house design by the sea

[opening music] [hello my friends, it's time to turn the key.] [release your stress and paint along with me, yeah.] [it's not about perfection.] [it's about the connection. now put it on your canvas...] hey everybody. i'm cinnamon cooney, your art sherpa, and today i'm gonna show you how to paint this extraordinary stormy lighthouse with a very limited color palette, in a short amount of time. i'm gonna give you all the instruction you need to be able to follow along and complete this painting and have a lot of fun with me. so i want you to grab your paint.

grab your brushes, and come back and meet me at this easel right now. come on. i'm so glad you decided to join me for today's stormy lighthouse. i think stormy lighthouses are meaningful because not every day is a sunny day. not every day is a perfect day, and sometimes really intense weather, or circumstances in our lives, happen and paintings like this help us touch to those feelings and the idea that it's wonderful to have a light in even the darkest of nights. the first step that i want you to do is to sketch in the painting. i'll talk a little bit about that.

so, when i sketched in this painting, i made sure that i created a vertical line to help me from having my lighthouse tip either way. and then on either side of it so that it was about two inches wide, i came down with a line that flared out. and i came down again with a line that flared out. at the top of this i make a little bit of a curved line. it's like a small frown.

and i arched out two support lines. this is where our person would walk. i'm giving them a little bit of a fence here, for safety. straight up and down vertical lines here. for where the light is. and a nice curved line for the top of the lighthouse. the wave is a little below the halfway mark

coming off the lighthouse, and i make a curved arch coming off the lighthouse. and another swooped down line, which reminds me a little bit of a slide. then i just sort of sketch in the end of my wave. i'm gonna come here and say that the water is flowing around the lighthouse at this angle. and... sort of sketch in the splash of the wave on the far side. drawing

is just one skill in art, and if you find this part challenging, please know it is not cheating to trace. and if you'd like to know more about this painting, or anything you see here, or even where to get a traceable, you can go to the art sherpa dot com. i'm gonna use a number ten bright. i like brights because they have a nice, crisp edge. i very much enjoy this one because the- the hairs or in this case, bristles, are quite firm. so, this is a really robust brush for me to use. my colors today, in case you're curious, are burnt sienna. phthalo blue. mars black. dioxazine purple.

sometime these look a lot alike. titanium white. and cad yellow medium. i have two little spots of what's called acrylic glazing gloss. this is a product that slows down the drying time of my paint and allows me to do glazes. so, i like it very very much. and to maybe help us a little bit as we're painting. you can always make a note if you have trouble seeing the difference between two colors the are very close.

you can always just add a note so you don't feel confused, and that's really normal. i'm gonna get my brush wet and i'm gonna start with my first color mix. which is a little burnt sienna into my phthalo blue. because these are contrasting colors on the color wheel, which means they live in opposite places on the color wheel, when you mix them together, they have the effect of graying out or neutralizing each other, creating more natural and muted colors, which can be very very nice.

i'm gonna add quite a lot of white to that mixture. so that it's a very nice, light, neutral tone. you can see how it is to the tip of the brush, not very far up and that it's not perfectly mixed. i might even grab a little of that glazing medium to help me when i'm painting on the canvas. i'm going to come in the upper right corner and take this stormy, stormy mixture in a little bit. this is going to be a very expressive painting. which means that my brush strokes might be changing directions,

and be very disorderly. and i like that. that's always sort of fun. come and get, interestingly enough, a little purple on your brush. even, if you need to, a little black. i'm gonna pull some white into that. this gives us some very interesting stormy effects. and i can blend these little edges together. sometimes people think that you can't blend acrylics. but actually, you really can. they blend quite nicely. especially of you're using something like glazing medium, which really helps them out.

alright. now let's be brave and get a small, tiny amount of our black. because we're using mars black, it has a lot of pigment in it. you can see i still haven't rinsed my brush, which must seem very interesting if you haven't painted before. but you'll find that a lot of artists don't rinse their brushes because they enjoy the way that the pigments that they've already loaded on their brushes interact with each other. and it helps create a more surprising and interesting piece, which i really like. i'm really trying to put a lot of energy into this storm with my brush stroke by varying it around. and i'm going to paint around my lighthouse a little bit.

