Skull Island step by step Beginners Acrylic painting tutorial #SharkWeek #SharkWeek2017

Hey everybody, I’m Cinnamon Cooney, your Art Sherpa. And welcome to another awesome installment of Art Week Shark Week. I hope you’re having a shark-tacular time as we drop a shark theme painting every single day during shark week. Check out Shark Island is this awesome and spooky and amazing and mysterious. We’re going to Mako some art together. Be sure to follow me on Twitter so you can participate in our live tweet during shark week. Check the description below for materials and all the deets on all the fun stuff that shark related are related. Get your page get your brushes come back and meet me at the
easel right now. We’re going to dive in. So lets sink our teeth into the art materials were going to be using today as we dive into this really fine shark project. I have an 11 by 14 canvas board and over here I have acrylic paint just colors are actually really simple. An quinacridone magenta, cadmium yellow medium, titanium white, phthalo blue, phthalo green, and black. I’m going to be using acrylic paint and also a really fun tool them I haven’t this is a lid. This is for the big peanut jar that pull tape and this is a great project. If you’d like to exchange some of those spray paint techniques. Let’s look at trying some stuff in that we need to know. So I have made a line five inches from the top. I’m making this level. And that really helps me show that this is water. The other thing that I’m going to really want to put in is my moon in even though I’m going to be using that very same technique I showed you with the spray paint. I like just sort of drawn in a little bit early so I know where it’s going to be. Then definitely you’re welcome to use the traceable to get in your skull. Which we have right here. Little Stern. Looking skull. Remember drawing is just an art skill. It is not the only art skill so if you don’t have your drawing skills yet feel free to use the traceables, These are on the website and they’re available to you anytime. And it’s totally OK to use them. I’m just kind of marking in where I have that I’m going to come over here about an inch below my waterline. We’re going to come down oh it’s almost like eyebrows for him. Up. And then I’m going to make a little high point in the water as if we’re looking at two worlds through a plate glass. I come over on the right hand side and just very loosely sketch in the sea floor. I’m not going to put in my Meiko yet just because he’s like the last thing I’m going to paint him. One saw that is laid in whether you trace it on or you sketching in either is OK. You get to do the sponge technique for them and this is a really fun way to do the moon. Let me show you how you can make that happen. The first trick actually I think is to put a gray bass down. I like to take an acrylic brush first. This is a nice big number 10 metric a smidge a small amount see how little I pulled out here over to my white paint and make a very very light gray. So I don’t want a pure white I want like gray. I’m going to just carefully paint in this man great age or actually have to be that careful. Some I use my lead the minute to sort of crop that off. Now if you did any of my spray paint tutorials you can Apsley just space up the skyride here. This is a great place to do it. Are they lowering your Conacher now so feel free to be creative in that way if you want to I just wanted to show you an alternative way to get the same effect in on this really cool. Shark Island painting where them Makos go to have the Meiko parties. You know Makos sharks are like the models of the shark world they’re so sleek long and fast all the shirt designers want them. I don’t know one thing they can say but I like me. Go Sharks get beautiful lines. So
I’m going to pull this brush aside and I’m going to get must see Sponge. These are just crafts sponges you can get these at the dollar store you get these are the craft store. My little trick to this though is I like to get it wet. And then wring out the extra water. I’m going to get some just white paint now I’m a Dab-Dab. So we dept up dept stepped up to on here OK and Skippy all bumpity. That’s kind of fun. Come over here. And just very nicely. Grab a loose and random pattern on your moon. Now I’m going to squeeze out the extra paint into my towel and then guess what I’m going to get little black miss this around to my sponge. I have rinse it out so there’s a little white there so graze it a bit makes it an even McCrum off the back end and make a weird and unusual pattern here. This is another way to get a moon and get a little more black one there. Come this side I’m going to get a little bit darker. Well I don’t want it to be too dark because I’ve got to have an island in front of here and it’s important that