Acrylic Knife Painting For Beginners | Debasree Dey | Skillshare

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Acrylic Knife Painting For Beginners

teacher avatar Debasree Dey, debslilarts | Acrylic Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 22m)
    • 1. Introduction & Project

    • 2. Art Supplies

    • 3. Texture Technique With Knife

    • 4. Texture Technique With Brush

    • 5. Step 1 - Color Block The Road

    • 6. Step 2: Color Block the Sky

    • 7. Step 3: Trees & Branches

    • 8. Step 4 - Leaves On Trees

    • 9. Step 5: Fallen Leaves On Road

    • 10. Step 6: Final Touches

    • 11. Closing Words

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About This Class


Are you someone who is scared to try a knife painting? Or u feel intimidated to hold a knife and put it on the canvas? If that's you, then let me tell u you are not alone. We all have been there. 

In this class, I will teach you the basics, how to create amazing textures with knife and finally create this beautiful Autumn landscape. You will also learn the techniques of creating abstract strokes & textures using acrylic colors and a brush.

This class is for beginners. Even if you have never painted in acrylics before, you will be able to create this painting following my step by step guidance.


1. Acrylic Paints (listed below)
2. Canvas Paper / canvas board / stretched canvas / acrylic paper
3. One palette Knife
4. Brushes - 1 flat brush and 1 small round brush
5. A plate - something to mix paint on
6. Water
7. Tissue paper

Colors I used in this class:

1. Titanium White
2. Chrome Yellow
3. Burnt Sienna
4. Prussian Blue
5. Black
6. Cadmium Orange
7. Crimson Red
8. Dark Green

By the end of this class you should feel confident in your ability to create this painting.

I recommend this class for everybody - no prior art experience is necessary. If u haven't painted in a long time and wanting to brush up your skills or if u haven't found anyone to mentor you in your creative journey,  or if you are not sure you will be able to paint, or if you just want to paint pretty landscapes just to feel good - this class is for you.

Look forward to seeing you in the class


If you are new here, do check out my other classes and create masterpieces:

How To Paint An Abstract Forest Landscape

How To Paint Sunset Reflections

How To Paint A Realistic Seascape

How To Paint A Monsoon Landscape

How To Paint A Landscape From A Photograph

How to Paint Autumn Landscape with Knife

How to Paint Sunrays Through Window


You can purchase all the items I use by clicking on this link.

This is an amazon affiliate link, meaning, at no extra cost to you, I will make a commission, if you click and make a purchase.

Meet Your Teacher

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Debasree Dey

debslilarts | Acrylic Artist



Download my eBook. 


Working as an artist for 7 years, I have carved my own path into the art world. There were many big stumbling blocks and also bigger accomplishments. All of which lead me to become a Thriving Creative.

Collecting my experiences, I have built this ROADMAP for you!





Hi, my name is Deb. I'm a self-taught artist, acrylic art guru and a creative entrepreneur based out of Pune, India. Academically, I've done MS from BITS Pilani, worked in corpor... See full profile