i might grab a little of my phthalo blue, a little of my purple, and some more black. add a little white to that mixture. and keep helping it with my glazing. this is a very very very stormy day. the sky is very expressive. i'm gonna paint around my wave that i traced, but not really carefully because i'm going to be coming back with paint in a very energetic method. i just want to get my storminess

into what i've got going. i'm gonna get a little brown add some white to it. have you ever noticed in storms there can be a lot of brown? a lot of colors in the sky. i'm always interested to see kind of what colors a sky might give me, and the way the light is bouncing around, and all the different things that i can see in it. it's always super interesting to me. i'm gonna take a little of my burnt sienna over to my purple. still tone it with a bit of black. and i'm gonna come down here with this interesting mixture. i think i want it to be darker, so i'm gonna add a little more black to that.

there. that is quite stormy. and that's what i'm looking for. you'll notice that i'm pushing really hard with my brush, into the canvas. you can hear the scratching noises of the bristles. sometimes you have to press hard into the canvas because there can be coatings or surface treatments beyond the gesso on canvases that can make them not want to take paint. i'm gonna put just a smidge of white into this. i want it to be a little lighter, but not much. i'm trying to create something very dark

and very stormy. feel free to use the reference photo, or any part of what you see here to help you know what the piece will look like when it's finished. this is a piece to just- hear that scrumbling? that's what we call that when we really press the brush in. get some more purple, and i want i even grabbed a little black. so i went a little purple,

a little brown, a little blue, a little black. i went everywhere and you can see that dark color. and i'm gonna add it into this corner to make this corner seem even stormier then it was. which is very enjoyable. i'm going to get some of this black pigment onto my brush, but i still haven't rinsed it. you can see the pigment is working it's way up into what's called the ferrule, which is the metal part here. i'm going to just keep adding this stormy sky

in. i might get some more white now to get up into these clouds. lightening it up. there were so many lighthouses. they have such interesting histories. i am doing mars black and blue now, just to the edge of my brush, as you can see.

a little, a little white. and pulling a little of this glazing medium. if you don't have glazing medium, that's ok. i need it a lot more than you might because my studio is very hot. it has a lot of lights in it so you can see what i'm doing. that can make my paint dry fast. more than the heat, it's the dryness in the air that's actually making it dry very quickly.

i feel like adding a little more grayed out color in the upper right corner, so i'm mixing and pulling out a little white. you'll notice that i'm always working from the edges of my paint plops and pulling it out, drawing it out like this. and what that does is help me preserve my paint by not going into the centers of them. i'm gonna- i felt like that was just a little too green, but it's very nice under here. you can even get a little more white into this. see i've pulled that. it's almost like a bead on my brush.

i'm gonna come here and really add to this stormy feel over here. just enjoying it. i haven't rinsed my brush yet. today we're gonna call my brush pigpen. that's what it's like sometimes when you're painting like working the pigments out.

working the pigments in. i'm gonna add a little more black. where it's close. i let it get into the white here. you can see how i'm pulling this black. and that can help. again, i'm just sort of keeping track of where i had that little detail that i'm not too worried even if i paint it out. i just need to know where things are well enough to know where to put them back in later. i'm gonna create kind of a little cloud bank here. i'm still not rinsing my brush. i'm gonna pull out some of my white.

and you can even see right now how the pigment in my brush is tinting or toning the white. grab a little glazing medium so i have a nice glow. i'm gonna come here and in very expressive little brush strokes, imply that there's a darker bank of clouds below here. and there's some more

interesting tonality up here. acrylic painting is a lot about layers. i'm still pulling things out. and don't let a painting intimidate you. you know. don't let a painting make you feel like, oh, i could just never do that. always give it a go. you never know. i'm just bringing a little unevenness to the clouds here.

and increasing the stormy feel that i'm looking to see. and i'm going to pull a little more black. a little more brown. maybe even some purple. to just enforce this layer of storm. you can see how i'm just scrumbling. you can hear how i'm kind of scrumbling and scraping my brush around.

don't put your finger in the paint like i just did. [chuckles] don't do that. don't do that. i'm gonna darken this over here. i'm gonna get a little of my blue. get some black. see that nice dark storminess? may want to get some glaze, just to pull that out. very abstract, expressive painting

that you can do. don't ever worry about it. look at this. i'm just going back and forth. you can see i'm like almost criss crossing and being very random. the brush is dry. pigment is just being scraped across the surface. and yet you now have a very expressive, interesting sky. which you've got here. if you want to carry some of your

purple and brown story over here, you can always just come with another little, what's called a dry brush. this is where your brush has no water on it and is dry, but it's got a little bit of paint. and you kind of push and convince your canvas that it's gonna take a little bit of it.

