[Music] Hello again, friends.

Welcome to the painting studio.

I'm Nicholas Hankins and I'm glad you decided to join me.

Today we're going down to the beach so follow me up to the canvas.

I have an 18 by 24 pre-stretched, double-primed canvas and I've coated the top portion with some liquid white and some of the bottom portion with some liquid white.

And right here in the middle, I have a little liquid clear.

And just a little bit.

You don't need much of that liquid clear.

In fact, you could put it on even try to wipe it back off.

And we'll go up into the sky.

I've got kind of a stormy ocean scene in mind today or at least storm's coming.

We're going to have a very moody sky so I'm going to use a little, little dark sienna on the old two inch brush here and we'll see what we can come up with for a kind of a unique looking, moody sky.

This would be good, good surfer weather, I believe.

There we go.

Just let that wander on up.

Bringing it down to roughly where I want my horizon to be.

And you'll, you'll understand more about why I put that liquid clear on there later as we go.

Now I'm going to grab a little Van Dyke brown with the dark sienna.

And let's come back up here and we'll, we'll add some darker, darker color to the upper sky.

Come right in this corner, maybe.

Just let it drift across.

I'm going to make the top of that sky nice and, nice and dark.

We're going to paint some clouds in here that are blowing in, so I want to have enough dark in there to show.

All right, that ought to work for a minute.

Let's wash out our, wash out our brush.

We'll wash it off in our good old odorless thinner.

Shake out the excess... wrap, wrap, wrap and it's dry.

All right.

Now.

Super duper clean, dry brush.

We'll soften and blend those two colors together.

And today I think I'm going to make some clouds with a, with an old one inch brush.

Maybe I'll get just a little, little dab of the liquid white and some titanium white and just a little tiny touch of yellow ochre.

We'll warm them up a bit.

Warm them up enough that this is kind of an off white.

It's not a, not a, like a creamy colored yellow, but it's an off white.

That's what I'm looking for.

And let's come up here to the canvas and just take the corner of that brush and we'll make some tiny little circles.

Give ourselves a billowy cloud or two.

Just keep plenty of paint in your brush.

And you can let it wander around.

Take its own unique shape.

Just sort of have to paint your clouds according to what kind of mood you're in.

There we go.

Go back to our big brush.

And using just the top corner, I'm going to soften and blend the lower portion there.

Fluff it up and brush across.

There we go.

That worked so good we better do another.

When it's, when it's working, keep it going.

Grab some more paint.

Let's go over, let's come over here on this side maybe.

Maybe we'll float one in like this.

Kind of hanging out up in there.

He wanders off the other side.

You can just bet with a sky like that, you'd have some, some cloud activity blowing in.

Looks Like a storm's coming.

Let's see, maybe, yeah, maybe this one continues now that we've got that one behind.

I'm going to come back and just let this little cloud venture over here.

Drift in front of that one.

Just ... Occasionally, I'm going to knock out any excess paint out of the brush that I might have picked up.

And again, I'm going to fluff it up and brush across.

Alright, I've got a pretty decent sky going there now.

Let's see.

Let's find a clean one inch brush.

Now, I've got a new - I say new - it's not really a new color on the palette.

It's kind of, kind of new to us though in, in Bob Ross World.

This is called Mountain Mix and it's just a mixture of all those colors Bob would normally, normally mix together to paint a little mountain or, or just about any other thing that was dark in his paintings.

At some point in time, one of the instructors said, " We should just mix that color together and have it ready in a tube."

So that's what I'm using today is a little bit of that Mountain Mix and then I'm going to stretch it across.

I've mixed it with a little phthalo green just to give it more of an oceany flavor and then I'm going to stretch it across here and fill in some good dark color for our water.

And I'm going to come back with that little brush I was using for the clouds and just kind of interrupt some of the dark every so often so we get a little, little change in value.

And you can kind of work them back and forth.

That's one reason I wanted to grab a new brush.

I could just sort of reach between the two.

And maybe this comes on down, comes on down, comes on down.

I know the water looks a little flat right now, but we'll, we'll worry about that in a minute.

There we go.

Just so we've got a little change in everything that's going on.

Tell you what, down at the bottom... let me, let me jump back here to a two inch brush.

