Seascape with a lighthouse: a detailed master class in pictures. How the "lighthouse" was drawn - learning to draw a landscape Decoration with pencils

Today I will tell you about the process of creating my painting "Lighthouse". I will try not to go into too much detail, because. it took three months to create this picture, because they had to work on it only in their free time. I will try to recreate the entire chain of creation of this picture, and I will do it in such a way that it will be interesting for you!

INTRODUCTION

When creating this picture, I pursued one goal - to achieve a mood of loneliness and cold, but at the same time, so that the focal point gives off warmth and comfort - creating protection from wind and cold. Initially, the picture was not conceived as gloomy and frightening as it turned out to be, I conceived a lighthouse standing on the coast, showered with sunlight, and a pier would be visible in the background.

I wanted the tower to look like stone, because by that time I had a craving for the creation of ancient buildings and architectural structures. I also loved the detail of rocks and stones, so the rock turned out jagged and uneven, with many broken parts and cracks. This has become my favorite part of drawing... this and the crystals sticking out of the rock!
Speaking of crystals, they appeared in connection with the desire to add something unusual when working with the highest point of the rock, which would attract the attention of the audience.
Well, enough of that, let's get to work!

SKETCH

As always, I start by drawing lines in my album until I find exactly the song that I like. Then I scan the drawing. At this stage, I realized for myself one thing that annoyed me - working with a sketch was always hard until I started doing it in Photoshop! I also found that the best way to sketch is to de-saturate the image as much as possible and increase the contrast until you get a black and white line image. Then set the layer mode to Multiplication (Multiply) and you're done. I thought it would be nice to mention this, in case someone else had problems with it too!

FILL WITH COLOR

Not forgetting how the drawing should have turned out - bright and positive - when working with color, I encountered a number of problems, until in the end I understood what result I was going to.

The rock initially seemed to me as just an upward slope. But, because while drawing it became more and more of a massive rocky mountain, I started to draw more directions of rocky stones, and experimented with colors. The result is a stony-gray shade of rock.

I wanted the clouds to look very thick, ready to rain, so I used a dark blue as the base color, and in places where the sun's rays were breaking through, I used a light and bright blue.

I then returned to the rock again and fine-tuned its details before removing the mountains in the background, following the new idea that the lighthouse would stand on a lone rock rather than on the shore.

At this stage, I came up with a bright balloon, so I continued to paint over the rock and crystals, going to continue working on all the little things.

ROCK

As I said, this is my favorite part of the process of drawing this picture, mainly because of all the trial and error that I had to go through to achieve the desired result. To say that I used a lot of brushes to achieve something that I would love is an understatement. I have tried every possible brush!

I ended up using a lot of grainy brushes and a few diffuse pattern brushes that I created from photographs of moss and mushrooms. The cracks were painted with black lines using a hard round brush with a small diameter and a tool. Blur (Blur). Then all these actions were repeated with the same small dark gray brush. This, I noticed, rounded some of the edges away from being overly sharp.

I didn't want the rock to just look like a gray block because that would make it boring and not catchy, so I started looking and studying photos of colored graphite to find inspiration. With fresh ideas, I started working on the rock again, adding some light pink and warm shades of gray, while adjusting the brush settings and choosing the most suitable ones.

LIGHT

Next, I started painting and processing the light and rays emanating from the lighthouse itself. He was the main focal point, so I gave him maximum attention to bring everything to perfection. This stage was the most difficult, because I could not achieve the desired result - the one that I imagined in my head. As a result, I decided to create not just a lighthouse on top of a cliff; I wanted to depict a shimmering light, bright and warm, breaking through the darkness, because this light served as a guide for the balloon, which I eventually decided to add.

FOG AND CRYSTALS

When I first finished painting the balloon, I changed my mind about the clouds because the picture looked very flat. The void that annoyed me, I decided to fill with a second rock in the background. This created a vision of a mountain range.