do what you say, which is really quite a lot of fun. how are you doing? don't let any of this make you nervous. let the storms in your life pass by you. be the lighthouse. and in this painting, same thing. we're gonna get through this storm together. and i'm gonna explain everything i'm doing so you can do this at home. if you want more information about what you see here, you can check the description below. let's keep painting. so now we have the excitement of the water that we get the pleasure of putting in. i still haven't rinsed off poor brush here. and i'm going to give it just a little bit of moisture because the paint

is almost making it stiff. and i'm gonna pull out, interestingly enough, some black here, and then i'm gonna pull out some brown. back to the black. back to the brown. i'm looking for a wet rock in a storm color. i went on this a minute, i thought i'd get some blue but then i was like, no! [chuckles] i don't know. so i'm gonna paint. this very dark shape. here, see this lighthouse would have to be built on something.

and this rock right here tells you, right, that it is built on something. quite sturdy, and you can even include some of this dark color right here, at your lighthouse. now i'm going to create a very deep tone going up this lighthouse. and interestingly enough with this just like it is, guess what i'm going to do. i'm gonna get some yellow and pull it into this dark

muddy strange color. you can go ahead and get some brown if you want it. this is a very limited palette in art. that's what we call this when we're using few colors. a little brown, back over to this yellow. i'm looking for a color that makes me feel like this structure is been in storms like this before. grabbing some of that glazing medium to help improve the fluidity of my paint. i'm going to paint the whole lighthouse this very weathered

exposed to the elements color. even though this was probably an off white, oxidization, storms, minerals. those things would've changed that. and again i'm enjoying the fact that this brush has very stiff bristles so that i can push my color into the canvas.

if one were really stressed out right now in their life, this act of pushing this paint into the canvas is very very satisfying, and i like to listen to the way the brush scratches on the surface, and sometimes that's enough to help me let go of whatever has been bothering me. we can't control the weather in life. sometimes we can find a way to feel better. i'm gonna pull a little more pigment onto my brush from this yummy bit i had mixed. and i'm going to go to the top here

and just also make sure that this color is here. there's going to be several layers. the watercolor pencil that i sketched it in with is disappearing nicely. i'm going to add just a little bit. i'm getting rid of the white. i'm getting rid of the white. and i add this right up both rings. so now i kind of got this in and that tells me a lot of interesting stuff about this lighthouse. now i'm gonna do something that blows your mind. i'm gonna rinse my brush out. now to mix the next part. this is very interesting. i'm gonna pull out a little of my yellow.

i'm gonna come over and visit my blue. and this makes a very very interesting deep color. and i'm gonna add just a smidge of black to it. so, i had gone yellow, to my blue. it created a blue green. and i added a black to it, and that gave me this deep cold ocean color. and the first thing that i'm going to do

is put this deep dark color right here on this wave that's splashing up. right here. and i think it could be even darker than what i've got here. pull out a little more of my blue. come get a little bit of my yellow. see this this color go a bit of a green and add some black to it.

just be darkening this space. calm waters in warm locations are aqua blue and very see through. cold waters in stormy locations become very dark, and deep, and mysterious. and so that can help you when you're painting be sure and keep that feeling. i'm gonna pull out some more blue.

a little more black. and work that in. if you need some glazing medium to help the paint, i'm gonna get it. again, keep in mind, that sometimes i use things because of the conditions in my studio. but your studio, or wherever you're painting, which might be like a kitchen table, might be in an office, it might be in a garage, anywhere in the world. i don't know

what your conditions are like, but that can impact your paint. so that's why i like to explain to you- i'm getting a little black and a little blue and really making it deep cold color. i might even get a little purple this time. look how dark and cold that feels. and add a little more here. i'm still keeping that churning feeling to these brush strokes.

and i'm gonna slow down. i'm gonna try to slow down my motion here. you can kind of see how i'm pushing and rolling and moving my brush around. to get it. pushing in and going scrumble, scrumble. i'm just enjoying that. and that's something to get used to when you're painting. that's one way to use your brush. it's a little bit hard on it. but i enjoy it. i'm going to pull out a little purple into my blue.

