'm gonna keep on going and for this guy
here I've got kind of like a round
shadow and then a point so I'm just kind
of painting where the paint's gonna go
with my in my brush so I'm gonna tip it
to light hopefully you can see the glare
where I've got that see that you can see
where I put the water all right I'm
gonna dry my brush off get off any extra
moisture and lift up my nice dark color
and I'm going to start where I'm gonna
have the most shadow which is here in
the middle because I know that that I'll
need more more of that paint to wick out
at that point
so chicken there
a lot of excitement here
there we go that's not too hard that's
not too crazy right that's that's
alright
not so much shut up here because it's
making more contact with the with the
paper we can still we can still add a
little water though so it's not so
freaky it's not so difficult not that
it's difficult it's just a few not
precise if it fades out it looks a lot
better if you're not precise then if
you're not processing it's hard edge I
guess is where I'm going so I've left
the area I'm going to dry my brush off
and just pick up that dark shadow color
and go where I have the most where I
have the most is going to be right in
here and right over here
pretty much lit from above because we're
my studio I he's sitting on my table my
light is pretty constant overhead and
then this guy is a little tricky let's
definitely wet the paper there so I
actually have to pick a side because I'm
looking I'm getting a lot more I'm
getting kind of shadows on both sides I
really don't want to do that I think
that's a little difficult so I'm going
to pick
because I've got lights coming in from
both angles over my table so I am going
to pick going from this side and
just kind of get a wiggly line in there
and then I'm gonna wipe my brush off
because I don't want the extra water on
there pick up my shadow colors start
where I have the most which would be
right here in front that's the largest
part of the shell that's where it's
giving it the most shadow and then I'm
just going to kind of do each bump and
then hopefully my shadow will have that
blend up with that bumpy ridge line all
right it does it does dry out a little
bit lighter but if you looking at it you
think geez that looks awfully dark um
it's all you're not too hasty I mean you
can just gently blot it try not to take
too much pigment off because it's gonna
go a little bit lighter as it dries and
you don't want to have you don't have to
go back and try to paint a shadow again
shadows are best done in one go if you
can hack it I am going to wait to the
furnace finishes before we finish our
final steps okay let's do our final
touches here I'm gonna be using the
number four round so I don't have too
much paint and I am gonna start by
grabbing some of that magenta color
we've using we've used remember we're
not using any new colors I'm gonna add a
yellow ochre to it because it's just a
little too bright on its own so now
we've got a nice um a nice kind of kind
of toned down pink and I'm gonna go
through some of these some of it on the
edges here I'm gonna add a little bit to
some of these ridges where we had that
darker line and a little bit down here
now I think we actually could have some
of the pink on its own the brighter
stuff because we have all those other
layers that will tone it down so I'm
going in with just the magenta and you
can see how much it's much more of a
clear pink that it is that makes sense
that's a little too much so I'm just
going to pick some up and put it
elsewhere
when you can when you play with
intensity of the colors you really you
really get a lot of bang for your buck
well it's only how dark or how light it
is you want to think about how intense
or how muted you're making it because
even you could look at an orange right
and you could say yes that's bright
orange but the whole orange might be the
same color but as you're perceiving it
how light falls on I have shadow falls
on it how other things around it affect
it it'll give you completely different
colors so that's kind of what you want
to represent when you're painting
otherwise things look kind of flat
nobody's yellow ocher on its own and I'm
going to put some pops of that color in
as well just going to make it seem a lot
more lively especially down here and
right along this edge where it's um
puffed up a nice round part of the show
oh my gosh that furnace is on again hon
so frustrating I went upstairs I'll put
a sweater on and waited for it to shut
off and it's on again my gosh winter in
Maine it's not even winter yet to fall
in Maine um I'm just gonna keep checking
through I apologize if it's if it's
annoying but if you have a lot of things
to get down today so uh I'm just gonna
plug through um oh it's off yay awesome
um so now I'm taking some of that yellow
on its own and coming over here and