my moon is glowing. I’m going to come on this edge that doesn’t have any paint on it. Get some great and to this edge here so that when I paint my moon in it’s super glow. Now it’s a good time to rinse your sponge back. You want to leave the acrylic paint in it and dry your mint. I’m going to do mine with a hairdryer once that’s dry. I’m going to do a really interesting two handed technique takes a little bit of coordination but actually I think it’s a lot of fun. And if your circle challenge was sometimes I am circle challenge this is a great way to get a beautiful shape in your canvas. I’m going to get a small brush bright This here is a number six bright black pearl. I’m going to get a slightly wet drag off the extra water pull out some Josquin Akra don’t. Just some nice little Quinn acard out pulling this out. It’s nice and loaded on my bresh. I’m going to come and line up my lid back where I had my line and you’re going to see that this leaves some of the sponging showing that don’t need to worry too much about that. Because I’ve got my connector down and I’m just tracing it on it’s ok if some of it crosses your waterline because of the way everything is going to lay off over this very transparent color just having a good time. Right. Marianne all the way to the water’s edge. Waterway to the water’s edge. Check that. Look at that. Nice. Chris Moon line how easy is that. That’s crazy right. I’m not going to run my brush off. I’m going to get some yellow on here. And I’m going to put out some glazing liquid. This helps me in my studio my studio is very hot and this slows the drying time of my paint down. I think it’s a useful tool to have in your kit if you can get it. If not you know don’t worry about it you can just paint with water and not stress about that. It’s what I have all that on there my yellow and my colon accurate on mine to come along my water’s edge and very nicely on the edge of my brush hain’t nice line and when they come around my moon with this bright color I’m a little more yellow into my brush. I want this to be very warm at the water line just putting in this glowing color. I want the sky to feel otherworldly when I come on this side and do some more of this color kit mind glazing because again your canvas may not dry out really quick. Mine does and just about a second pull a little of this up because it’s really going to help me now I can offload my brush which is depress the pain out of it. It just might Kronecker don’t go on there. Come back and start to layer these two colors into each other as I’m coming up into the sky. Blending them softly together the sky should be going more red. As we’re going up fewer sailor and we’re coming up on Shark Island you would know that how powerful creatures live here. This special place is crawling around meaning that magenta little trick if you want to improve your blending that you can do. You can take a clean dry brush and sometimes lightly dust right over where you have two areas of wet paint. I don’t know if you’ve ever seen that done that it is a great way to get yourself that sort of smooth blended effect. It really works best if the brush is pretty soft and pretty dry. Keep this to the side here and wipe this out so it stays soft and dry. Now as I’m coming up I might rinse my brush so I may have some yellow in it still and I want to get my current down into my fellow blue here me to go for my Quinn accurate down to my fellow blue. Putting these together you can see him taking some of it from here. Bringing it over here. And it’s making a very deep beautiful dark sky color. And again I mean in my blending medium trying to blend these two areas seam them together. Around my man around my moon Ray here and that nice paint. All in with this nice dark color which is the quite knackered own in the fallow Bluett makes kind of a deeper sky Violet. Supernanny is just blending blending blending blending blending which is just really me going softly back and forth. Or my paint. But let’s say I want to have you know maybe a nice soft blend. Between these two areas we’re going to take that dry brush that dry clean brush again. Moina just softly one that and that crazy how that is. I really like that effect. It only works. And you may have to rub off on a towel like this. If the brush is clean and dry in the paints or wet here we just see here a full blending. So is a great way to get a cool effect. On Sky. So if you need to. Another way is just have glaze see glaze two edges together. That’s like there’s always a way to make this look really really nice. Now my next thing is I do want some stars in my sky that’s going to be important to me. How going to get those is I’m going to use my splatter brush and a soft body paint. Let me show you how you can do that. So this is a soft body painting. Just as a matter