maybe a little black. and i'm gonna come under my wave with this very very dark color along my lighthouse. it's ok that i've gone a little bit over this because i'm going to be painting a lot of detail on my lighthouse. and so right now what i'm doing is i'm putting my values in. sometimes, this is called an underpainting. a lot of people get frustrated when they're painting more complicated pieces or landscapes because

underpaintings can look a little bit crazy and ugly. [chuckles] i don't know. it's a strong word because all paintings are valid and all art is valid. but you gotta love your art through its underpainting stage. i pulled a little more black and blue into that, and now i'm adding this darker, darker shadow to under this wave, coming up. i'm pulling a little more black and blue. adding to it.

now you'll notice these two colors will be different from each other and that will help me later when i'm trying to say there's two planes of water. love your paintings through their difficult, growing up stages, when you're getting that first layer of paint on the canvas. it usually takes two or three layers of paint to really find the picture on the duct. and i'm adding more of this dark pigment here. just allowing it to be deep.

i'm going to change this up a little bit. still not rinsed! you think i'm a mad person i'm sure. with my crazy not rinsing. but there's a part of you that's curious how this will all work out. it's gonna work out great. show you that again. i grab a little black. a little of this blue and black mixture and came over to my brown. pulled a little bit out.

the brown creates and interesting deep green hue. that's got a gray about it, and it will feel quite interesting. i'm gonna bring that color right over here, since it's still on my brush. no point in wasting some good color. because again, what am i doing? i'm trying to get the values on my canvas first. i haven't even changed my brush yet.

i probably won't use that many brushes on my painting. i'm gonna come pull a little purple. my brush is still quite messy. i'm gonna let this blue and black that we mixed earlier get kind of on here. grabbing that glazing gel, i'm gonna come over to the side here. it's amazing

how, in nature. i might even bring some of these colors forward. grab some more of what i've got mixed there already, on that side there. just back and forth with my brush, letting those two spaces sort of blend together. i think the biggest challenge of this painting is just having faith that if you hang in

and you don't give up that it's gonna be ok. that's the biggest challenge in our lives, too. to not give up. little more purple. so i've got the brown kind of coming into this. then i get a little purple. i come over to where i have my blue and black mixed and i get a little more of my glazing to just sort of help this go up. and it's how the purple still

is in the pigment here. i'm now kind of curving my brush strokes to make it feel like there's a rise for the wave. that's important when you're painting waves. is creating that curve that makes the mind feel that there's a rise. everything in painting- oh, i'm just gonna come work the edge here. see there, i'm gonna do this. going fast. sometimes i get asked if you can paint the edges of your canvas, and of course you can.

of course you can paint the edges. back to sort of brushing this up and down. up and down. now i'm gonna get a little of my purple out on the edge of my brush. you can kind of see the pigment has kept moving up and up, but what i've currently loaded is right there at the edge. and i'm gonna pull a little blue out. and i'm gonna deepen and darken

some of what i'm seeing underneath here. there's gonna be a couple layers of this. but i want to start talking about it now. art is a conversation that you're having on a canvas that eventually you're going to have with the viewer. and that is always interesting to see what everybody's gonna say when they see what you've been up to. i'm going to

pull a little more blue out. maybe come right here. now i've got this wave that i'm gonna paint over the top, but that's sorta fun. and this is interesting. i'm gonna rinse my brush now again. pressing, pressing, pushing, pushing in. cause i've gotta paint some of the tops, and i've gotta paint some of the highlights. so the first part i'm gonna do is i'm gonna get a little of my yellow over to my blue.

but it's not perfect here, is it, because these other colors we've been mixing are here. that helps me. now i'm gonna get a little white. on the top of this wave i'm going to start putting this color down. curve it over like this. and already the crash and fall of what's happening here will start to feel like it's going on.

maybe a little more blue into that and i keep going. you've gotta just keep building up those colors, and the layers. keep weathering the storm. keep hanging in. super important. when you're painting or living your life. keep hanging in.