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1. Introduction & Project: Hey guys, welcome to another a creeping tingling editorial. My name is Deb and I am an artist based out in India. In today's class, I'm going to be teaching you about a knife paintings. So if you are someone who has never painted in math before, are super scared to even try. Let me tell you, you are not alone. We all have been there. There was a time when I had bought and naive and I never even tried to interact with it. So there was one fine day that I decided that I want to try painting with a knife. And I was extremely surprised to see that effect that I got. And the painting that I created. That's when I realized my feeling is really easy once you understand the techniques, night painting also lets you lose and let go of your control that you want to have on your painting. And it surprises you with really amazing results that you cannot even comprehend. So in today's class, I'm going to be teaching you a couple of basic techniques of painting with nine. So just to warm you up and it'll give you a little confidence of holding your knife right, and creating some amazing textures. I'm going to teach you some more techniques of painting with a brush also. And I'm going to teach you so many other things in this class. And then I'm going to divide this painting into 60. And I'm going to be taking you through each step of the way to teach you how to create this gorgeous autumn landscape with this beautiful for leaden leaves on the road. So you are a class project for today would be nuclear, this painting along with me and at the end of the class, how amazing masterpiece created by you that you can happily hang on your wall. In the next video, I'm gonna be telling you all of the art supplies that you're gonna need for today's class. So without further ado, let's get inside the class. 2. Art Supplies: Hey guys. So in this video I'm gonna be telling you all the art supplies that you're gonna be needing for today's painting. Ok, so as obvious, it's a nice painting, so you're going to need one night. Now these are all the lines that I had to I don't mean to scare you guys, you don't need to have all of this mess. So in the description link below, you will see that there is a link to Amazon store. They could find a set of nine so you can buy the toll back because it's it's our value for money. But I did not buy that state because I bought only a single one differently and they're pretty expensive when you buy them. You know, these are some pretty weird shaped nights that I already had four different kinds of knife paintings. However, in today's class you're gonna be needing something of this shape. So this, and this is pretty much similar. It's just one small one is big. Now, depending on the canvas size that you're using, you can use the nice. So I'm going to move all of this aside because we're going to need this kind of names for this thing. So now see for example, this is the paper that I'm going to be using for today's painting. Artist accurately, paper is about 400 years and before it's very thick paper because it's a knife eating. I wanted to do it on a ticker paper, but you can feel free to do it on a canvas. Because Canvas I feel it would be even better for a naive painting. Okay, now, if you are willing to use our whole a foresight Speaker, Okay, so it's like this big. You can use this bigger knife. However, what I'm gonna do is I'm going to cut it down in half. So I'm going to use an E5 size. So for that I'm gonna be using the smaller knife. So you use the naive debating on the size of canvas you have. So if you have an even bigger size canvas, you can feel free to use or even bigger one, maybe, you know, something like this. So they're pretty much of the similar size, sorry, similar shape, but does just the sizes are different. You can see the variety of size. Okay, now in this painting we are going to need some brushes as well. So for, again, for my size of canvas, I'm using a size six. This is also a size six, but it's a really old brush so you can see the difference. The bristles are all out. And as you'll learn in that techniques in the next video, I'll show you guys how to create a similar texture with the old brush and a new brush. Alright, so pretty Deputy Minister, similar brush, one is nu, one is old and you're going to need one pin, small round brush. I think this is psi three. So if you have a size two or one, that's even better. Okay, now I'm going to be using a mix of fluid acrylics and peak body bends. So now take body paints are very important for nice painting, for this kind of painting where the beat is popping out from the canvas, which is more of a impasto teens. So I'm going to be using 33 different kinds of beans or three colors. One is, this is chrome yellow, this is cadmium orange, and this is burnt sienna. These are the treaty body pains. I'm going to be using any valleys mind whatever brand you guys have. I did not have the yellow in the ganglion, so I had it from liquid x basics. So the brand really doesn't matter. Whatever brand you have is fine. Just a shade of the color is has to be. Right. Okay. And for the fluid acrylics, I'm going to be using five colors. Prussian blue. Why it than brown? Shade is dark brown. But if you're using your thick body paint, you can use modern Sienna and black. Okay, so when we start our painting for the, for the initial state, we want to use only four colors. Prussian blue, white, black. And we're going to use little bit of dark green as well. Okay, so these are the colors that you're going to use when you first start the bingeing. And gradually we move on to the ticker body beams, which are chrome yellow, the orange, and the bond Sienna. Now, if you guys don't have this fluid acrylics, that's totally fine. If you have a state of peak body paint only, which comes in a set of 12. So and you can actually make static body paint with a little bit of water to pin down. And it will work just the same as the fluid acrylics. Ok, so you don't have to have fluid acrylics, antique body paint separately, whatever you guys have you can intuit, makes sure that for the knife part of the painting, you really, really need the body bed. So you cannot do that knife bought with the fluid acrylics. Alright. So that's pretty much all the tsunami for today's spinning. And I'm gonna use them asking desks to dip down my paper on the table. And you're gonna need Java photo and tissue paper to clean off. And this is really important. Some rough sheets, I have this small cutouts which I want to be using to show you guys a little demo of the techniques or grab whatever people you have loose sheets. In his case, they were anything is fine. Have bigger sheets also. Not necessarily. You have to use it on a small sheet of paper. That is just for practice. If you have more people in and practice more and get your hands really good on creating these techniques. Okay, so in the next video, I'm going to show you how to how to create the textures using 9s and brushes on this rough sheets. Once you practice that, it will get really easy when you come to the actual painting. Okay, let's get going. Oops, I forgot to say about the ballot. You need to have uplift. Okay, so here I have my glass ballot where I'm going to be keeping on my bits. If you don't have a god glass ballot, you can just stick up people played, or any salary that you might have in your kitchen for using as a valid, okay. But just have any base where you can mix Europeans endless. 