Between the two rocks, I added fog so that you can better feel the depth and atmosphere of the area. I also added thick fog to the foreground and blurred the rock in the background a bit. I then lightened the area around the tower a bit using a soft round brush and orange paint to show that the mist was absorbing and reflecting the light coming from the lighthouse.

After finishing with the balloon, I returned to the crystals, darkening them so that you could see that the light from the balloon was falling on it. I cut off the ends of the crystals and added transparency to them, while in front of me I always had a quartz crystal, looking at which, I could correctly complete this stage.

The appearance of the hot air balloon, as such, is inspired by the Steampunk genre. I wanted to portray a massive structure, hand built, as if it were someone's house or project. In connection with this, I drew a hanging ship in the form of an old boat, refurbished for new purposes. I also added two slopes and a copper pipe to fill the balloon with hot air.

It is always very helpful to observe different materials such as metal and stone to see how they react to light and shadow. The balloon itself is also made according to the texture of the fabric and looks like a real balloon. And again, a dotted brush will help in this situation to achieve antiquated and worn, which, according to my idea, was lacking in the ball itself.

CONCLUSION

Click on the image to view the image in full size and 100% quality.

And here is the end result!
I enjoyed creating this tutorial and I hope it helps you in some small ways. There is one significant point that I learned while making this painting that I would like to avoid, and that is how much your brain can get overwhelmed when working on one painting. Don't overthink the painting because you'll end up obsessing over every little thing!

Thank you! And success in creativity!

I love lighthouses endlessly, and even my wedding took place at its top. So I was there and did a lot of sketches of the Maine lighthouses. I plan to draw them all! Lighthouse Portland Head is considered the most amazing and suitable for drawing. It completely changes, depending on the angle of view and the weather. Bright red against a stormy gray sky can look grand!

It is this image that is traditional and everyone recognizes the Portland Lighthouse, whether it was there or not. In fact, this place is hard to imagine as a painting location, as there is practically no foreground (unless you draw tall grass, of course), the middle line divides the picture, and the red roof stands out against the sky. There is always an incredibly luxurious sky. Magnificent wildlife that still bravely resists all attempts by mankind to tame it and shows him clear disdain.

I really love lighthouses!

Necessary materials

• Arches Rough Press Watercolor Paper 14" x 20"
• Isabey Fine Round Sable Brush No. 14
• Long bristle brush Isabey No. 1

Paints

• (M. Graham transparent watercolors)
• Azo Yellow
• Cadmium Yellow
• Cadmium Red
• Phthalocin Green (Pthalo Green)
• Phthalocin Blue (Pthalo Blue)
• Cobalt Blue
• Ultramarine Blue (Ultramarine Blue)
• Cobalt blue (Cobalt Teal)
• Ultramarine Pink (Ultramarine Pink)
• Sienna burnt (Burnt Sienna)
• White Gouache

Let's start boldly applying a layer of ultramarine blue (ultramarine blue) and cobalt (cobalt) in the sky area. Such a magnificent sky stretches out in this area. I know for sure that several layers of paint will be required here.

In the sea area, add a few strokes of Blue Phthalocin (Pthalo Blue), leaving small gaps on the paper.

I use Pthalo Blue and burnt sienna to create dark areas in a deep crevice under a rock. It is incredibly deep exactly where the water flows, and the color should be deep, but muted dark. The shadow of the rock is of no interest to us!

Now let's get to the fun part of the job! I like to draw endless sky over the ocean!

I take ultramarine blue and mix it with nickel azo yellow and ultramarine pink to tone it down a bit. I need a gray base for cloud shadows. In this base we add a few strokes of three shades and Cobalt blue (Cobalt Teal). This part of the job is easy to handle.

When the work with this layer is almost finished, I blur a few sharp edges on the clouds. Large fluffy clouds actually have sharp edges, but there are also vanishing edges. It turns out a little blurry picture!

Artist Tips: Take a shade of paint twice as dark as you need. As it dries, it becomes lighter!

Notice how much lighter the sky got when the paint dried. You need to know in advance how the paints will look when they dry!

We begin to work more carefully with the rocks. I would like to add dark shades in the water area.