i'm gonna get a little purple over here, and i haven't rinsed my brush. i haven't rinsed my brush. and i'm gonna be crazy and add some brown to it. here at the edge of what is my wave i'm going to bring this purple and i'm going to pull this up into my lighter color. and then just brush that up. the first sort of start

of what i might be saying there. still not rinsing cause i just can't help myself. i might get a little brown here. i am taking this wave even a little in front of my lighthouse. and i'm making sure i honor the sketch that i put in. it's very important that this edge be sort of interesting, and dream like

and rough, because the wind- now i'm flicking this back right here. this is the wave energy being pushed back by this lighthouse. which has stood a very very very long time. i've got the beginnings of what i would call an underpainting in. when i rate the difficulty of my paintings, i always thing about how many layers are involved, and how many skills are involved.

and emotionally what that's like. you can kind of see that's starting to take shape. i'm gonna get a number four bright. i'm gonna quick grab some of my brown and add it to my cad yellow medium hue. i'm gonna get some of my brown and add that to my cad

medium hue. and i'm going to just up here make sure that i put in this first. i'm gonna pull this down a little bit past that second line, because we know that's gonna be a fence. that's gonna see through a little bit. this is how we create that illusion. these strange, unexpected layers. it can happen between two places.

just painting that there. go ahead and grab some more of this paint. you can even come to the top here. give these little lines some second definitions. i'm pulling the little of the gold in here and that's looking pretty good. now

i'm going to, with this very messy brush, that's already got the yellow and brown and gold in it, come pull out some black and some white to that. you can kinda see me rolling and pulling. i'm gonna make sure that this up here is painted in nicely. just scrumbling that around. just scrumbling it around.

pull out a little white and then we're going to just here. now this is quite- my brush is still very very messy. just adding a highlight right hee. you remember we had kinda put one up in this corner. it's way distant. that is where maybe our light source is and so that's always nice.

i'm gonna leave this aside for a second. i need a brush between this size, and the size i've been using. so i'm gonna get a number eight bright. and i'm gonna start adding the highlights and lowlights in my waves. so i'm gonna pull out a little purple, grab a little brown and give that a little tone back with some white. keep pulling brown into it. and

start pulling this up and down to talk about the wall of this wave. see how that's pulling up and down? pull a little more of this out. grab more purple if you need it. we're going to keep just making these curved strokes. creating these walls of wave

under here. i'm gonna pull out a little of my purple, and even a little black, cause i want it to be quite deep. come right underneath this. i'm gonna pull a little of this shadow down. pulling that down. interestingly, there's gonna be some different things that happen there. this is about creating tones. i switched my brush to its edge

and pull that down. and i switch my brush to the edge and pull it down. i'm scrumbling back and forth. you can see the brush starting back and forth, and i'm just adding the paint that way. now, i can pull a lot of white and maybe a titch of black into my brush without rinsing it. get this interesting- we'll come over and visit that a little bit-

gray. make sure that there's a interesting little highlight there as well. right there. right here. something is a foot. bring some of this other color right there. come around the wave with this purple, but stop at this deeper water, and

i like to come back a little bit down. back. and splash some water up on this rock. so now this storm is starting to find its true voice. right here i'm gonna take some of my purple, and some of my blue and some purple and some brown. back to the purple. sometimes it can be kind of hard to find a color, and you gotta be not stressed out when it is.

just right at the edge here add some of that definition. and then i'm gonna add some white into my brush. i'm gonna come from the backside of this water here. kind of lining along the edge. you can see i'm taking my brush, dragging it along this little top edge of the wave

and pulling it down. and then i'm gonna take some of this and flick it back. see how that wave starts to have shape? and i'm gonna grab even a little more white into that and come right here. add that extra highlight to the top of that.

that's good. you can add some of this in this curve. try to keep the strokes curving, all together. and i am bringing some of these brush strokes down, sending one up, bringing some of these brush strokes down, sending one up. pulling some down into here. and again adding this extra dimension in a scrumble here. scrumble, scrumble, pushy. shaking the brush around, all around the rock. not too bad.

now we're gonna come to the edge of this. we'll need a little brown. come on this and pull this up. just letting the pigment push out into the paint. giving me some of those turbulent color mixes that you need to have when you're doing a painting like this. now [?] then i'm going to even, crazily enough, pull a little black into my mixture

to create this sort of dirty gray. add that next layer. rinse out a little bit. i know you think i never do it, but i do it. i'm gonna get a little of my purple. a little of my brown back to my purple. i got a deep color going here again. i just need some places to have this. right under here, under this wave, i want this dark

deep churning shadow. dark right. and then right here i'm gonna pull a little more of that color that i mixed, which was a little brown and a little purple and i'm going to just bring this wave up a little bit, maybe even add some of this shadow right here. and bring this up and down.