3. Texture Technique With Knife: Hey guys. So in this video, I'm going to be showing you a couple of techniques to do with maize that really give you some of the basics of a nice painting and it will lose enough. If you're holding a 99 for the first time in your hand, it will give you some confidence to do this on the canvas. So to do this, I'm gonna take out the colors that we are going to be using in this painting. So the first technique that I want to show you guys is a very basic of nice painting. All you wanna do is pick up some aimed at the back of your ninth and just go over a rough paper. So this will, this is not a technique that we're gonna use in this painting, but this will give you a very nice idea of how life works. It's basically getting to know your knife. So we are mixing three colors. And we are moving from light to dark and giving some gradation. So you see how two colors mix. So when you do this on our, on our Canvas or rough sheet, whatever you have, you will get to see how your knife works, how easily the colors blend with each other and create a beautiful texture. Can you see the beautiful texture that is being created over you? And you can use whichever color you want on top of this, however you want. Okay, so this is your first practice. So you can keep doing it for some more time on our piece of paper to get some confidence on ninth printing. Now I'm going to show you is the second technique. Okay, so the second technique goes like this. You can start with whichever payment doesn't really matter. I'm just using the light at dawn and putting on Peter flare on the background. Okay. It's pretty much like the force technique that I showed you right. Now on top of this, what you will do is we will take any other color and you'll go and added like this. You're basically dabbing your lifting up the knife up from the canvas. Okay? And you see you're getting a different textures. So using knife you can attain a variety of textures and techniques. It's really very, very nice, versatile, and do so much of it. You can. So this technique also we are not going to use in this painting, but this is a really nice technique to create some leaves and grass on the trees. So even in this painting, if you will not be showing you with this technique, but if you really like it after practicing it, you can feel free to use this technique on the top part of the trees where we do all the leaves. So trade out, it'll be really fun. You basically Layer one color on double Veneto and cleared this dexterity. Look, ticket out howard looks. You can see that takes shows popping out of the people. You don't put tomato ratio, you just go very light. And you can keep doing this. So this is the second technique. And now I'm going to show you the technique that we are going to be using on this painting. So all you have to do is pick up quite a bit of a hint. Look at the amount of paint I have picked up. And you're gonna go and touch it like this so that the paint box out of the baby. So you look at it, how I have added this three strokes that have added the beat is actually so much standing on top of the before, right? So the mixing of color will warn him like I showed you guys in the previous two techniques. So you can mix as many colors you want. But we'll be mixing maximum two or three. So you see this one has little bit of yellow and orange. And you're just creating some vertical, sorry, some horizontal strokes with it. So you should be able to do smaller strokes if you want. So these are like really, really small one. These are basically the leaves at the distance. And if you want, you can create some bigger strokes. Also. You are holding your knife really losing this. You are not putting too much pressure on your canvas while applying the color. And your kid at creating this take texture. The positioning will play a very important role in the painting. Right now I'm just adding each randomly here in there to show you guys. But in the painting you will see how to place these textures, where and how much, how big house model. That's it. So these are the three techniques to warm you up with the knifes. And these two are not the ones that we're gonna use in this painting, but it will give you a very good idea of how knife works. And this is the technique that you're gonna use in this painting. I hope you are little bit warmed up after trying out these three techniques and you are good to go to do the painting now. 4. Texture Technique With Brush: And now I'm going to show you one more technique that is to be done with the brush and the tick body pains. So I'm taking out again the three different kinds of beans and I'll show you how to mix them and how to keep them in the desired XTO for this painting. Ok, so now for this technique, I have a really, really old brush. This is, I take size six. But as you can see, a bristles at really, really rough. So this will give me really good texture for creating this technique. Now if you don't have old brush like mine, and if you have a new brush like this, I'm going to show you how to use that as well. Okay, so that you're not too confused. Now, this is how it goes. You are going to just take that, take body bent like this. You mix up two colors and you come and you add it. So remember the second technique that I showed you guys with a knife. So it's pretty much the same exchange. But the reason I am not going to use this technique with the naive on the painting is because if you are building knife for the first day, it can be a little bit intimidating, whereas using this technique with the brush is going to give you really, really much better controlled output. Now, if you feel after practicing this knife one that you're really confident about doing it, feel free to use this technique on the painting. That's why I'm showing you guys. So you see the similarity between these two techniques. They're looking so much similar. Nobody can say whether you have done it with a knife or with brush. Now also one more reason I'm getting this beautiful texture over here is because I'm using a very rough brush. Okay? So just don't go too much, don't put too much pressure again, just make it really light and laws. And a little bit brown on top of it to show you guys how it looks. So you're not going to do too much pressure and you want to layer one color on top of another and you get this beautiful, beautiful texture. Alright, so