Since the sky is almost finished and dark stones have appeared in the rock area, it's time to pay attention to the details of the lighthouse itself! If I started with the lighthouse, then all the other details would not look so great.

Since the building is white, it's worth starting with a warm shade of Nickel Azo Yellow to create some glowing hues. While the paint is still wet, you can start tracing the doors and trim the details with Cobalt Teal and Azo Yellow. I draw windows completely, not trying to outline only their outline.

We draw the top of the lighthouse with Blue Phthalocin (Pthalo Blue) and Burnt Sienna (burnt sienna). Note how the shade turned out when the black paint had to be stretched with a towel. It captures the blue color of the sky incredibly accurately - just perfect!

Some areas were left unpainted for the glass image. If this does not work for you, then use white gouache.

And now let's move on to darker outlines and dark windows. I do this with a thin round brush.

The bright red cadmium on the roof looks inviting. It stands out clearly against the sky. It should be like this! But leave a few unpainted areas in it so that it blends better with the whole composition of the picture.

You need to darken the highlights on the rocks so that they blend with the lighthouse. A large number of dry brush strokes in the rock area will create a finer texture.

I'm using the same greens and yellows as the lighthouse to lightly outline the distant islands. Light strokes create a sense of the depth of the ocean on the horizon.

The final stage in the image of the Portland lighthouse!

And now that the painting is completely dry, it's worth noting the benefits of rough paper! Pay attention to the texture of the ocean, rocks and sky. The type of paper you use to draw can completely change how you feel about drawing.

With a damp towel, I softened the red on the left side of the roof a bit. It's like a distraction from a real lighthouse.

I'm happy that the image of the Portland Lighthouse turned out so classic. My inimitable father-in-law said, looking at the picture (and she loves lighthouses more than I do), that it is for her like a Christmas present. I thought it really fit for Christmas because of the abundance of green and red flowers.

I have 2 more types of lighthouse that I would like to draw right now. After all, they are a unique, but at the same time, a traditional detail of America, which I may draw a myriad of times in my life. I really can't wait for the boys to grow up and be able to paint my favorite place in peace. Someday, next year, I will finally draw another lighthouse for you.

I can't wait to get started, but I'm still thinking about drawing lessons, it's better to change the subject a bit. So many artists get used to depicting only one subject, or different subjects in the same style!

Even beginners without art education can draw. The main thing is to have enough inspiration and a simple pencil with an eraser. Most often, attention is drawn to marine themes, so this article will discuss how to draw a landscape with a lighthouse and what options are available for its design.

Training

For drawing, you need to prepare a sheet of high-density paper (a regular A4 is also suitable for hatching or colored pencils), a well-sharpened HB pencil, and an eraser.

For decoration, you may need simple pencils of different hardness or colored, as well as any types of paints. This lesson uses watercolors for coloring.

How to draw a lighthouse with a pencil?

In order to draw a seascape, you need to unfold the sheet in a horizontal position. For a small sketch, you can also choose vertical.

With a pencil, you should make the first sketches. At the initial stage, do not press hard on the pencil in order to be able to correct the details without too much dirt. First, you need to outline on the sheet the base on which the lighthouse itself will be located, and then draw the trapezoidal base of the object.

The key here is to keep the proportions. Then the further process of mastering how to draw a lighthouse will not cause difficulty. After the base has taken its place, you can add details. Namely: you need to complete the top of the tower by making a small platform with a railing, a spotlight and a roof.

At the base, you should draw a door, and also divide it into 5 parts using lines. The top and bottom parts should be larger than those in the middle. We do the same for windows.

After the lighthouse is drawn, you can move on to the landscape itself. First you need to outline the desired line of the sky. You can leave it as it is, or add mountains or the outlines of the opposite coast. In addition, it is possible to extend the territory from the side of the lighthouse.

At will, birds, trees, ships and whatever your heart desires can be added to the drawing. There are no special rules on how to draw a lighthouse and its surroundings. If you plan to paint with watercolors, you should not highlight the contours too much. Also drawing additional details is optional.

Decorating with pencils

In order to give the picture the necessary volume, it is worth doing the drawing of details. Then add shadows to each object using hatching, determining the location of the sun. Or highlight the light from the lighthouse at night.

When coloring with colored pencils or sketch markers, it all depends on the color preferences of the artist. The biggest difficulty will be in the design of the sea and sky. To get acquainted with the technique, you can watch this video.

Coloring with watercolors

How to draw a lighthouse was described above. To paint the landscape, you must first of all monitor the purity of the water. In addition, you will need thick and thin brushes. You can start with any large object, the main thing is to take into account the fact that light colors are applied first. Plus, before moving on to the next one, you should wait for the first one to dry completely. A version of the lighthouse, made in watercolor, is presented in the video below.

In this lesson, the design begins with the mountains. First, wet the right amount of paper. Then mix the desired shade in the palette and proceed to coloring.

For the mountains, a combination of emerald green and green watercolor was used, plus inclusions of yellow ocher. After drying, it was the turn of the sky. In general, it is most reasonable to move in one direction and not jump from place to place (for example, from top to bottom). For the sky, bright blue and turquoise were used, with a little bit of pink and gunse yellow.

In order to color the sea, you can first mark areas with foam with wax crayon. If it was not at hand, salt can also be used for interesting overflows. For the sea, an ultramarine shade and bright blue paint with a little black added were chosen.

Well, in conclusion, we finish drawing the lighthouse, the coast and add the necessary details. In particular, red was chosen for the lighthouse. Regarding the coast, it was decided not to add unnecessary details.

This is what a beginner's result might look like. This picture is just an example of how to draw a lighthouse simply and quickly. With due diligence and desire, the landscape will turn out much better, the main thing is to turn on your imagination and enjoy the process.

Required Accessories^

Brushes:
#8 Kolonok
#5 Kolonok
#0 Winsor & Newton Series 7 red sable

Paints
Dark grassy green, sap green, ultramarine blue, ceruleum blue, alizarin crimson, permanent pink, Indian yellow, raw sienna, burnt sienna, burnt umber.

Paper:
Cut sheets (5.5" x 7.5") Whatman #200 cold pressed.

Other
Simple pencil #2
Eraser-nag
Grafix Incredible White Mask
Robert E. Wood & Eldajon palettes.
Water tank
Hairdryer (optional)

Raw material:
Digital photos, sketches and imagination.

Step 1

To begin with, determine what you will draw and draw the necessary contours on which the drawing will be based. Explore visually in advance all the elements that you will embody in the picture. I took a photo of the Lorraine lighthouse on Lake Erie as a source, and also made a cardboard template to size so that you can move it around and play with the composition. Once you have decided where to draw the lighthouse, you need to mark the areas of the sky and sea, and then cover the area of ​​the lighthouse with a liquid mask.
While the mask was drying, I sketched some boats on the horizon.

Step 2

With a #8 brush, I mixed in the cerulean blue and after wetting some areas of the sky with clear water, I applied this paint, varying the intensity and shape of the edge of the clouds.
While this wash was still wet, I added a touch of black (ivory) to the blue to get a silvery gray for the bottom of the clouds.
Next, I rewetted the bottom horizon line and applied a light wash of Indian yellow, glazing with the underlying blue layer.
After that, I intensified the color of the sky with a rich blue while the sky was still wet.

Step 3

Suddenly, I realized that the paper I took for the drawing was moldy, as I kept it in the basement. The mold was not visible until the paint was applied. The areas affected by mold soaked up the paint like a blotter. Here is such an unexpected texture. With the same wash of ceruleum blue, I applied the first layer of water, trying to create a reflection effect. Then I let the painting dry.
Further, by mixing two greens and burnt umber, I made several variations of the green shade for the lake water. I pre-wetted some areas of the water before starting to work on the dynamic wave lines in the foreground. I paid some attention to the reflection of the lighthouse in the water, marking the red roof with a mixture of alizarin and permanent pink.

