Acrylic Painting: Learn the Basics For Beginners | LaurieAnne Gonzalez | Skillshare

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LaurieAnne Gonzalez, Painter | Dog Lover | Bob Ross Wannabe

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26 Lessons (2h 1m)
    • 1. Introduction

    • 2. Workspace: Setting up

    • 3. Workspace: Cleaning your glass palette

    • 4. Workspace: Substrates (Paper/Canvas)

    • 5. Color Mixing: Resources

    • 6. Color Mixing: Part 1

    • 7. Color Mixing: Part 2

    • 8. Color Mixing: Part 3

    • 9. Brushes: Part 1

    • 10. Brushes: Part 2

    • 11. Brushes: Part 3

    • 12. Brushes: Cleaning and Care

    • 13. Texture: Part 1

    • 14. Texture: Part 2

    • 15. Dimension: Part 1

    • 16. Dimension: Part 2

    • 17. Dimension: Part 3

    • 18. Dimension: Part 4

    • 19. Dimension: Part 5

    • 20. Depth of Field: Part 1

    • 21. Depth of Field: Part 2

    • 22. Depth of Field: Part 3

    • 23. Depth of Field: Part 4

    • 24. Depth of Field: Part 5

    • 25. Depth of Field: Part 6

    • 26. Final Thoughts and Class Project

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About This Class


Do you want paint but not exactly sure where to start? This is the class for you!

I created this class after I realized a lot of people who were interested in my first painting class (Acrylic Painting: How to Paint an Abstract Landscape) needed a little more instruction when it came to painting. I am SO excited for this class. It was really fun to get back to the basics!

In this class, I am going to teach you everything you need to know about Acrylic Painting in order to get started. Acrylic is such a great medium because it is very easy to learn and use.

I cover A LOT of information in this class but I have it broken down into 6 categories:

  • Your Workspace - I will show you my workspace and what tools I use to make it the perfect place to paint. Spoiler Alert: you do not need a fancy studio to paint, the kitchen table works great!
  • Color Mixing - I teach you how to mix colors and get a beautiful range of colors using the 3 primaries plus white and black. 
  • Brushes - I show you all of my favorite brushes and the different marks they make, as well as, Palette/Painting Knives! 
  • Texture (Acrylic Mediums) - I teach you how to use Acrylic Mediums to build really nice texture in your paintings and also how to create the desired finish on your piece. 
  • Dimension - I teach you how to create dimension when painting an object to avoid it looking flat.
  • Depth Of Field - I teach you have to achieve depth of field when painting a landscape by using scale and color. 

And much more!

At the end of this class, you will have all of the skills you need to begin painting! My first painting class, Acrylic Painting: How to Paint an Abstract Landscape, is the perfect follow up to this class! It is very easy and a great way to practice what you learned! 

I have other painting classes and recommend taking my classes in the order below:

1. Acrylic Painting: Learn The Basics For Beginners (this class)

2. Acrylic Painting: How To Paint An Abstract Landscape

3. Acrylic Painting: How to Paint Using a Limited Color Palette 

4. Acrylic Painting: Explore A New Composition Using A Reference Photo 

5. Acrylic Painting: How To Create A Mixed Media Painting

IMPORTANT: The paintings you create from my class examples are for learning/educational purposes only. Those paintings or ones heavily inspired by my class example (or my other work) cannot be sold or reproduced in any way. All of my work is copyrighted and that is a violation of the copyright. Please stick to painting from my class examples only (not from other work on my website) or work from your own inspiration photos.

I have linked all of my supplies from this class below*:

Hansa Yellow Medium

Ultramarine Blue

CP Cadmium Red Light

Carbon Black


Paynes Gray

Yellow Ochre


Color Wheel

Color Recipe Book

Acrylic Mediums

White Gesso

Golden OPEN Acrylic Paints

Blick Matte Acrylic Paints

Prismacolor Colored Pencils

Watercolor Paper Pad


Palette/Painting Knives

Green Handle Princeton Paint Brushes

Da Vinci Paint Brushes

Brush Cleaner

Mister Spray Bottle

Large Filbert Paint Brush

Paint Brush Set

Gesso Brush Set

Artist Tape

Glass Palette

Disposable Palette

IKEA Utility Cart

*Disclosure: Some of the links above are affiliate links, meaning, at no extra cost to you, I will make a commission, if you click thru and make a purchas