now I'm going to show you the same thing with a new brush. Ok, so all you have to do is open up your bristles like this. C, I'm just holding it like this so that it just opens up. So you see the mount has opened up a little bit, right? So now all you're gonna do is cut the famed, open it up again while picking it up. And you are going to come and Atletico, as you can see the pictures and not entirely similar as we were getting with the old brush. But it's very, very similar. Important if for this is opening up the bristles when coming onto the Canvas. One of the reasons that I would do. Brush and not with knife. This technique while doing on the painting is because you see where I'm going on the aegis, I have a more control on the sheep that they weren't. So see, for example, this is where our tree ends and I want to add a few loose leaves around it so I could see if it is go out and add one or two out like this, right? Which are popping out from the tree. Same thing I can do with network brush also. Just adding a couple of lives outside of the demes tree. See everything has its own pros and cons. This team, well popping out, I can do it so much better with the new brush than the old brush rate. C over unit. So easy, I can just step out a little bit and add a couple of extra outside. Whereas with a flat brush, sorry, with the gold rush when I'm doing it, it's not that easy. It's not easy, but it's I felt with the new bridge, it's much better to do. Okay? However, if you do the same thing with the naive, it might not be very easy to do because while using the knife, you're using the entire back of the knife, right? So you are doing it like this. So this popping out ages, you wouldn't be able to do with so confidently with a knife. But you can still tryout in FIFO, give doctors in this for some day you might come up, come up with an easier way of doing it. See I can do it really easily because I've done this quite a bit of time. But if you're doing it first time, this is not something that I would suggest. So all you have to do is hold your knife at such an angle that the whole back of the knife is not touching the canvas. Ok? So you're going really lose all method. So you see, we're getting pretty much the similar effect, right? I want to show you guys one more thing before moving on to the actual painting is doing the exact similar thing that we did with a flat brush, with a small brush. So now that you've done this, this will be fairly easy for us to do. So all you will do is become quite a big amount of paint and you are going to add it like this. So again, another benefit of doing it with the small brushes that you get easily give the desired shape that you want. Because it's a small, pointy tip rate so you can go whichever direction you want. So even in this area, if you find difficulty with a flat brush, you can always switch to the small brush and you can go out and do this. So this is this technique with a small brush we're going to use on the road. So under root, so the drawed area is really narrow, right? So you won't be able to touch the complete road area with a flat brush. It Weibo outside. So the small brush comes to rescue over there where you can really see, for example, this is our this is our road area that you will very soon do it in the painting. Okay, so now on this small area, working with a small brush is fairly easy compared to the flat brush. So the technique is pretty much the same. Only difference is the brush. Very, very soft pressure. Make sure you don't put a lot of pressure. And yep, that's it, basically. So I hope you guys got to really look at the states show that is, that has been done over here. It's, it's so gorgeous. So this, with all of these technique, if you need more time with this, maybe you can do it on more than one people. Just do it on a bigger size canvas or because I speak or whatever, you do it for some more time and you'll get really, really confident in creating this painting. All right, so after this, we'll move on to the bending. 5. Step 1 - Color Block The Road: All right, so let's get started with today's fainting. So before we start the BUT process, I'm going to just taped down to be brought to the table so that it doesn't move much and leaves me bent. Could not, that's done. Now before getting onto the painting process, I am going to sketch out a little bit of the landscape on my repo just to get a brief understanding of where it should go. So just a very, very rough drawing to show where the road is, where the trees are, the branches, and just a little bit of outlining of the whole thing. Now if you notice, I am putting really soft pressures of the beans and on the bait ball because I don't want to create a really dark Mach. Because what I've noticed is when the acrylic beans makes with the pencil marks, they tend to create a little bit of muddy look. So I don't really want too much of pencil marks on my Bieber. Just a very thin outlining of the whole thing. So make sure that you're not really putting a lot of prey shell with a really dark mark on your paper. And you should be good to go with that or the sketching that we can do. Now let's get started with the bingeing, and I'll take out only the first initial colors and I'm going to take out all the colors to begin with. So the first three colours, I want Prussian blue, black, and white. And we'll also be taking a little bit of dark dream original takeout in ambit. But right now what we're going to do is just colored the road and the background, Pretty much the bottom half of the painting. And these are the colors that I want to mix up to get the desired sheets. I want not. It may not be exactly same as you'll see in the photograph. Because this is where I tried to put in my creativity and get the sheets that I really want to have on the road. So that is what I look before mixing on my colors. I just want to please a bit of weight because you've seen the center over there where the rod is converging towards the tree. It's pretty much white in the photograph. So I'm starting with the lightest tone possible over there and I'm adding a lot of weight. Now, can you notice that while I am adding the way, it's mixing up with the beam cell lines and creating a light grayish tone. But it's already, it's already because we're gonna be adding subduct dawns on top of it, so it will be all covered. But remember the muddy look that I was talking about. This is, this is what it is. Okay, now let's mix, or the palace that they want for the desired shed. Some mixing a little bit. Prussian blue and black and get a kind of a bluish, grayish mix of a color. And that's the color that I want to add. And right now I'm going to add just a tiny bit of directory into it, just to give it a little bit of brightness to this color that I am, I want to add on the road. Okay, so now I've already added the white as you saw before. And now I'm adding the mix that I just mentioned by mixing all these colors and I'm just