of fact so is crappy If the bottle paints that don’t really hold the brush structure. And I like to use that for all kinds of splatter. I think that’s a good thing to have in your tool kit if you can. This is my splatter brush. I will definitely include a link about that in the description below. Part of my galaxy set and I really like it because it lets me do some fantastic stars. So I just load my brush like that a kind of ribbon around them when they come here and I’ll show you. I just pull back lightly on the bristles and it starts to put stars in my sky. It is OK to have these splatters interestingly enough on the moon. It just adds to your moon character. So that’s all it takes. To star up your sky and to the mystical quality. Of your painting. I highly recommend you don’t leave this in water just rented out and dry it and put it to the sign. All right let’s get that crazy above the waterline below the waterline effect. Let me see how easy that actually is to get it. I’m going to get another break. I’m going to pick a nice number six great. I’m going to get this swage drag off the extra water. These are synthetic filaments these black pearls synthetic Thalmann So they’re not going to hold too much water. I’m going to come here and I’m going to make my fellow turquoise which is my fellow blue and my fellow Green to gather. I’m going to take it a little more to the blue and you can add if you need to to darken it a smidge of Kornicker time for the far off Sky level. Do you see how that’s doing. It’s going to give us a dark dark far away color. So it is the low blue Thaler green. And then where you need to be darker a smidge of quacker done. I’m going to come here along my water line. Yes I’m going to have an island but I’m going to go ahead and go to the trouble of painting the whole water line. I’m using the edge of my brush to keep a nice level line. You know I’m doing I’m just pulling that across keeping my hand as steady as I can and then I’m going to put in my first coat of paint. So the water’s going to take a couple of layers up here above the waves. And here’s my little trick so we are going to kind of come down the wave. Now I’m going to streak this out. We’re going to be painting sort of the flow of this water coming across and yes we’re going to have an island in a rage here. Don’t worry about that. We need to make a very reflective glassy surface above. If we’re going to make this believable ala blue ala green doo doo doo doo doo to darken it a little connected on magenta. It’s really cool how this works. So just darkening this up none here. And I’m following this line. Following that line. See my bursar flowing and implying the water as I’m going making sure my canvas is well covered. Once I have that I’m going to get a little white on my brush. And I’m going to start winning and all my reflections. That are happening in my work. Just flowing along here. Just another color another Tonelli like I’m coming down the water and then but then as I get back here to the horizon line I’m going to have to level that out. While this is trying to come back my next series of colors this is an interesting thing. You’re going to take a little of this color which is your water color and add a smidge of black to it. Maybe her for you see there but that’s what you want your water color with this you’re black. You’re going to come along the bottom edge of this once make this slightly Wiener coming at the end shear and then it’s going to tapering get narrow very delicate actually representing someone saying that happens in the water. Where you’re seeing light and shadow. And I’m going to come under this world wave which we’re going to paint up and then across here right so we’re like wait how does that work. But it does pull up just a few streaks like I’m doing right now. That’s going to help you also show that wave is going up. Now I’m going to get right into my blue like color still in my brush. Tom and make some dark water far away. Coming forward some dark water dark water sees your dark nighttime waters. Rain get some sure blue. Keep it going dark and light water. That’s what you’re playing with the dark and the light of the water. My fellow turquoise is Teyla green yellow blue green. We’re going to get a little wine into that up here at the top of this wave want to pull some of that color down long that way and put a little of that bright color down when they’re a little more blue on your brush with more white shust for second and then a few highlights out and your water ways lets out some highlights right here. Well we’re going to come down Maryhill when I put some of this color right here. If I need to get some glaze I’m going to get some glaze with some of them in recent go meaning that in here that we’re all. Now we keep our water cooler which is your Tayloe