your wave. so, i'm going down, scrumbling back and forth. can you see how the brush goes back? forth? back. forth. and then i go, back forth, back forth, back, forth, up, down and that's sometimes how i can keep from cloning or repeating brush directionality sometimes.

it's interesting to think about how do i things so i can tell somebody else how they might do things. i'm gonna rinse out my brush. i'm gonna come back with a little of my yellow to this blue area, which is quite dirty. but i want that. it's so crazy. i want that now. and i pulled white into that and i'm going to brush more of this aqua highlight where

the wave has a little bit of light coming through. i'm also going to pick up some more of this color. i'm gonna let it go deeper if it wants to. and i'm gonna bring it over here and pull some of that up into this wave. bring this churning interesting bit of water right here

and you can see i'm doing that thing too. i'm going back, forth, back, forth, back, forth. but i keep it where i feel like it should be. maybe a little of it going up this wave. it's very dry now, so it's like dry brushing a little of that tone into the wave. but yet, suddenly that gives it some fun shape, doesn't it? and we like that. pulling a little yellow.

pulling a little blue. there's a nice bit here and i will come and to all of this. maybe even a little bit of that here and a little here.

just something to say what's happening. here i want to take this even deeper, and i'm gonna probably need to jump up to a bigger brush for a second. i'm gonna get my big ten back out. and i'm gonna come and pull my purple to my blue. add a little black to it. this is almost a prussian blue. but i didn't want everyone to have to keep buying

different paints. i wanted to show you how you could paint something with a very very limited color palette. so i'm scrumbling. you can kind of see it. pushing in, and going back and forth. this over the previous level of paint. it's ok that some of it is showing through. and that some of it is lighter. you want that. i might even pull a little more black in. let me load that on my brush. get a little

white. right here, in the center, create kind of a deep, there's not a lot of light on it, but it's reflective. cause, the way- it's water. it's just focused really right here. i'm gonna wipe off my brush and interestingly enough but not rinse it, i'm gonna pull in some brown.

work it through the pigment on my bristles. add a little white. come up on the upside of this rock. adding that highlight. i'm gonna wipe my brush. i like to do that, wipe my brush on the towel. add a little black. and add this deep shadow. you are doing fantastic. you are hanging. you are doing amazing. and if you're just sitting there, contemplating doing this, you're still doing amazing.

cause you're being optimistic. and hopeful. and painting rewards that. it's also pretty fond of determination and perseverance. i'm going to need to put this back in water. pull my number eight out for a second. and i'm gonna get some really deep black right here. just right around what seems to be my water add that dark shadow.

working out. pretty. dern. good. if you like this episode and want to see more content like this, be sure and hit the subscribe button. also, it's about the only way to get notifications when we're having a live event. so if you want to come to a live event, and join our amazing live community, and talk art and paint mixtures and all of those things, and just basically goof around, that would be your best way of doing it. let's keep painting. i'm gonna take a little of my yellow into my

kind of messy black over here. it just warms the darkness and the intensity of the mars black a little bit. so, i'll add a little white. this will be- you can see i'm still pulling out the black. give me some deep shadow. right here. i'm gonna go along here and create that. and up this a bit.

just doing the back and forth like i showed you. pushing the paint around. you get to push the paint around today. that's what you get to do. just pushing it around. i'm trying to give it that weathered, rough feel. make sure there's no like clean hard edges. we'll add a little more of this black. you can also add some brown. i just did that right there. sort of change up the

tone. and i'm going to just underneath the lip that i know that i have pull a shadow. i'm using just the corner of my brush. but if you have trouble with your brush, if your brush is giving you thicker lines than you want, or frustrating you, you can always switch to a smaller brush. so just don't let any of that bug you. i'm pulling a small shadow here across what would be the walkway and a little bit underneath here.