1. Introduction: Hey, everyone. My name is Laurie Ann and I'm an artist in Phoenix, Arizona. Welcome to my Krilic painting class for beginners. This class is perfect for those who have absolutely zero experience with painting but also great for those who have experienced but one of brush up on their skills. I am going to cover all the basics. I'm gonna show you my workspace and how have it set up? I'm going to teach you how to mix colors. I'm going to show you all of my favorite brushes and all the different marks that they make . I'm going to teach you how to create texture in your paint by using acrylic mediums as well as how to use palette knives. I'm also going to teach you how to achieve dimension when painting an object and depth of field. When painting a landscape, we're going to cover a lot of information. But at the end of this class, you're gonna have the tools and the skills that you need to begin painting. So head to the next video and I will see you there 2. Workspace: Setting up: Hey, everyone, let's get started and learning all about acrylic painting First, I want to start off with my workspace. So I work here in my kitchen, at the table for these classes. But sometimes I work on the easel and I have this awesome easel, and it is actually meant to be used as a plane air easel, which is uneasily. People take outside the paint landscape paintings outside, but it is awesome because it's a tabletop easel and a regular easel. It is great for small spaces, So if you live in a small home like I do, and especially if you work in your kitchen like I do any of a very small space, this is an excellent option for you to be able to work on large paintings, but also keep it small if you need to. I just put it up on my table and I can paint right there, or if I want to go outside and paint, it has legs that fold out and I campaign outside. It's an awesome option, but for my skill share classes, I always paint here at the table, and I just taped paper to the table and the reason I do this is just because it's easiest to film that way. But I also paint this way when I'm painting on paper. I like to have it flat. It's just easier for me versus painting with it taped up on the easel. Just so you know, you do not have to have a fancy workspace. My worry space was this was my kitchen table at one point, and I would just paint in here all the time and I would clean it up every few days. But then, you know, as a professional artist where I'm painting every single day, that just wasn't practical. So I did eventually just make this my studio. And now I have a kitchen studio so you don't have to have a fancy space. You can always just paint at your kitchen table. However, I do suggest if you don't want to get paint on your table, definitely put something down, because this will happen. All right. I want to start off telling you, just like some of my favorite things that I like to use with painting. And one is this glass, this piece of glass. So this is actually just an extra shelf we had from our kitchen cabinets. But it is so awesome because I can just pain on here in the night when it's dry and I wanna scrape it all off. I just spritz it with this little, um Mr and then I scrape it all off with my paint scraper. And this is an awesome way to not, like, have toe throwaway like paper plates, Styrofoam plates or disposable pallets. Whatever. It's just a great way, and I love the way it just feels when I'm mixing paints. So this is glass Pallets are awesome, and I will link some glass pallets if you don't have a good piece of glass at home. But if you don't have a space for a glass palette, they do make these cool disposable pallets. Some have a hole like this, so if you're standing up and painting, you may want to hold it and mixture colors and paint like that. Some don't come with a whole. You can probably get him and a bunch of different shapes, but this is great because it can peel off. And then you have so say you have pain on here. You were done. You just peel it off and you have a fresh palette. So this is a great alternative if you do not have space for a glass palate. But I do love having my glass palace, right. Another fun thing that I love in my workspace is my key. A cart and I have it at full of paints and brushes have bins in the bottom or in the shows on the bottom, ones with extra brushes, extra paints and then at the top. I have my bucket of water, my large bucket of water. Always have a small jar of water on my table in front of me, and I have paper towels where blocked my paintbrushes and it's just a great addition has wheels on it, so it rolls all around. It's awesome. 3. Workspace: Cleaning your glass palette: Now I'm going to show you how to clean your glass palette. I love my glass palate. Just because this is this is why it's so easy to clean. I don't have to throw anything away. I could just easily scrape it off and use it again. So if your pain is pretty fresh, you can usually just scrape it like this. Get yourself a nice paint scraper and they'll come right off. Look at that. Very nice and actually the paints pretty wet still, so it's streaking. But then I'll just wipe it off with a paper towel. If it's dry, though, it's pretty dry, depending on how long it has been drying. If it's been drying for a couple of days, you may want to spritz it and just leave it, Thor a few minutes, maybe sports it a few times just to soften the paint into let it kind of loosen up from the glass. