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Watercolours

Motor Yacht

Watercolours is a custom motor yacht launched in 1991 by Trinity Yachts in New Orleans LA, United States and most recently refitted in 2007.

Trinity Yachts, a world leader in the realm of building full-custom superyachts, has been producing first-class vessels since its inception in 1995. Speed, seaworthiness and unique quality workmanship characterise the American shipyard’s builds.

Watercolours measures 35.05 metres in length, with a max draft of 1.40 metres and a beam of 7.32 metres. She has a gross tonnage of 186 tonnes. She has a deck material of teak.

Watercolours has an aluminium hull with an aluminium superstructure.

Her interior design is by Paola D. Smith & Associates.

Watercolours also features naval architecture by Gerhard Gilgenast and Trinity Yachts.

Performance and Capabilities

Watercolours has a top speed of 18.00 knots and a cruising speed of 15.00 knots. She is powered by a twin screw propulsion system.

Watercolours has a fuel capacity of 34,065 litres, and a water capacity of 5,132 litres.

She also has a range of 3,400 nautical miles.

Accommodation

Watercolours accommodates up to 8 guests in 4 cabins. She also houses room for up to 5 crew members.

Other Specifications

Watercolours has a hull NB of T001.

Watercolours is an ABS class yacht. She flies the flag of the USA.

She is also fitted with a jacuzzi (on deck).

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Michele Clamp Art

Watercolor paintings, tutorials, and videos

Watercolor Boat Painting Tutorial

Want to paint this watercolor boat painting? Follow the step by step instructions (including video at the end) and see how easy this can be!

I just can’t resist painting boats in watercolor. The colors, the details, the sun and shadow – all come together to make painting these watercolor boats so much fun. In this watercolor boat tutorial I break down all the steps and show you how you can paint this scene. Boat watercolor paintings can seem daunting but if you take things slowly it’s amazing how they come together.

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Watercolor materials needed.

• Mechanical pencil
• Watercolor paper (I like Fabriano Artistco 140lb cold press)
• Permanent rose
• Vermillion/pyrrole red/naphthol red
• Ultramarine blue
• Cobalt blue/cerulean blue
• Yellow ochre
• Lemon yellow
• Burnt Sienna
• Value Scale
• Color isolator
• Palette/paper towels/water pot
• Small spray bottle of water

Watercolor Boat Drawing

The drawing for this painting is pretty important. Sometimes I won’t put much detail into a drawing and just indicate the main shapes. For instance a landscape with trees can be pretty sparse in the drawing. All the detail and texture goes in by eye with just paint. But for this scene there is a lot going on and we want to indicate the position of a lot of different things.

Using a Grid Helps With Drawing Accuracy

I did this drawing by eye but, if you’re not confident with your drawing, you can grid up your paper lightly with pencil and draw it square by square. That way you can be sure you’re getting everything in the right place. It’s not a foolproof method but it gives you far less room for error. I’ve included a gridded up version of the reference below.

The aspect ratio of the photo is the same as for a 10″x14″ piece of watercolor paper. If you mark your paper into quarters on each side and join them up to make a 4×4 grid you can transfer the drawing more easily onto your paper.

Take Some Time to Make a Plan for Your Painting

Before we dive into the painting it always helps to take a few minutes and plan out what you’re going to do. It can be hard to do this – we want to jump straight in and get those brushes moving and paint splashing around. But a few minutes thought at the start always makes for a better painting. We can spot possible problem areas and make sure we know roughly how we’re going to proceed.

Which Direction is the Light Coming From?

I first make note of where the light is coming from and where the shadows fall. In this case the sun is on our right and the shadows are falling on the left. This is always good to keep in the back of your mind. If the reference is unclear in some areas you can work out how the lights and darks should fall even if you can’t make it out from the photo.

Where are the Lights and Darks?

The next thing I do is note where my lightest lights are and my darkest darks. Once we’ve located these then we know that everything else has to fall somewhere between those areas. In this case our lightest light is the white hull on the left boat. The darkest darks are in the shadow underneath the boats and possibly inside the cabins. I keep this in mind. Nothing else can be darker or lighter than these areas.

Where are the Main Shapes and Values?

This one is trickier but it pays off giving it some thought. Even though there’s a lot of detail going on in this photo I like to break it down into 4 or 5 main value shapes. In this case I would estimate (or measure using our value scale) the value of the following areas

• The hulls of the boats (in light and shadow)
• The cabins of the boats (in light and shadow)

This may seem like a lot to work out ahead of time but getting those big value shapes right is an enormous help getting a scene to hang together and getting it to be convincing.