now i'm gonna get some more white paint. i haven't rinsed my brush. i think you've kind of figured out that trend. add the weathering highlight. my pressure's very light, and you can kind of see how the canvas is bouncing. my pressure's very light. not pushing it in. when i'm scrumbling i'm pushing it in and the canvas will stay tight. but when my pressure is light it will bounce a little bit. look for that bounce. i'm trying to put

to come and define that edge a little more. just a highlight on this side. just a highlight. and.... just a nice little highlight. see how it's weathering? i weather it lightly here. and i'm just lightly brushing it around and just letting it

be around. if you over lighten or over darken, if you over highlight, or over darken, you can always come back with the opposite of what you had and do what's called knocking it back, which is just muting it in some way. so if i wanted to push some stuff back, i could get a little more of my black on there. and come back up. see how easy that is? just pushing this in to

the lighthouse, weathering it. so keeping these brush strokes scrumbly. and now you can see i'm pushing in and the canvas is just really feeling it. especially when i'm just lightly tapping. just pushing it it. i grabbed some gel there. just to help my paint enduring the heat of my studio. you might be in a beautiful location.

in a perfect climate, and not be having any of those experiences. interesting thing you can do right now is grab a little black and a little blue. and you can even come here in this lower corner and increase this shadow a little bit. and spread that lightly around. makes it feel more like it's there. and then come right here.

a little bit of this cause it's quite dry. there we go. come down. there we go. we got this. we're getting through this. just push this up to the wave. keep scrumbling around. fun stuff to do. that number four bright again. but i'm still working on this part of the job, so i'm grabbing my black. i'm getting my blue. i'm finding that nice kind of prussian.

getting a little white into all of this. making a little a little highlight here. this is close to light, so there will be parts of it that are quite well lit and so you've gotta make sure that you're showing that. right. pulling a little more white. with my number four bright.

i'm just helping define my shape. everything on a painting is defined with light and dark. whether it's abstract, or figurative like this. when they say figurative they mean, you know, on a human figure we're making things look like they are. these are just words to talk about things. they're not words that are trying to make you feel bad. they're just words trying to express what we're looking at.

got that there. now i'm gonna do an interesting thing. i've got my brush quite dirty. as you can see i'm pressing down, pressing down, pressing down. i'm gonna grab a little of my yellow with it being as dirty as it is. i'm gonna come right here and just pull down a little bit. between these two waves, i'm gonna pull down a little bit. there's some windows looking out. they're small windows because they have to withstand storms.

come back into your black. i'm letting the yellow still be on my brush. darken some of that. same here. just darken some of these spots. i'm darkening some of it right here with this four, number four bright. quite small. i think that's looking pretty good. i'm kind of excited. now we get to do some of the interesting bits.

so... i'm gonna wipe off my brush but predictively i'm not gonna rinse it, and i might grab just a little purple even though it had a lot of yellow. yellow and purple are contrast and they will often gray each other out. i'm gonna pull some white into my brush. and come along this wave here with my number four and this white.

and i'm going to just paint in a little dash of brush strokes of frothy water. so i'm going to froth like this, and maybe take some of it up and go a different direction here and it can help if you look at storms. and look at the way the waves crash. if you if you can safely observe them where you're at.

that's always good. add some black into this. i don't want it to be bright white because i want it to feel like it's very stormy. i'm gonna start pulling some of this sea foam on the wave. pull out some more white. i haven't rinsed my brush. i'm just. there's a little splash going up.

and i'm going to take this up and down. like that. just enjoying that. gonna flick some up here, cause there would be, wouldn't there? wouldn't it be quite energetic right here where this wave is touching this solid object? quite energetic. so i'm pushing and letting it flick out. it's a very interesting thing to try.

it's challenging. little lighthouse as it is. pulling a little paint. pushing. see, sometimes when i press in and go like that it creates an interesting, like, very splashy effect. so you kind of start to learn that your brushes- i'm gonna come down here and i'm gonna make sure that this is- i'm pulling a little color into this

cause i really really don't want it to be bright white. i'm gonna make some of this wipe it off if you need to. foam coming up this wave. and then, right here at the corner, with my not perfectly clean brush do some splashing right here where it would be. wouldn't it? it'd be right there, wouldn't it? just

being energetic. come along this top of this wave where it's energy is expended at the edge. get a little purple on here. purple. a little black. little purple. little white. just trying to keep it from being a bright bright white but it needs to feel like it is somewhat. just on the edge here. i'm just pulling this

churning water out so i'm pushing it around, being very lyrical, what i'm doing. around the little rock would have some very energetic water. wouldn't it? it would be quite frothy and [?] all around that. i'm just

letting it very intense. i'm going to push some of this around the lighthouse where the wave is. so the wave is coming. it's gonna swallow it in a minute. grab a little yellow, little blue, have that pushed on my brush.