blue Thilo green. It’s your shadow in there a little bit of black here and had right here in the way. Well they’re a little soft chateau CNM feathering in one stroke. Flicking that back. I mean that little chateau when this is all rested we’re going to add one last highlight and it’s going to pull this water line from this water line in a way that almost feels like magic. In my opinion and in fact I think in this case I’m going to shrink my brush still a little bit to give me a lot of control so I can make a really sharp line. So I’m going to get a very very small little bright. This is a number one lone bright but when talking about is just a very small bright that you have control over rates or square brushes I’m going drag off the extra water and take a bunch of white into the aqua color and made earlier will load up my brush. Want to make sure it’s blue but it has to be the lightest color that I have out here in my water. I’m going to come on here. This to go on where you go. Where it’s happening now. Come along the stark edge here. So this is a lot like painting glass painting water anything is really you don’t heat we can’t see paint all the stuff you can see. And so in water it’s the reflections. That’s what I can see. So that’s when I’m painting marry now now we have it above the water line below the water line. Now this is all dry so guess what I can put in my island my Sharky’s Shirky Amlin And that’s actually pretty fun thing to paint. I might get this number for Black Pearl round. This is going to let me do a lot of lion Island work when you get a little bit wet off the extra water and load up my black paint and how I’m doing. And I’m going to paint a little island. So then imagine his skull comes up a little bit by here but the island shelf may actually go over to the left a little bit. I don’t really want it to come much above here my man because I need room for trees. So just think about that when you’re painting your own. Now. About how islands are shaped. Some wandering up you can sort of see me kind of wiggling wandering my brush trying to keep that line an even hand. All of this enbloc area painting all of this in black and you could have a volcano here you could do the palm trees everything that you put on this creates the scale that we’re looking at. And that’s the sort of fun. So feel like you can be imaginative on this piece. This is an amazing roll of work. I’m going to put a bunch palm trees on here because they make me happy. So let’s put a palm tree. In one of the tricks I can do is bring a little fron back during the strokes will stroke him then maybe a little one comes out here and another little here. Yeah. Once I have my little shape of it now when I like to do is just do these little strokes as your soft little strokes you can see me just being gentle. Imagine the worst bang haircut. Ever. That’s what you want for your palm fronds. If you were cutting these bangs you’d be all mad. But you’re not you’re painting palm front and you want those sort of very and even windswept edges on it. Right. There you just love in that weird little palm tree. Let’s give him some grassy friends and have some plants and some stuff happening here. You put all kinds of funny stuff on there. Alan I’m going to have some old plants. I’m like so sayur. Your ship is going down and you landed here and you feel all safe on this little rock out in the water ain’t much would not be safe. You don’t know that. But the shark is the hero of this painting. He’s the best chance you’ve got. Shark Island. So an animal and a palm tree. What was curve up a nice little chunk you and I will put some palm fronds down. From on fun fun fun fun fun fun fun. Foreshortened when hearing it can be a little shorter and worked out. Taken off the page if you want to. While are here it’s just fun to do these in my opinion giving them lots of personality. It’s old trees old tree things you don’t know. Maybe the monkey that lives not scarier than the. Down there. Maybe it’s awesome. It was a big party. We don’t know. You know because it’s your paintings. You can just make those decisions since you see it. So I’m going to come over here. You mean at least one more a
little palm tree. It’s just filling this all in this natural at unsure of some nice fronds like really good paint. Those in interesting palm fronds are to the point and they go from front from from just the tip of my brush as this depending on how I fill it out. But you know the angle that that Fran lives on wonderful thing about this type of plant is there so you know out there in the weather. They. Are so in the wind. Just a little bit there really nice time. We’ll bring in ice time little one here. Mary go perform for us. Let’s give her a little more going on gris gris gris gris gris gris just doing a very light brush stroke.