adding on top of the white. And the reason I added the white forced it so that when I'm adding this shade, it is going to kind of blending easily with a white background and it won't make it too dark. Now, we started with a very lighter shade, and now we're moving on to the duck shit. So as you can see at the bottom of the DOD is very Doug, especially at the bottom left is almost blackish. Yeah. So we're starting with the light sheet, moving on to the dog shit and then blending both of them. Now, when you're blending, makes sure that you're not really blending its mood, okay, because we want to have the brushstrokes visible. As you can see, that all the strokes are pretty much visible. One way of getting this is not adding water at all in your paint. Now if you're using fluid paints like me, don't use water. Don't use water just to use the binned a good quantity of paint. And that will give you a really, really nice mix of colors where you don't have too much of water on your people. You're not mixing too much water and it will not be very smooth. And you will have on the textures of the colors are showing really, really bright. Yeah, as you can see, it's not really cleanly blend, but still I have the colors pretty much wherever I want. And now you see how I am getting the sheets that I want. So I'm adding quite a bit of duct on its black, Prussian blue, more of black and Prussian blue with little bit of white which I already had in my brush. And I'm adding on the bottom left to make it a darker tone as I wanted. Now gradually keep adding white, do it just to lighten it and mix it with a blended with the rest of the area that we just did. As you can see, and pretty much switching between the lighter tone and the dark dawn, trying to get create lighter tone on the right side and darker dawn on the left side. Which 11 quick tip that I can give you. If you find it difficult to keep switching spatially when you're switching from dark to the light, you could just wipe off your brush little bit on the tissue paper. And that will help you go really smart with it. It won't have too much of dark things. I switched on to my small brush. And I'm adding the whiter area on the center of the road where it's converging. The reason I switched to this model brushes because it will allow me to add more white rather than having too much of blue with it. So I've just wiping off my brush because it had a lot of blue and try to get more of weight. Now it doesn't have to be absolutely pure white because it's a continuation with the road or they're so add as much way to BAM and bring it down a little bit towards the bottom as well. Now again, I don't have any water remain brush and I'm trying to do very, very dry strokes. This time I'm trying to create mostly horizontal strokes. On top of all the previous Covey's talks, whatever stroke suite at the beginning, none of those matters anymore because now we are trying to create only horizontal strokes. So keep at it, keep doing all the strokes from left to right, right to left in horizontal motions, used flat brush or the small brush, whichever you prefer if you're working on really big say's canvas may be fled Russia would be better for you to do. Or if you're working on its smallest size canvass like mine, you can use a small branch also, or use the thin edge of the flat brush that will give you a cleaner line as well. So yeah, keep leaning sides and tried creating exchanges rather than simple, plain blend. If you're doing fixed shooting for the first time, I would recommend that you watch this video little bit, watch how I'm doing. And then you do it over here or I'm just creating a line in the center of the road to show how the direction of the road Howard is going. It just gives a very nice look to the road when you create a thin line in the center. And now I'm just darkening the tone on the left side just to give it a, give more contrast to the road. Always have the right balance of light and shadow that creates really nice landscape. And also I'm creating textures on top of it. So yeah, just watch it little bit, make it fullscreen, watch it really well, and then you should be able to do it. That's the end of step one guys. Now in the next step we will follow the sky. 6. Step 2: Color Block the Sky: Here is a quick sneak peek of the Interstate two. You're going to see what you're going to learn in this entire step. So we will cover the entire sky. The trunk area of the leaves on the trees are going to start from and the road area just below the trees. So basically we're going to cover the entire whitespace remaining in the canvas. Ok, so let's get started. So rather than taking the whiter make lead, I am just taking it a little bit on my canvas because it's just easier to mix rather than picking it up from the ballot. So I keep doing this sometimes. So what I'm doing is I'm taking tiny bit of chrome yellow and mixing it up with the white. Because I want to, for the sky area, I want to create a very, very light tone of yellow all around. So as you can see, I'm just using just the corner of my brush in the yellow and not really taking up a lot of it. Strokes doesn't matter how it's all gonna go in the background, just make sure you cover the entire area. Be a little careful where your yellow is coming on, the blue and why you're mixing it up. Not much of it is going to be visible, but just stay BY elizabeth scaffolded by Leo mixing it. Now to make them mixing look nice, just add a bit of white on top of all the blue and yellow that you just added. And that should give it a really nice logins should look like the blue and the yellow starts here. So it should be laid in such a nice way that nobody can say that this is what you are dead. It should be very smooth to the I2C. Now moving onto creating the trunk area. And rather than defining it what it is exactly. All I'm doing is covering up this piece first. Remember in this step we're just covering up the canvas. We want to cover up all the white area. So just use a little bit of black and Prussian blue and just cover up the area. And also taking a little bit of dark green with it. None of the strokes, nothing matters over your you just are covering up this area. Later on we're going to come here and create the trunks really well. When you do the same thing on the left side also, Prussian blue, dark green, and a little bit of white. On the mix of all the colors we're just going to add on the left side, also unblocking the space. Now it's covering up the road area. I'm going to take out little bits of brown, mix it up with white, and we're just covering the drought area. Now just to finish it up over a little bit of final extreme for the road, I'm just going to take a little bit of dark tone, which is a Prussian blue and black mix. And just add blew the role just to give it the Docker contrast and just adding a few more textures on the road. All of it in the horizontal direction, like we have done at the beginning in the