but yet still just grabbing the white, just trying to get these tones of this foam to make more sense. one fun bit here i'm gonna do right, i'm gonna come here on the left hand side and i'm gonna imply a small splash of water that is just starting to peak around. maybe even another one here. just starting to peak around. i think that's one of the things i like about this so much is the

tendrils of this incredibly powerful wave that have just started to delicately expressively engulf this amazing lighthouse. and say you want to start pushing those

push, push, push. push it, push it. pushing it. and then coming along this little edge. right, where the energy of this wave if you just watch a video of waves, watch were they're how at their edges they start to come apart. and when you start to paint that in then you start to get what is a tremendous storm.

come along the edge here and the paint is thick. see, i grab the paint. it's like on a bead on the edge. i'm just like even along the top of this, maybe. if you wanna come back and [?] the froth maybe like right here between these two spaces where there's rocks and things fighting back.

and since you used i'm doing these little lyrical edges here- and since you used an off white, you can come back with something that's quite light to create that space. on these edges. and they can feel quite frothy. and maybe even here

pull that out. it's fun to do. it is fun to do. and maybe you're feeling better about the actual storms that are happening in your life. circumstances that are beyond your control. i'm doing a thing where i'm wiping the brush off because see it's very loaded with paint. i may even come and wipe it off on my towel. if it gets too much paint on it, it can be hard to control. putting these little highlights here.

and they're fun. and they are really fun. can add some of them coming up right here. just sort of little dashes. and the energy of that wave crashing. that's there for you. come here and even put some of this foam coming up the wave.

cause it would. it would be coming up the wave. scrumbling up and down. hopefully you're starting to feel this storm. now i'm gonna come up here. i'm gonna take a little of my black. and a little of my blue. i'm pulling it out. grab some more white. it's too blue so i'm gonna get more in the black. i want it quite gray.

and i'm going to sort of define this upper bell. i'm pulling it across. i'm letting it be quite a dry brush. might even come this way. put a little top here. just defining that out. a little bit. weather it. just sort of scrumbling it to weather it. i want my pressure super light. i don't want a lot of pigment coming down on this.

i want it to be just very very light pigment. and i'm gonna finish the lighthouse part. so the first thing i'm gonna do is i'm gonna pull out my yellow. and get a little of my white. just put a little of this in here. but i'm gonna leave those two tones. that's super important. i might come along the top of this. with this. and you can come along the bottom too.

if you wanna highlight that. i'm gonna wipe off my brush. and get some white on there but there's still yellow pigment. i'm gonna add this second color to what is happening up on my light bell. i'm gonna wipe it off. get a very very very very dry brush. pull out.

radiating out from this lighthouse into this storm. with a dry dry brush. like a fan. it's gonna open up like a fan. the light is trying to warn people where the rocks are. it's trying to help people survive this. pull straight first, then just keep pulling that fan. you can see i'm not painting solid lines.

they're very dry and just some of the pigment is showing on there. it doesn't take a lot, and you don't want a lot. right. and still with my brush quite dirty and i'm going to the little walkway. just pressing these in. just barely showing. cause they would barely be showing with the light. define that.

some definition and some painterly space. just coming along here to create a little shadow, and if it gets away from you, you can wipe your brush. i'm gonna just get a little white. come here. and push it back. on acrylic paint, as long as things are dry, you're good.

and i feel like we did an amazing job. we can come and fix our windows a little bit, if you wanted to define those a little bit more. i'm adding a little white here. to give the light a quality of of two tones. well, that was fantastic! i don't know if you believed you were gonna get through it. i hope you were really surprised at what you were capable of doing. i think in life we're capable of much more. we're capable of weathering storms.

we're capable of surviving things. we're just much more extraordinary on the inside than we have any idea about. i really appreciate your time today. i hope you're gonna keep painting and being creative in your lives. be kind to yourselves. be kind to other people, and i want to see you at the easel really soon. ba-bye! [closing music]

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