I’m just loving this. You mean some grass along the top of this one. It’s interesting one so it’s not just nurse Smith when sent out. My two cents is I’m going to take a little of my white on the edge of my brush I’m going to add just a little highlight on some of the wrongs we like gray hair like the moonlight’s catching it maybe or been on the trunk so that they’re contrasting and they pop. That’s just a nice touch that you can do. Something that I like to do. Understanding that little contracting highlight just is if the moonlight’s catching some of it. You know a little bit along the out. Highlight still trace what Notice I’m not putting a lot. This is just a little bit of contrast out there as if the moon is glowing around them. And you can even have a little of those highlights to the grass. Once you’ve got all of your story above the water where you’re totally happy with it you can start telling the spooktacular interesting mysterious story that we have going under the water. I think it’s time for us to dive on in and paint the sköll that we see floating in the ocean and of course our fantastically sleek and beautiful Maiko. Let’s get that started. So you do this part here the first thing that I think I’m in a painting is I’m going to start telling my skull story and I’m going to do that still with my number six. Someone come here and I’ll take my fellow blue fellow Green. You may be now starting to get the theme of this color mixture when I mix those together but I’m also going to add a little black to this mixture. Now I’ve got so you can kind of see it’s like a grayish black and I’m going to come in first with my dark color. So I haven’t rinsed my brush that grazed green mixtures on there. And when I come in and I’m going to outline a little bit what’s happening. Here in my design my dark dark colors will do inside I see how this is like kind of curved and be like in shadow and then everything inside here that’s going to help me paint him knowing where these big features are skulls are a lot of fine. And I think you know one of those more interesting and enjoyable things to paint or is presenting to paint one holidays and different things. Sorge painting that in most in their intense expression which is weird because you don’t think Skull’s of having those can if they’re mystical enemies it’s cause it’s just putting on in will get into a detail brush and we’ll work some details on here. But we want to just get these big broad strokes in. Right. So my green color even I’m going to come in just plan this along this jolliness very dark and really like to pull a little bit of a shadow under my water so I can start to tell that now I can get my glazing mean you mount a little bit of that shadow under this wave. Now as I’m going I can come in to my room my stay a little blue and a little bit of black and a smidge of white to it. You
start to see the color come underneath me. And
I must start creating the shape and value of the skull. So it’s just a little bit lighter. When my first color that I put in a call all the tops of the teeth and I used a smaller brush to paint in my teeth. Can give me more control. Right now I’m just blocking this in says the under of our wonderful skull island that we’re going to be working from and it’s giving us the big values the big shadows that we’re going to be dealing with in just painting then just covering the canvas at this stage where I am using the Gliese medium for this particular thing it’s not so much to blend is to help my paint flow out and deal with the very drying conditions that painting under bright lights can give you now lost a little bit of my shadow. Here’s come get my block where I’m going to just make sure that I have that still an whoas size because that’s an important part of my story here. Manuring this out. And I’m going to get into my smaller brush is that number one bright when it come into my color hair might even add a little more bluing to it. Went on your way. When my previous mixture and I’m in a Paignton just a little bit of a base shape of teeth there’s going to be water in all kinds of things happening around here. But I just want this base color in. So when I come back I have a nice foundation to work from I’m making a point here. That was definitely a decision that I made. To I think give this a really other worldly effect. I hope you’re really loving this week’s whole shark week event. I hope you’re loving all the shark videos that we’re doing in sharing and all the stuff that’s happening on Twitter. Hope some of you guys did start following me on Twitter. You have been enjoying the live reaction tweeting to this show. It’s definitely a fun thing. Anything you want to know about this week’s event just definitely check out the description below. It’s going to have more information links on where to get to that. Let’s start putting in our water that’s underneath the wave so we can start laying in that landscape. So I’m back into my number six and they get this sort of wet and they’re going to pull a little of my Kronecker down in a smidge of the blue. And then I come to the outside here. Going to create sort of a water little pool all my colors down very very fur tickly when they even cross over we’re not going to have