Step 4

For some reason I didn't like the foreground, so I armed myself with a #5 brush to paint some rocks near the shore with grassy green, cerulean blue, and burnt umber.
While the stones were drying, I mixed in a gray-blue shade for the small strips of land on both sides of the bay and painted them roughly.
After collecting some of the remaining ceruleum, I diluted it with a drop of water and drew the near sails of the boat to give direction to its movement.
Then I went back to the stones and painted over them with grey-green paint residue from previous water washes.

Lesson #26

We continue painting lessons for emerging artists. Today we will draw with watercolors a beautiful landscape: a white lighthouse that stands on the seashore in Australia.

How to draw white color? Of course, just leave the unpainted paper, show a little how the shadow falls and draw small details with a thin brush.

I chose this photo for this lesson.

The sea, clouds in the sky and a white staircase that leads to the lighthouse. In order to depict the details, we will first have to make an accurate sketch with a simple pencil, and then carefully draw with a thin brush, allowing the picture to dry well.

We look at the photo and draw a horizon line, a lighthouse, a stair railing and bushes along the ruler. At this stage, we need to be sure to draw all the details: railings, fence posts and even steps and windows on the lighthouse.

We collect blue paint on a thick brush and immediately draw clouds, trying to convey their shape.

Now you can paint the sky. Be sure to choose different colors: blue for the upper part of the sky and purple, we will draw them near the horizon.

We dilute the blue paint with water and draw the clouds so that they turn from white spots into cumulus clouds.

To do this, simply put small strokes with a brush, making wavy lines. We draw very carefully near the lighthouse and take our time so as not to cross the pencil lines.

If we start working on the sea now, the colors will flow and ruin our drawing. Therefore, we collect brown paint on the brush and draw the earth in the foreground and near the bushes.

Before the paint is dry, add a yellow tint to the left, the sun is shining there, so the grass is not so green. On the steps of the stairs we draw in gray, which we dilute well with water.

The sky is dry, so you can paint the sea. We work carefully so that the horizon line remains flat, and the lighthouse remains white. For water, choose a mixture of blue, blue, purple and green colors.

First, we try the resulting color on the palette, and then apply it with wide strokes to the water.

We leave the picture so that the paints dry, but for now you can draw green bushes. We just try not to go beyond the line of the sea so that the colors do not flow.

We collect herbal green paint on a thin brush and draw the brightest places, where the bushes are lit by the sun.

We draw green leaves, mixing green paint with brown.

We work on the bushes until they are completely painted. If there are white gaps, it's okay, we'll paint them over a little later.

Now you can make the sea brighter, for this we apply another layer of paint, making different mixtures.

On the lighthouse we draw windows and a door with black paint, at this stage of work we need a thin brush. Add color to the leaves on the right and left, painting over the white gaps.

We put dark spots on the green bushes below so that a shadow appears on the picture. With the same color, draw between the leaves to convey the shape of the bushes.

We add green color to the ground, then grass will appear in the picture, which grows on the shore.

We draw the grass that grows between the fence slats and along the stairs. On the ground, you can add yellow and brown shades.

We definitely need to show which side the sun is shining from, so we draw a shadow near the bushes with a mixture of green and brown colors.

On the grass on the left, we see the shadow of the stairs, so we draw several long lines along the fence. On the steps we draw thin lines with gray paint, we work with the very tip of the brush, drawing steps.

Grass is also growing inside the stairs, for which we choose a dark green paint, because now the grass is in the shade.

There is not much left: we add details that are still missing in the picture.

We make a very light gray color and draw a railing. But we do not paint over them completely, but draw thin lines along the inside, so that in this place the railing acquires volume. In the same way, we draw white columns: we outline each column on the left in gray, in this place they are darker, because they are in the shade.

On the lighthouse on the left, add gray paint and blue, after diluting them with water. After that, you need to let the picture dry well. Then we draw a door above and a red lattice.

We draw several horizontal lines to convey the shape of the lighthouse.

Our picture is ready.