Identify a Few of the Colors

Doing some test mixes of a few of the main colors can also be a good idea. It’s much easier to do this before the painting. When you’re in the middle of the painting there’s so much going on it’s hard to stop and think about this. It’s a bit like prepping for a recipe. Getting all the ingredients measured out ready ahead of time makes putting a meal together much easier. (Not that I ever really do that – but I should!) In this painting I mixed as I went along but it’s a better idea to try out your color mixes at the start. If you think you can’t remember how you mixed your colors then putting a pencil note next to the swatch is a good idea. It’s doesn’t have to be anything complicated – just a list of the colors is enough.

Watercolor Boat Painting – Finally we Paint!

So let’s start painting. We’re going to paint this in layers and build up the painting from light to dark. We’re first going to block in all the shapes with their lightest colors. Once those are dry we can go back in and add in the darks. This way of working takes a bit of getting used to. As we’re starting with the light colors of all the shapes things won’t start to look three dimensional until quite late on in the painting.

I have many more step-by-step tutorials and videos!

We want things to look flat to start with..

If we put in too much value variation in the early stages then the darks won’t make as much impact when we put those in. In these early stages try and match the color and value as best you can to the reference. And, most importantly, keep these early washes even. Don’t be tempted to try and make things look right at this stage. It takes a bit of faith but once you get used to it it will all make sense.

Keep Going With the Light Values

Keep going across all of the main shapes of the boats. One thing to remember is that we’re putting in the light value of each different shape but these values may vary from shape to shape. For instance, the hull of the red boat is a bright orange-red in the light. The actual value of this is around a 5 i.e. mid-way down the value scale. If we compare this to the beige area above we can see that it’s a little darker. The beige area in the light is around a 7 but it’s still in the light.

Similarly the red stripe on the left hand boat is around a 4 (i.e. darker than a mid-value) in the light. If you have a value scale and a printout of the reference you can measure the values directly. If the color is distracting (and it can be with bright colors like these) squint your eyes and it becomes easier to judge value.

Use the ChromaMagic Tool to Measure Color

Alternatively you can load up the reference in ChromaMagic and click on different areas. It will show you the three components of the color – hue, value and chroma. The color notation is part of the Munsell way of measuring color. It is incredibly useful in painting and makes color very straightforward to analyze.

Paint in the Sea in the Background

The sea in the background goes in next. This is a fairly dark blue and helps to tie the boats in the scene and give us some depth.

As you can see at this point the painting isn’t looking three-dimensional. Don’t panic! This is exactly how it should be looking at this point.

Paint in the Sand Around Your Watercolor Boats

Next we’re going to put in the sand. I really like this bit as we get to put in some texture with our spray bottle. One thing to be careful of – sand isn’t yellow. Or rather it is yellow but a very grayed out low chroma yellow. In this scene it’s a kind of beige so make sure you add in some black to your mix to take out some of the brightness. I’ve made the mistake of painting sand far too bright in color many times. Again mixing a swatch of color beforehand helps a lot as does using ChromaMagic for checking the chroma.

Use a Spray Bottle to Add Texture

While your sand wash is still wet take a spray bottle of water and lightly spritz the surface. If the paper is the right level of dampness the water will add small sparkles and splodges in the paint. It adds some interest and texture to the foreground. This can take a bit of practice to get right. If the paper is too wet the water will just disperse and disappear. If the paper is too dry the water won’t do anything at all.

Watercolor Boat Painting – Add the Sky

Note: I’ve got the order slightly wrong here. I’ve already put in some of the darks on the boats before doing the sky. The order doesn’t really matter. You can put in the sky before the shadows and everything should work out fine.

Let’s put in some sky now. The reference photo doesn’t really have much in the way of clouds and I didn’t really want a big expanse of blue up there. So I’ve invented some cloud shapes. You have a lot of freedom here. Put in some blue around wherever you fancy the clouds to be. While the paint is wet take a clean (very clean) damp brush and soften the edges of the clouds. The blue pigment will diffuse out into the damp areas of paper making lovely soft and convinving clouds.

Watercolor Boat Painting – Second Layer Darks

Now this bit is where the painting starts to come to life. We’re going to put in the shadow sides of the objects and make them look three-dimensional. Adding in these contrasting areas also helps the visual impact of the scene and it will make the image more interesting as well as more realistic.

Don’t Add Color in the Light!

We’ve already painted in the light sides of our objects so we won’t be putting any color in there at all. We’re just going to paint in the shadow colors on mostly the left sides. Make sure your colors are at least a couple of shades darker than your light sides and things will start to take shape. When you get to the insides of the cabins we’re even darker as very little light is getting in there – you don’t need to paint things – just a few dark shapes at different angles will suggest a lot of detail.

Be careful with the shadow on the white hull. We don’t want to go too dark here and keeping that shadow light will really suggest strong sun.

Add a Cast Shadow to Anchor the Boats to the Ground

Finally add some cast shadows on the sand and right at the bottom of the boats. This will make the boats convincingly anchored to the ground.

The Magic Bit – Details on Your Watercolor Boat Painting

By this point you should have something that’s looking pretty three-dimensional. This next bit really adds sparkle and interest to your watercolor boat painting! We’re going to put in some lovely details. Put in the masts and rigging with a small synthetic brush. Make sure they’re not too dark – a mid value gray is plenty dark enough here. The other thing to take care with is not to make your lines too continuous. Leave a few gaps here and there as it will make the masts more convincing than if you carefully paint them in one continuous line.

Continue with the masts and smaller details. Add in a few lines for the railings and the ropes holding the buoys. A few light lines on the white hull will also suggest their structure. I hope everything is looking really good by now!

Flags and Signs

We’re right at the end now. A few red marks for the flags will add a pop of color. The signs on the boat go in with an almost black background. The lettering is suggested with a little opaque white.

Final Thoughts on This Watercolor Boat Painting

If you tried this painting I hope it turned out well. I would love to see your results – please feel free to send them to me. I have also videoed the whole process and you can paint along with the full painting.

Related posts:

2 thoughts on “ Watercolor Boat Painting Tutorial ”

Hi Michele, Kathy Martinez here. I am working with the ColorMagic tool. Love it except for one problem I am having. My monitor is a Cintiq 32 inch display that I have supposedly color corrected with an i1 display gizmo. The colors for the Munsell chips from

Kathy your program don’t come through to match my big book Munsell chips. It is way off. My cintiq screen pretty matches my Ipad. Do you have any suggestions? I have just been finding the chip I have that matches the color swatches from ColorMagic, even though they aren’t the same as described in the program.

Hi Kathy – I replied by email. I was thinking that it may well be hard to match chips directly to the screen. I’m going to try with a setup that I know the colors off and see how it goes. ColorMagic will report the colors in the photo accurately but whether you can match to the display directly may not be possible. Screens give out light and chips only reflect the light so comparing them side by side is going to make the chips always look dark. But maybe there’s something else going on! We’ll see. If it’s fixable we’ll fix it.

Comments are closed.

How To Paint Boats In Watercolor

Miscellaneous, how to paint boats in watercolor: simple rowing boat, step 1: initial sketch, step 2: painting the first wash, step 3: painting the background, step 4: painting the boats, step 5: foreground boat & cast shadows, step 7: adding foreground texture, step 8: foreground foliage, step 9: final details, watch the video, materials list.

Ultramarine Blue: Winsor & Newton | Daniel Smith Dioxazine Purple: Winsor & Newton | Daniel Smith New Gamboge: Winsor & Newton | Daniel Smith Burnt Umber : Winsor & Newton | Daniel Smith Paynes Gray: Winsor & Newton | Daniel Smith Alizarin Crimson: Winsor & Newton | Daniel Smith Cadmium Red: Winsor & Newton | Daniel Smith

Rigger Brush (For thin tree branches etc) Bu y from Amazon 1″ Hake Brush Buy from Amazon Synthetic Squirrel Flat Brush Buy From Amazon Princeton Synthetic Kolinsky Mop Brush Buy from Amazon

Arches watercolor paper block, cold press, 9″ x 12″, 140 pound Buy from Amazon

Easy release painters masking tape Buy from Amazon Adjustable desktop easel Buy From Amazon

This simple rowing boat can be painted with just one brush. A 1/4″ flat brush.

Begin by painting a loose background wet into wet using Ultramarine and Dioxazine Purple. Leave the paper dry where the boat will be as the paint can only flow only where the paper is wet.

With the edge of your flat brush, paint the darker interior of the boat with a flat wash of Dioxazine Purple and Payne’s Grey.

Paint the exterior of the boat with Cadmium Red. Thin your paint mixture with water as you progress down to the boat’s reflection in the water. The reflection should be lighter and have a less saturated color than the boat itself.

While the paint was still wet I dropped in some shadows along the rear and particularly around the bottom of the boat.

Here’s a pro tip for painting shadows. Never use gray, or black to darken your colors as this just makes them dull and lifeless. In this instance I’ve added Ultramarine to my Cadmium Red. This darkens the color, as well as cooling it, making for a much more convincing shadow color. For more on this this see my detailed post on color theory and how to mix watercolors for the best results.

How to Paint Boats In Watercolor: “Boats In The Harbor”

Here is the original reference photo for my painting “Boats in the harbor” taken from a video that I took.

Although the final painting was actually completed in the studio, I also did some tonal Plein Air studies on location. A tonal study is a monochromatic painting, or pencil sketch that is done to help understand just the light and dark values. I was also trying to get a feel for the structure and perspective of the boats.

This painting of a couple of boats anchored on the Kaipara Harbor in New Zealand, shows how it’s possible to portray a convincing looking boat with only a few brush strokes and a couple of tonal values.

Total Time: 45 minutes

My initial sketch, is quite rough, as you can see but there is just enough detail to show the structure of the boats. The rowing boat in the foreground is just a few simple lines but the little cabin cruiser at the water’s edge has a deceptively complex shape and took a bit longer to get right as it is positioned in such a way that makes it necessary to add perspective.

When drawing three dimensional objects in perspective I find that it try and visualize them as collection of simple geometrical shapes such as stacked boxed and then I add the finer details after.

I began by painting the sky and water in simple broad strokes. The painting was set up on my desktop easel angled at about 45 degrees.

For the first wash I used a 1/2 inch Hake brush with Cerulean Blue diluted to a weak tea consistency. I left plenty of white paper showing through especially around the boats. For the dark wet sand and mud in the foreground, I brought the wash down to the bottom of the paper. I picked up some Dioxazine Purple, Payne’s Grey and Burnt Umber and allowed this to mix and blend on the paper.

The boats will be the main focus of this painting. They are the elements with the strongest contrast and strong contrasts tend to draw the eye immediately. To keep things simple and uncluttered, I’m going to keep the background elements quite loose and undetailed.

With a 1/4 inch Flat brush I painted a variegated wash of Greens mixed from New Gamboge and Prussian Blue and Burnt Umber.

A flat brush is perfect for creating the sharp straight edges needed for the clean lines of the boats. Begin by blocking in just the boat’s shadows, with a 1/4 inch flat brush. I used a strong gray-violet which was mixed from Payne’s Gray, Ultramarine and Alizarin Crimson.

I gave the foreground rowing boat a little more detail and tonal variation than the cabin cruiser, as it is closer to the viewer. Here I am adding the finishing touches to the outboard motor. Don’t forget to indicate the cast shadows on the sand as this little detail will really serve to make the boats feel solid and well grounded in the scene.

Add the texture of sand and stones by flicking paint with an old toothbrush. I’ve used a sheet of paper as a mask to ensure that the paint doesn’t go into other areas of the painting. Ensure that the paper is at least an inch above your painting, otherwise it will create an unnaturally straight line of spatter.

Use a small mop brush to paint the leaves and foliage in the foreground. A mop brush is perfect for creating leaf shapes. It also forms a sharp point, which is ideal for thin branches.

With 95% of the painting completed, all that’s necessary now is to add the darkest details such as the anchor lines and other small lines (often referred to as calligraphy) with a Rigger. Here I am adding the windows to the cabin cruiser with the edge of a flat brush.

If you found this post useful check out the links below

How To Start Watercolor Painting: Essential Beginners Guide

6 Easy Beginner Watercolor Painting Ideas You Can Do!

35 Beginner Watercolor Mistakes & How To Fix Them

Black Friday! Get the EVERYTHING Bundle. ALL my courses & Ebooks for only $225 $ 49 See courses here

WATERCOLOURS Trinity

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A General Description of Motor Yacht WATERCOLOURS

The well sized superyacht WATERCOLOURS is a motor yacht. This 35 m (115 ft) luxury yacht was created by Trinity Yachts in 1994. WATERCOLOURS was formerly named Leda; Nassa; Elegance; Big Don Carlos; Leda. Superyacht WATERCOLOURS is a grand yacht that can sleep a total of 8 people on board and has approximately 4 crew. This gracious boat was created by a naval architect called Gerhard Gilgenast. Paola D Smith (Original)/Yacht Design Associates/Dee Robinson was involved in the designing of the interior.

Building & Design for Luxury Yacht WATERCOLOURS

The yacht's general design work came from Gerhard Gilgenast. The professional naval architect intellectual property are the creation of Gerhard Gilgenast. Motor Yacht WATERCOLOURS received her elegant interior designing from the interior design office of Paola D Smith (Original)/Yacht Design Associates/Dee Robinson. the United States is the country that Trinity Yachts constructed their new build motor yacht in. After formal launch in 1994 in New Orleans LA the boat was passed over to the owner after sea trials. The hull was crafted from aluminium. The motor yacht superstructure is fabricated mostly from aluminium. With a beam of 7 metres / 23 ft WATERCOLOURS has reasonable size. A reasonably shallow draught of 1.4m (4.6ft) limits the amount of overall marinas she can enter into, depending on their minimum characteristics. She had refit improvement and modification completed in 2007.

M/Y WATERCOLOURS Engines & Speeds:

The vessel makes use of twin proven CATERPILLAR diesel engine(s) and can drive at a impressive maximum continuous speed at 18 knots. The engine of the WATERCOLOURS produces 1420 horse power (or 1045 kilowatts). Her total HP is 2840 HP and her total Kilowatts are 2090. Connected to her Caterpillar engine(s) are twin screw propellers. As for the yacht’s stabalisers she was supplied with Naiad. The boat’s express cruising speed is 16 knots which provides a range of 4000.

Superyacht WATERCOLOURS Accommodation:

Providing space for a maximum of 8 visiting passengers staying on board, the WATERCOLOURS accommodates everyone comfortably. The boat utilises approximately 4 expert qualified crew to manage.

A List of the Specifications of the WATERCOLOURS:

Miscellaneous yacht details.

Her deck material is predominantly a teak deck.

WATERCOLOURS Disclaimer:

The luxury yacht WATERCOLOURS displayed on this page is merely informational and she is not necessarily available for yacht charter or for sale, nor is she represented or marketed in anyway by CharterWorld. This web page and the superyacht information contained herein is not contractual. All yacht specifications and informations are displayed in good faith but CharterWorld does not warrant or assume any legal liability or responsibility for the current accuracy, completeness, validity, or usefulness of any superyacht information and/or images displayed. All boat information is subject to change without prior notice and may not be current.

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"Peerless in design, craftsmanship, and performance, Trinity Yachts has gained recognition as one of the world's elite builders of custom super yachts in the United States. While most super yachts are constructed on a semi-custom basis, Trinity provides customers the ability to build a truly custom yacht to any design in any size up to 400 feet that rightfully fulfills their unique yachting desires."

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Watercolour I

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WATERCOLOUR I yacht NOT for charter*

38.41m  /  126' | custom | 1929.

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The 38.41m/126' motor yacht 'Watercolour I' was built by Custom .

Range & Performance

Watercolour I is built with a steel hull and steel superstructure. Watercolour I comfortably cruises at 7 knots. Her low draft of makes her primed for accessing shallow areas and cruising close to the shorelines.

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Motor yacht Watercolour I is currently not believed to be available for private Charter. To view similar yachts for charter , or contact your Yacht Charter Broker for information about renting a luxury charter yacht.

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intheboatshed.net

Gavin Atkin's weblog for the sort of people who like looking inside boat sheds. It's about old boats, traditional boats, boat building, restoration, the sea and the North Kent Coast

Yacht – a collection of Michael Frith’s watercolours of the classic fleet of yachts

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Paintings and sketches from the pages of Michael Frith’s book Yacht

Yacht is a hand-bound limited-edition book of prints of well known classic yachts painted by the renowned watercolourist Michael Frith , and inspired by the America’s Cup Jubilee event at Cowes in July 2001.

A sailor since childhood, Frith attended the event as crew on the last wooden Nicholson yacht, Quiver V (1969), which gave him the opportunity to view many of the 150 yachts present in close-up action. The sight moved him to begin recording the boats in paintings, a project that has since taken him to the Mediterranean and the Carribbean .

As readers will see, his vividly coloured paintings and sketches capture the characters of the boats, and very often something of the thrill of sailing them.

The book includes a foreword by Harry Spencer of Spencer Rigging and an essay by Dan Houston , editor of Classic Boat , and includes a pictorial index of the names and specifications of the yachts that appear in the paintings. It runs to 160 A3 landscape pages, and each of the 1000 copies is signed and numbered by the artist.

About the artist: Michael Frith has worked for many national newspapers including Newsweek , TIME , The Times and The Sunday Times . He has held 25 solo exhibitions, and his paintings form part of many private and public collections, including the National Portrait Gallery and the Bank of England .

The book is priced at £400.00 plus postage and packing, and orders can be placed through the publisher’s website http://www.spotred.co.uk .

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