my sea floor so I need these to sort of streak down. I’m going to be layering and the layering is really going to help me. But one of the things that I want to pay attention to is the directionality of Helen painting so I can still see my pencilling here. Where I’m putting in my floor. I’m just pointing this down. Now I come to the same thing on the other side which is blue on a clinic or down. Was our sign walling that down. This is going to take a couple layers to get this really gorgeous new Mynydd and underwater fact it’s really fun to paint things that are underwater. But sometimes it’s confusing to know how many layers it’s going to take. I’m just pulling that down. I might grab some more of the when and read. I’m just still calling it down here. Up and down vertically seams going up and down vertically. You’re doing awesome sir can’t stop doing it. I’m loving Shark Week. Super fun for me. I think that these are. I think it’s important to respect. You know the animals around the world and the creatures of the sea are really important to all of our well being we’re all connected. And so I think that it’s fun to do projects that acknowledge that I’m taking the green in the little blue what summary here. Going to Come back over where I’ve already picked. Look what that does that create an interesting effect. Yes pulling that down. Right next to him momentarily with this and pulling it down. And I’m going to go ahead and keep crossing that fourline because I really want to create this effect of water and light coming through. And this is how I’m going to do that. Same here. Look at that. You know how it Lares that crazy. So. Just pulling this down look at feathering this. I am making sure that I’m not even about it. I’m letting it get Leiter’s come back here. I’m pulling it down. Nurse crossing over mine. I can still see my pencil line here so I’m not worried about it. You know I’m going to put out a little more a little blue. I’m running low even though I’m in a cast a very dark shadow right under here. I still need to get this first layer in. So water a little thing. Blue a little fellow Green still painting in the. Moment to come back or am I to reef’s. And again like I said I’m gonna have some shadows under here. I just want to make sure I’m vertical with this streaking. That’s my big thing here. Everything has a big thing that’s our big thing to worry about here. We’re going to come back and redefine these t’s. Don’t be too worried about it. Colour’s transparence you’re really going to be able to see where they are world class polling this collar underneath the skull laying in that first layer of what is underwater. She asked crossing over the line where my pencilling is or my land is going to be. And don’t worry if you cross over your teeth a little bit like I did there. We’re going to put them right back. You’ve just got to see where they are. And they’re going to be all kind of crazy and rustic anyway. But here see about these like crazy brushstrokes. I want to smooth those out and smooth those out. That’s what’s going to be a big deal. I actually believe it or not. Need to let this dry a little bit so that as I put the next layer on I can create the illumination and the sea floor. So this is a number for Philbert. And this is going to give me lots of sharp edges and smooth blending and that’s kind of what I’m looking for. Got my water here and get slightly cleaner water you and then come back in and do my green and blue together. With a little black you go a little bleedings so are not drying out so fast and our color and I must start talking about some of this as I’m going through summer and little white to my brush and kind of see that that’s this greenish color. Men come under the eyes and start talking a little bit about this highlighted area under the eye. Same here. This is pretty dark color still. You don’t want to break color. You don’t want a light color. Just under hair used by blending media let me get a nice soft edge other place that I’m going to put a little bit of thought is right here on the. This is like what would be a mossel But in this case obviously it’s not. But this is mystic animated bone to make sure that I’ve got up here at this ridge a slight Heiling. So once I have that thing going into my darker colors and start playing with that KAMANGAR here. Buoying Cero put this on a little more in shadow see I’m going to scream. You come into your black if you need to to deepen it up and improve the coverage and come right over. Very carefully on the teeth. Just using the edge of the brush to fall the teeth line completed or resolve back in a second just painting around lending and shadow. Now another place I can have some nice deep shadow and get a little green maybe some of this back. I want to make sure everything has kind of an underwater cast to it. Right under this come down the side of the house just blown this here. You were in here leave a little highlight their plan here. The so now are getting some color some thought to what’s happening. We’ll get some just black on here. We’ll come in I’m going to strengthen shape. Very open. Lots you can do in here and you can create background illumination. Lots you can do. And I just really right now on the prove that