previous step. And now just adding little bit of Docker one on top of it. Because the more dark this area is, the more prominence the leaves are going to look because Elisa lighter color right there, really bright yellow and orange. So they will pop up even more nicely if your background is kind of dark. Now if you've already done it quite dark in state one, then you might ignore the state. You don't have to do it. But if you feel you have a little lighter Dawn and you wanna make it dark, feel free to add just a bit of dark dawn. And that's the end of step two. 7. Step 3: Trees & Branches: Here is a quick snack bake off the step three, you're going to create all the trees in all the branches of the trees. So let's get started. So mix up a little bit of brown and lack. Mix it up on your plate and we will start creating the chunks of the trees. So all you're doing is using the small brush and trying to create straight lines. Most of it is not going to be visible as much because you're doing it on a darker background. We have the dark background in the of the blue end back, which will make it a little bit difficult for it to watch right now while I'm doing it. But we are going to add some highlights on top of it a little later. And that's when the tree trunks are going to be more prominent. But as you can see in the picture also, that the trunks that are not that visible and we want to keep it like that. So right now as you can see, I have picked up a little bit of white on the same brush and I'm just adding it on to the left side of the trunks to give it a little bit of highlight. Now it's starting to give that 3D perspective of the tree trunks. It's starting to look like up around shaped object. No mixing of black and brown again and kind of making it a little lighter by adding right? And I'm just adding it to arm the drawed area that we have done, raid the brown area. And I'm trying to create a line to show the shadows of the trunk that has fallen on the road. So all you're doing is you're going from left to right across the road and creating they are creating a line, a slanting line, which is making it look like the shadow of the tree. Also notice as I'm going farther up, as in going inside, the color of the shadow is also reducing a bit. I'm not keeping it very dark as it is in the front. Now we'll start creating the same trees on the LED side as well. Just keep creating the vertical lines of the trees with black and brown mixed. I am taking out a bit of read over your dual mix it along with the brown to give it a little bit. So all I'm doing is mixing up black, brown, and red here. Let's say don't do too many is highly Hadley 4.2.5 trees that we're doing in row anyways, the lit side is a little smaller than the right side, so we're not doing too much. And this admixture that are done paid of red and brown mix. I'm just adding a little bit of highlight of that on the right side trees as well. Just to give it a little bit brighter, look. Because if you just keep it black and brown, it's going to be more of LDL delish look. So just by adding a little bit of red to it, it just gives it a brighter tone. And then I'm adding the highlights again with a little bit of white on the left side. Similar highlights I'm going to create on the, let's say, trees as well. And I'm filling in the gaps of the trees with a little bit of black mixed with brown. As you can see from the photograph, the left sub trees are so close to each other that you can almost see no gap in between, right? So we just fit. That's why we just filled it up. And now we'll just start creating some branches from those trees going upward. Make sure you have a really thin brush over your to be well-to-do, really find a Lines. One thing that I've noticed from my previous classes is that if you're painting for the first time or you're not that regular with painting acrylics, Many people have created really peak branches. So if you create TIG branches, it might give a very clean look of the bean things. So if you want to create a really, really nice painting, make sure you're doing really pina lines and using a really small number of brush. So I am sure using, I think a brush number three or a four. But if you have one or two numbers, brush, that is all, that will work even better. Also remember one of the tips that I can give you a while painting with small brush. And when painting the branches especially, don't place your brush too much. Try to use the pointed tip of the branch and that will give you really clean lines. And if you have too much of paint on your Brazil, just press it on your palate and twisted that we can get rid of the excess paint in the brush and that way you can create really nice branches. Now one thing to remember is that after we add all the flowers and the leaves in the trees, most of these branches that we are doing now will get hidden. So we'll have to come back to it and add the branches once again. So you might not want to do it very nicely laid knowledge's, we are doing it just to get an idea how much branches to do where it is going. So just to get a rough idea of that, we are creating all the branches. But keep it in mind that we will have to come back here and we'll have to create some more branches later again. On the right side, we have not been too much, just a few branches because most stuff is gonna get hidden in the leaves, like I said. And with that, we come to the end of Step three. 8. Step 4 - Leaves On Trees: Now you can see the entire painting that you're gonna be doing in step four. We will be ending all the leaves of the trees on both the sides. And for this step, make sure that you have watched the video extra Technique brush, because that's the technique that we're going to be using in this whole step. So if you haven't watched it already, go watch it first and then come to this step. I write. So now in this step we're going to take out our Pig body paint. This is when we're going to start using the peak body brim. So I am taking out three colors, chrome, yellow, orange, and bond Sienna. These three colors that I'll start painting with. Also I'm using my brush like I showed you guys in the technique video. So this is my old brush, but if you have a new branch, feel free to use that it will give you pretty much the same law. Extra. Okay, so now mixing these two colors, yellow and orange. And I am going on the right side of the chunks and I'm creating the mixtures. So when I'm starting from the bottom area, I am trying to keep them a little bit dark. Some little bit of bonds Sienna also with it. Go really, really gentle on your canvas and don't put too much of pressure because that's the technique of doing this texture. It's if you put too much pressure, you won't get this textures. But if you go really soft, you will get the leaf-like picture getting creative. Also notice as we're going inside, I am tending towards the light of dawn as who I am doing more of, yellow as we're going inside. Also