adding that to this shell as well and
it's just going to kind of warm up and
round out things make it seem a little
bit closer to us on the rounded areas
and if I want any other shadow I can go
ahead and grab some of that peacock blue
and some of the burnt umber and I can
add some shadow down towards the bottom
if I want to this choppy little strokes
using choppy little strokes going in the
same direction as the lines we're not
adding a lot at the stages of the final
touches now we did run into some issues
here
because I dropped water onto this lovely
shale so I feel like I do need to do a
little damage control here so I'm going
to do yellow ocher and the burnt umber
to get that warmer Brown and I'm going
to put that back in around here just
kind of feathering out my strokes a
little bit I still feel like that might
be a little dark be able to take the
yellow ochre maybe I little magenta to
it and then add the burnt umber to it so
I have a warmer more orange a brown
color and I'll just keep on going around
because I don't think it has to be
exactly perfect because nobody's going
to be looking at the shell and looking
at my painting at the same time except
for you guys and I think I might even
grab that smaller brush to help fade
that out a little bit just go with the
same go in the same direction as the as
the lunge you scraped in there
originally
think about some what brushes it's kind
of frustrating is it don't hold as much
water so they don't carry it out as far
for you and now we're gonna grab the
burnt umber kind of on its own and go in
and redefine that little spiral that we
lost when we had our little water
indiscretion I'm not gonna fuss with it
too much because I think I run more of a
risk of overworking it if I mess with it
too much just want to spread that a
little bit okay
and I also feel like the inside of that
shell could use a little bit more depth
right up at the edge where it is right
up next to the where you can see the
shadow right next to the outside of the
shell so I'm just putting that dark for
a number shadow mix that we had on our
pallet I think I'd also like some color
in the middle of that shell so I'm going
to grab a little bit of the magenta kind
of forcing the colors I do see a little
bit of that pink in there so I'm just
kind of forcing it a little bit again
I'm going to grab a little fela a little
you you sail blue I've been using the
peacock blue and that set but it's it's
very much like a sail also very similar
adding some of that in there just for a
little interest and I think I would like
some of that more on the back because I
can see where I had the magenta in the
blue up there I like that so I'm going
to go ahead and just very gently put
some of that in there
we can always rinse your brush off and
get water and blend things out if you
get a little too much on there I would
have had to do so much to this one
except for the fact that I spilled water
on it but if I see it's like if I see a
little bit of pink in the shell I kind
of like to enhance that when I paint
exciting it's especially its color I
really like you don't have to do that I
just think it's kind of fun now over
here on this guy he needs a little work
because um that was probably it was a
little challenging
um I've got this kind of that grade that
we mix for the shadow I'm gonna make it
a little more purpley though I'm gonna
grab a little bit of the magenta a
little more the blue mix it in with some
of the dregs on my palette to tone it
down a little bit now I got a little bit
more of a of a steely blue purpley gray
and I'm just gonna go in remember how we
had to make it fatter because I watched
my line well you might not have had to
do that good for you uh-huh but I did so
I was just kind of reinforcing that line
there because I wanted it to be really
strong actually I don't think I want to
do too
heck a lot to this
now that I look at it I don't think I
really need to do that much just needed
to get those darks enhanced a little bit
and I do like the way the yellow looks
on there but the yellow ocher that I
have here in this sets a little bold so
I've got to tone it down with some burnt
umber even a little magenta in Eric's
it's pretty cool it's a pretty cool for
yellow ochre I think that's where it
kind of throws you off and then you can
just kind of add little hints of that
color here and there and I'm gonna call
this done I hope you enjoyed this
tutorial I enjoyed making it for you
thank you guys
everyone who suggested it who requested
it I'm just going to take a quick pan
around so you can see each of the shells
in detail and it was a lot of fun to
paint I hope you enjoyed it I'll please
give me a thumbs up if you like this
tutorial and tell a friend that's how my
channel grows and I really appreciate
all the support thank you so much for
watching until next time happy crafting