chateau thing I also want to curve this up and I think I am an emperor of the nose or this to be even darker. So you know one of the ways I think about is like maybe an upside down heart. You go to like between the teeth and I kind of pull that line down between those teeth a little bit. And I’m going to get into my green and blue but this time I’m going to have it be a little bluer. You can go ahead and get a little black to it. But you want it to be more to the blue than the green more. Get some wine on them. And again here at the corner you’ve been a long way. It’s kind of right under here. Right here maybe a little bit more this line here. This in our corner I’m doing a highlight just trying to show where sunlight is hitting some of the features. Of your skull. Mona who knows a little bit and then I like to sit there and just pull a very nice soft dry brush above each of the teeth. She has to show the definition like a little highly you get too much of one just come back with your dirt color you like wow you get a little crazy there. Not so much. It is perfectly OK. That’s what I did there. Got a little crazy. Not get back. I’m going to get my small brush my number one brain. You know I’m going to come in and get some of this Lou. Walk some more. A little bit down here. Just try brushing up just thinking about the points. Think what these teeth mean is a little bit of shadow so let’s grab a little of a darker black right underneath things. Pull that down just coming right underneath the arc it work it energy a little arch pull it down. So it’s like totally what you would not want in a dentist. But don’t fall back. So you told me once that that’s what’s the world now dangerous space. So we’re telling that story coming underneath with the shadow. And then I wiped off my brush and get some white paint and let it go through the green. So
it’s not lightweight nice dry brush. Little bit too texture. Think it’s important. Quaint little help to find them now shaping it up. It’s worse giving. Thought. Well we’re inside out now.
I think it’s a good idea to grab a little black paint and kind of come up above the T. Sort of finish that shape out. Well have these suckers show and see they’re starting to pop now straining to be the good spooktacular teeth that they are. You know we go back I’m sure we got nice lights here but now you kind of know the shape what’s happening you know what’s going on here. Right. You know what you’re dealing with I think it’s a good idea to take a little black and blue one and get my glaze and then I feel like right on the teeth and I’m using my Precision brush so that I can get right in here and I’m going I’m going to come clean this down. Well I want everything under here. To be quite dark This is just the blue and the black I’m pulling that down. Fun stuff I’m pulling it down using a lot of colors. We’re getting a lot of results. This is about pulling down this Shannah and you can see right there how it helps pop that above it. So well you know also creates the mood to the water. Underneath there and it creates a mood to the water. Now I’ll probably pull into this bigger brush to just keep pulling that shadow down which is a little the black and a little blue. And I like to use my glazing liquid really cool tool open shirt. Moody moody moody moody moody moody. Moody right under here said feel moody feel mysterious coming through the sides here. Then again pull that down just a little bit. Not too far out. Now we’ve got some real narrative here we got this moody space let’s reset our brush. And put in some underwater landscape real quick. So my take my fellow blue over to my current accurate magenta and I will make it dark purple I’m an even a little black so that dark purple you kind of see it. You know when I come back and follow my landscape line that I have come on and the sign says Find the line of the landscape that’s under the water and we’ll paint this all in with this dark. Dark color. First time seems painted all in with a dark dark color. If you need more or don’t put it out I certainly do. Many more bloom or Kronecker don’t. Just painting on check that this is got vertical lines. That’s what you want is vertical vertical. More than anything you want to see vertical shelves covering the canvas. For those of you would ask Kevin is on the vacation here. They had a falling out years ago and so he doesn’t come by visit very often just in case you’re wondering where Kevin was. But you know maybe in your painting Kevin and you know I don’t know the name of our short island guy. Maybe they’ve reconciled and I’m just making sure that’s all covered. Now one thing I’m going to do right now is I’m going to try my painting and sketch in my charts Let’s get the paintings right. We can do that part. So I like to get my Makos shirt in about and you know that way I can create some more highlights and lowlights around him to really help him Pop. And I think that will also help you succeed at home. I have some kids Chuck here that I have a sharpened as you can see but just a regular pencil sharpener. Now of course you can use the traceable but I’m sure you drew my make go. I really like the sleek lines and I want to make sure that there is enough room. Someone actually put a