notice that as I'm going higher on the right side trees, I am moving towards the light at dawn. So I'm using moral yellow and white as I'm moving. This can be a little tedious process, but just take your time, do it slowly because it's all about creating the right texture. So if you are just doing it once and you're creating your trees in the process, because this texture works so nicely that if you do it right at once, you aren't just going to create gorgeous trees. Also notice how I'm adding little bit of brown in between. So I'm not adding it all over, but on the same brush, I'm just speaking up little bit of brown in-between, an adding little bit of shadows in between because you don't want to keep it all flat, thin column because you want to balanced the colors nicely. So I'm adding little bit of orange and brown in-between. Now mix up a little bit of brown and black along with little bit of orange, whatever you had from before. And now we're going to add little bit of shadowing below the trees, below the leaves that you just add it to. Just below the gorgeous yellow flowers that, that you have created. Just add little bit of shadows below it just by adding little bit of Dhaka Dawn. And also go in between the chunks. So the space that you have in between the chunks that is where also you want to create a show. Because remember when we created it first, in the first step, it was we just blocked in. We did not create any extra update. So this is a tying goal. Go in-between widow plaid rational. If you feel a difficult to go with your flat brush in-between, switch to this model, vanish if you need to, the technique that I showed you in the initial video. So swishing small brush and going between the channels to create this texture. I am continuing with the same x shooting technique, but I just added a bit of glue along with it. So the Bluemix with the yellow has become little greenish. So I'm just adding little touch of green over here. And the Shapes I'm going to add in between also in the orange in some places. Alright, so now pretty much the right-side trees are done. We move to the left side and we continue doing the same fixed shooting. But here, the difference is only in the shade of the color that you're going to use. As you can see from the picture, that the right side was more of a yellowish and the left side is more of Docker dawn, right? So for the left side, we will not use too much of yellow, but more of brown and orange. So that's, that's all it is. There is no difference in technique is the exactly the same technique that I'm going to keep using. Just the colors are different. Just be careful while you are coming closer to the right side tree is you're not going to touch it and you're gonna keep a little bit of a gap in between. As you can see in the photograph, there is a little tiny Duchess gap in remaining between the left trees and the trees. Now this is going to be a little tedious process. So if you need to take a break, take a break your Go and drink some water and then come back and give during this technique because it can get a little monotonous doing the same technique over and over. So take a break if you need to end, don't continue doing if you feel a little tired. Also observed that all the branches that we did on the left side are almost getting hidden, like I told us, right. But that's okay. You can still see some of the branches and the leaves have been painted. We can come back and add the blanches once again on top. I hope you are enjoying this texturing process and you've got to really good handles this technique. Let me know by commenting below how you enjoyed this trusses. And if this is a new technique that you learned. I hope you're doing well. Adding, texturing. It's a long process in this step. Also feel free to add little bit of shadows by creating our little darker tone like we did on the right side also raid so you know, you wanna keep it just flat out one color, we just yellow and orange. So keep adding little bit of brown also along with it just to dock innate and gets some shadows to the leaves. Okay. Okay. Okay. We have pretty much done with the leaves. And now I'm going to show you a little thing and that I feel like I have covered up quite a bit of the sky area and not much of the sky is visible. So not to get little bit of sky. What I'm doing is with a small brush, I'm adding a little bit of white in between. So it's kind of like clearing up their leaves and letting me show little bit of the, of the sky from behind. So you can use the same technique if you feel that the bridge between the left and the right trees, if you haven't kept too much gap or if the both the sides are coming too much onto each other, you can use this technique, you can use this widened between and create the gap. So this is the benefit of acrylic painting. If you go wrong somewhere, you can always follow up with the opposite color and make it look nice. So with that, we come to the end of step four. 9. Step 5: Fallen Leaves On Road: Finally, we are in step five where we're going to create the fallen autumn leaves. We'd been life. So here is a quick sneak peek of the entire bottom of the painting that you're gonna be learning in this step. So enjoy the process and we will get started very soon. Okay, let's start with the knife painting process. But before getting onto the night, we will do a little bit of text starting with the small brush on top of the rules. Some digging out yellow and orange and some brown. And now let's paint with a small brush. So it's basically the brushing technique that I showed you guys in in the beginning. So that's the technique, pretty much what I'm doing. So with the small rash, you're going to take all the paint and you're going to apply it on the road area. Really picked extruding, saw you're not going to really be induced just picking up the band and you're dropping it on the road as if like the leaves are falling rate. Go in between the trunks and add more leaves so that it shows Lake and dad bought governed. And it also helps to distinguish between the chunks. Now we do the same thing. On the right side I showed a sweat. Remember not to cover the entire area and leaves some gaps in between while you are adding the textures on the road. That way it will look like, as it believes, lots of leaves falling on top of each other. That's the look that you're trying to create here. It's pretty nice. Now in the middle gap that is visible in between the, both the sides of the trees. What I'm doing here is adding little bit of white and blue texture. It's not an excuse that we did on the road. It's just a little bit of texture in just to make the distant one in the center, because it's going to be kind of like the focal point of the bending. Just a little bit. Look nicer. If it is already nice for you, you don't have to do this. Now we continue doing the similar extending what we did on the roads, on the, on the Buddhist side of the road. We start