I'm just going to grab some of that combination of the browns.

Maybe even a little touch of our ocean color.

This is Van Dyke brown, dark sienna, and just a little tiny sprinkling of that ocean color and I'm going to go ahead and kind of get an idea of where I have a little sandy beach down here.

Just, just a flavor of it.

And you can kind of blend your sand and your water together until you really can't tell where one stops and the other starts.

And I'll show you a neat little trick.

If you're ever worried about making your horizon line nice and neat and pretty, you can take a clean brush and just put about half of the brush in the sky and half of the brush in the water and give it a little sweep across there and it'll just kind of neaten it up and soften it a little bit.

I love that effect.

I think that works so good.

Because anytime I've been at the, been at the ocean looking at the waves and you look out on the horizon, it's, it's usually not razor sharp out there.

There is, there is a little, little obscured view.

We're going to have a big wave in this painting, I know that.

So I'm taking a little titanium white on my, on my little fan brush.

[Nic makes "tch" sound] And we're going to kind of figure out the shape of our little wave here.

[Nic makes "shhoo" sound] We'll just run right off like that.

Off the other side, we'll have a little, [Nic makes "tch" sound] yeah, little swell, little wave or a wavelet.

As my friend Doug calls them, it's a little wavelet.

We'll have a little, little something, little doer in front there and I don't know, our hor-, shoreline's going to wind up being somewhere in that neighborhood.

We'll, we'll worry more with that in just a minute but now that I have a little titanium white up here - in fact, I might even put just a little more on those, those sweeps - I'm going to wipe the brush out and we're going to come back and watch this.

I'm going to take the brush and just make little rocking motions like this.

And I'm going to blend that color back and create the trough of these little waves or the low point of these little waves back here.

Just blend it right back into the dark.

Same thing here.

Just making a little cradle stroke or a little, little sideways, sort of flat figure of eight.

Blend the top of that wave back a little bit.

Even, even down here I can take and get a little feeling of some of that coming up, some of that water moving up and into the, the wall of the wave.

And as you get closer to the eye, it's going to curve more.

Sort of like that.

Speaking of, speaking of the eye... let me wash that brush out.

Speaking of the eye, let's take an old filbert brush.

We'll pick up some titanium white and a tiny, tiny little touch of cadmium yellow.

Very, very pale yellow.

Alright, that should work.

And I've got the brush loaded very well.

Let's come back up here and we're going to, we're going to lighten up the eye of our wave.

So I'm just taking the brush, kind of pushing it in there and scrubbing it around.

And I'm going to work it down from the highest point to the lowest point so it gets darker, darker, darker, darker, darker as you go.

Like that.

Knock out my two inch brush and I'm going to come back and just using the top corner, I'm going to blend, blend, blend that eye out till it gets silky smooth.

Something Like that.

And then it's fun to take, it's fun to take the brush and just kind of, kind of give it a little sweep and pull it out, sweep and pull it out.

And you get a little feeling of the curvature on your, on your wave wall early.

That's always neat.

All right.

Now, let's go, let's go back with that, that same little fan brush I was using.

Might even pick up some of that, some of that nice bright, sort of yellowish white, warm white.

Load it up on our brush.

Now, let's come up and find where our wave crashes over here.

We're going to push and give it a little [Nic makes "whshooo" sound] sweep over.

Push, [Nic makes "tchoo" sound] and give it a little sweep over.

It's got to come over and then down.

If you just come over and straight down, it'll look like a waterfall.

It'll look like water that doesn't have any speed behind it.

This old wave's trying to out run the storm, I think so it's got some speed behind it all right.

Now, let's grab... we'll take, oh, just, just some of this white that's got a little bit of color in it.

That's fine.

And I'm going to add some of my Mountain Mix and phthalo green and mix it together there.

This way I have kind of an in-between color and then I can doctor it a little, little one way or the other as I go.

Let's see, I'm going to go ahead and go just a, just to fuzz darker, picking up a little more of the Mountain Mix and green.

Load that brush full.

Now, let's come back and we'll put a little, put a little foam on our, our wave.

Just let it roll right over the top.