curved line for the tail here. And then I’m going to curve and see what I like about the chalk because I can erase this a nice line for me to make a shirt and then I’m going to make a very sharp nose little bit of an open mouse kind of curving around and then join up to the tail and that’s going to be a very nice long line is what I’m looking to make. Obviously you don’t have the traceable which makes him very very arid and I like fins that are going to come back. And of course a pretty sleek dorsal. So this should give this creature sort of a darting through the water feel are going to get a small bright and first I’m going to put him in in black. Interestingly enough. Someone lit up my brush with black in a pain all this in not your chalk will come off with just water clean water and a brush so you can take inside the chalk lines and then clean it up outside. Once the pain is dry it’s only thing that’s really going to smear and mess with your painting is of course the paint. Hopefully a painting is going swimmingly and you’re ready to finish your awesome Makos Shirke because you’re going to make a shark with me. Let’s finish this fall guy. I mean we have a nice sleek outline and we’re going to put some highlights and some shadows on here to make him really gorge. I like to take my halo blue and my fellow Green make that they look turquoise. It’s so nice in the painting. And I’m going to get some nice white and really create a light color mint come along the edge of him with my small number one bright and I’m going to create a good highly can be quite bright as if light is coming through the water and hitting the top line of him. Wanting to pull this sort of down in a nice little dry brush. So you see that has a slight green cast to it. And that way everything really reflects what’s happening in the water right. That’s what we’re trying to do. We’re trying to say everything is sort of seen through a tinted lens. You insert just painting that like that some Wallwork color when it come along the back door SOL. She’s painting this along maybe on the inside edge here. Just showing some highlights might possibly be hitting our guy and then another place we can do some injury here. Like in the belly I like to come back a little bit of a brain heiling along the top to sharpen the nose. Well this back maybe on the inside edge of this once you have him really well defined where you like him where you like his collar like nibbling green when this or this is just a little more aquatic Gray just taking the thing in the turquoise and then blending along hairs making sure he’s just a black floating shape that he’s hard of his watery world. All right. So many come with a slightly bigger brush and I’m going to add a little bit of highlighter in him in the water and then the top of the hill. So going to take my fellow Blues. They are green making my fellow turquoise can even get a little too if you want to get my glaze merry go let’s come underneath him. We’re going to pull down just softly pulling down a little bit of color vertical just on the nose vertical not even from up top here pulls down some of this showing that the water is highlighted in some glaze if you need it. Mary. This in the truck is going to be just making sure these brush strokes if you will more kinetic are down for the outside edge. Just make sure that your vertical well traveling up and down the phone a little bit on this fun then the other place why you’ve got a little of your magenta. You’ve got your C color in it a little bit of your white and you can come along the top to your bank and the edge of your brush lightly brush some dry highlights just saying that there’s some ocean floor or ceiling some line animal while we’re here on the other side to keep it more in the pink will speak just willing their long hair. Crawled out and then down bent over him just making some sweet little Chatto shapes and you to pull some of this color down here. Back into your staler turquoise little bit away. Let’s pull some of this nice watercolor polling down here of the light just pulling down it’s another little color and you know Tayloe turquoise woman wait white here in an all that just making your ocean floor here at the bottom just feel like it’s part of the world. Sure you’re happy with your wallet and your Meiko. You really want to see his sharp silhouette. That’s important. Just making sure that we can really see his sharp silhouette. Sneezer Sharkey dude. Just putting that last touch. I think we’re there guys. I think that we have told our story. I think we visited Shark Island. I think it’s an OK time to get our detail brush out and put our mark on the canvas saying we’ve done great. Some won’t paint here. I think I’ll come down here when they’re a little Sherpa. Mark. Thank you for joining me for our week which is Shark Week and so much fun. I hope you’re looking forward to tomorrow’s shark tabular project and. Definitely check for the shark tabular projects we’ve already done because we’re shirking it up. I hope you follow me on Twitter and we’ll live tweet during this shark week show on Discovery. I want to see you guys really soon especially tomorrow for the next Turkey project by.

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