doing it on the main road now. So this is where you can also start with your knife. But I'm just starting off a little bit with a small brush to give you guys a little bit more confidence and start with little small strokes of brush on the road, on the main road in the center. And then gradually we will move on to the knife. Also, I am doing really small dogs pictures with the, with the brush. Because remember with the naive, it too might be a little difficult to get those tiny deck shoes. So, but if you have already mastered that act, you can start off with the night directly. Remember to keep it really thick. So pick up quite a bit of paint on your tip of your brush. And you're not kind of painting it all over. You kind of pick, lifting off your brush from the canvas and you're going so it's almost like dabbing. So there are 23 strokes that you're adding on the road? Yes. I think this is pretty much it to do with a small brush. And now I'll move on to my knife. And now we will continue doing the same thing that executing technique that you learned in the extreme technique that the knife video. So if you haven't watched that, you can watch it now before getting onto this part and practice it also a little bit so that you can do it really nicely on the painting. Some lifting all these colors or mixed with orange, yellow and a little bit of brown. And I'm going to add small textures gradually in the horizontal direction. Notice I'm taking a little bit afraid also that I had on my blood and mixing up with it. But the important thing is to become really a lot of paint and add quite a thick texture on your canvas. Have fun doing this technique because it's a really fun technique. You can watch it, see how I'm doing, and then get on your canvas and do it along with me. Because it's really easy if you just watch it for five minutes, you'll totally get the idea. And then you don't have to watch the whole thing, you can just continue doing it along with me. Also notice that as I'm moving down towards the bottom of the canvas, the sizes of the leaves are also becoming little Beagle. Mostly. I'm not trying to give it any particular shape, but I'm just dragging my knife in the horizontal direction and whatever shape it is taking, I'm fine with that. Now if you can tweak it with the tip of your knife little bit to give a desired shape if you want to. But I just like to keep them really abstract. Over here, I'm pretty much using the tip of the, of the naive to do on the desired shapes that they want. And also not using just one fellow. I'm kind of mixing it up with all the different sheds and elaborate. If you notice it carefully, I'm adding little bit of brown and orange below on this yellows just to give the shadows. So always remember for a relief if you add little bit of shadow below it, it just gives it a really, a nice dimension to it. That's pretty much it. You just keep on adding textures up that exist to create each fallen leaves on the road. There is no new technique. And eight, if you've already mastered the techniques, you can just keep doing it, have fun with it. Create different shapes of the leaves. I think that will be really fun exercise to do so that, you know, you can have fun. She had to give it some dimensions as well. If you want, you can revisit that you've already done and you can add more to it also. Now what I'm doing is with the age of the ninth, I have picked up a little bit of blue and adding just a nice line along the, along the sidewalk just to give it some shadow. And also with that, I am adding a little bit of shadows below all the leaves that have done, add just a little bit of dark blue. You can mix a little bit of black we did also. So Black and Blue Mix, choose add little bit of that below each of these leaves textures that you have done. It's really, really list, don't do a lot. Just to give it a little bit of show the light and shadow of the leaves. With that, we have come to the end of step by. I hope you enjoyed creating this part of the painting with the knife. 10. Step 6: Final Touches: Well, we have reached pretty much the end of the painting. This is the final step of painting. And now I'm mixing a little bit of black, brown and red with Miss small brush. And remember all the branches that got hidden. This is the time that we're going to create all those branches. Once again. Now make sure that you don't want to create leg really prominent branches because these branches are popping out to the leaves that we have created, right? So we don't want to make them really prominent, but just create Some of them. No, I'm not creating any new branches. I'm just following the lines of the branches that are see-through. So these are all the old branch lines that I had done and just revisiting them once again, towards the end of the leaves of pretty much the laser ending on the LED side of the tree. I'm just adding a few more branches. These are the branches that I'm creating Neil nowadays, bulls were not created earlier. So just add a little bit of branches popping out from the leaves. So the painting is done, done yet, but I'll just beloved tip now to reveal the magic for the clean border. And then we'll continue just a little bit more into the painting. Now I'm going to add some more extra leaves on the age of the tree. So with a small brush, just a few extra dots and create some really nice leaves that are kind of extending out from the tree. So it's pretty much alternating between the three colors, yellow, orange, and brown. And just create a few extra dexterous. This is really the end part of the bean. Daniel, don't, don't really have to do this if you don't want to. But I'm just adding some final touch ups just to make my painting look the way I want it. Ok. And now I'm adding just a little bit shadows on the sidewalks. The shadows of the trees that we had done at the very initial stage. Just adding little bit more to that to make it look nice the way I want it. Now made. So we're pretty much done with the painting, time to sign it. 11. Closing Words: Hey guys, welcome back. I hope you had a fun time created in this painting along with me. So if you're done with your painting, take a picture and posted under the projects. I love to see what you guys are created. Also, please specify if this is your first time painting with knife and how did you feel about holding a knife for the first time and creating a painting with it. And can give you some feedback on your painting. And we can all connect with each other and comment on each other's paintings. Also, if you're on Instagram, feel free to connect with me. You can check out some of the behind the scenes happening in my studio. What painting I'm creating now do come over and junior high, that's all for today's class. I hope you had fun and painting with me. Also, let me know what kind of paintings you would want me to teach you that is next. How bye, lovely and creative weaker head. And I'll see you in the next class. Bye.