[Nic makes "pshoo" sound] It'll come down here and hit and splash and carry on.

Cause a little ruckus.

Come up there and break the horizon just a little bit.

There we go.

And we'll wash that brush.

Dry it off good.

And I'm going to come back and grab some titanium white on the same brush.

Might even, might even take just a second here.

We'll soften our texture a little bit on our, on our foam.

It'll be a little easier to paint over it in just a second if we, if we kind of knock a little bit of that texture off of there.

Now, I can come back, try to keep my hand out of the way here.

And we'll just put a little, little bit of highlight on our foam.

Keep that brush well loaded.

Plenty of paint.

And I'm just going continue over.

It's, it's sort of like painting clouds.

I want to go just a little above the dark and give it a little push in kind of a circular stroke as I pick up some of that dark color from underneath.

I'll just wipe my brush out so if you, you see my brush going bye bye, that's what's happening there.

And then I can kind of blend those, those two little areas together.

We'll come back and do that some more in just a second.

Right now I want to, I want to kind of establish where my, where all my foam's splashing here.

There we go.

Alright.

Now like I said, with a, with a wiped out brush, I can just come back and sort of blend those, those two little areas together where they meet.

That's our light and our dark.

And if it's a big enough area, I can even take my two inch brush and do it.

Just take that top corner and sort of stir it up a little bit.

There we go.

Now, we'll grab a little liner brush, a little more of that Mountain Mix and green color.

I keep wanting to call it blue because I usually, usually don't use it on the show, but it's uh, it's helpful when we're teaching, that's for sure.

Darken that bottom of that foam just a little bit.

Really, really saves time in classes when you've got a lot to do and you don't want to spend a bunch of time mixing color, why if you could squeeze it out of a tube, it's a help.

It's a help too when you only have so long to paint on a, on a TV show.

[chuckles] That's one reason I wanted to use that.

With a little more paint thinner on my liner brush and a little bit of this white, I can come back here and we'll extend our foam out just a little farther.

Let it kind of carry over the top portion of the wave and maybe, maybe some of it kind of wanders down into the wall of the wave and we see some little foam patterns and little glints of light [Nic makes "tch, tch" sounds] just playing on the, playing on the wave.

There we go.

Something like that.

Maybe a few little ones in the background.

Who knows?

Might even be a little, might even be a little wavelet way back there in the back where I didn't have room to fit my fan brush earlier.

Just make a few little indications of some stuff going on back there.

Water's playing, having a good time.

It's what you're supposed to do at the beach.

Now, maybe not when the sky looks like that, but water doesn't know any better.

Alright, that'll do for just a minute.

Maybe, maybe a little something over there on that side.

because that's curling too and I don't want, I don't want to leave it out.

That would be bad.

I don't know if water gets mad at you, but if it does, I don't want it mad at me, so we'll try to take care of it.

I'm going to take a little, little titanium white now and I'm just going to... And now again, this is titanium white.

This is our good thick white, not the liquid white.

And I'm pushing, pushing some paint in here, kind of just forcing it around with my small knife.

Just wiping, wiping the paint down and cutting off a little roll.

Something like that.

There you can see it.

Now, come up and add another little section of water here as it's working its way up onto the, up onto the shore.

Give it good firm push and push it back and forth.

It's almost like, it's almost like you're scrubbing it or squeegeeing it.

I say that word a lot in class.

It's kind of like taking a squeegee to it.

Now, I'm going to take a big fan brush, just grab some of this paint and pull it back and it'll kind of combine with our existing water and give us some real pretty highlights and little stronger foam patterns.

Put a little height on that... There we go.

A little height on that ocean.

Occasionally, I'll just wipe the brush out.

Now, down here, I'm going to pull it back - basically straight to the left like this - because I want this to stay very, very level as that's coming up on the beach.

Sometimes you can even take a little bit of your white from back here and let it, let it kind of combine with the, the foreground water or the foreground little pool as it, as it works its way up on the beach.

That's where the water gets real thin.

It's about ankle deep right there.

And it comes up onto the beach.

Let's see.

Tell you what, I'm going to come back here and grab... I, I know I'm going to have some stuff going on in the front here, so I'm going to grab some midnight black and that - or excuse me, see I told you [chuckles] I keep wanting to call it another color - my Mountain Mix and my phthalo green and I'm going to come down here in front and just kind of, just kind of block in some, I'm not sure what kind of plant this is.

Maybe it's mangroves or... all sorts of odd little things grow at the beach, but I just, I want some dark down here.

I can even add a little, little midnight black to that color to keep it from getting too ... sounds funny, but to keep it from getting too pretty or too, too blue, too blue green.

I want it to look a little earthy so I'm just pulling, occasionally, pulling a little bit of the browns in there with it.

And I'm just using the little one inch brush and pushing up, sort of pull it in, pull it in one direction through the paint like this, and then you'll take that little rounded corner and turn it up like that and just push it into the canvas and that makes all sorts of beautiful little shapes.

And then you can kind of turn it into whatever you want to turn it into.

There we go.

Now we've got a little land established down here because I want to plant some palm trees.

That way we know the wind's blowing.

If you can see the palm fronds blowing, then you know the, the wind's cooking.

So let's wash out our little, our little fan brush.

And I'm going to fill it with some Van Dyke brown and dark sienna, even a little Mountain Mix if you want.

See how versatile that color is.

All right, let's come back up here.

And I want to, I want one that's going to be right there.

And he's got to have a little buddy.

And his little buddy lives right there.

And, yeah, we'll kind of cut through the end of our wave right there and sort of frame it that way.

There we go.

Might have to go over it a time or two to get it as, as dark as you would, as you'd like it.

Now with those two browns and a little Mountain Mix, I'm just going to mix those colors with some white, making kind of a grayish color.

Cut off a tiny little roll.

Whoop, not quite that much.

[chuckles] There.

Tiny little roll of paint.

And we'll come up here and just give these little trunks some texture.

Little highlight, although I, I don't want it to get too bright.

This is kind of a moody dark sky, but a little, a little lighter than what's on there.

Yeah, we'll keep it all coming from this direction.

There we go.

Just a little touch on there.

Come back with our fan brush.

You can take it with your fan brush now - this is just one I was using to sort of blend the ocean water back - you can take this and just grab it and give it a little pull and you can get that sort, I don't know what to call it except hairy texture.

The bark has kind of a hairy texture on these, on these palm trees.

And that works really good for that.

We'll grab, we'll grab a knife and mix up a good helping here of our, our three dark, dark colors.

Our Mountain Mix, our phthalo green, a little Van Dyke brown.

Have a nice big pile of that moved off to the side.

And I'm going to grab a fan brush, get a little bit of paint thinner in it, couple of drops, and then I'm going to fill it full of this dark color.

And watch this.

You can make some of the neatest, some of the neatest palm trees with this method.

If you just come up.

And again, I want them all blowing kind of the same direction so I'm going to have some, have some fronds on these trees that are stretched out and, but they're all, they're all kind of heading that direction.

And then what you do once you, once you put a little paint on there, you can come back since it's a little thinner - with your brush and just pull it.

Just kind of take the corner of the brush or the side of the brush and pull it out and it makes some of the most beautiful palm fronds.

Just that easy.

[Nic makes "tchoom" sound] [chuckles] Let's do a few more.

Isn't that fun?

Let's have one there.

Got to keep just a little paint thinner in there with it though.

A few on this guy, too.

Just got to make sure they're all kind of bending in the, in the same direction then we'll sweep, sweep, sweep, sweep pull those little, pull those little fronds out of there.

[chuckles] Sometimes you can even see both sides like that.

A little over here.

[Nic makes "pshew" sound] Boy, they're blowing.

Let's see.

I'm going to grab my, go back to my little one inch brush here.

Get a little liquid white.

This is still dirty with my color I was using on my plants earlier.

And I'm just going to pull through some of those yellows so I'll kind of automatically get a little green and we'll just kind of highlight.

Push some of these down into their proper place.

Give ourselves a little contrast down here on our, on our beach and our mangrove plants or whatever we decided these were.

There we go.

Just something to keep our trees nestled into the, into the painting.

We'll finish this one off with a little sea grass.

There we go.

Hope you enjoyed this.

Thanks for joining me and I'll see you next time.

Happy painting.

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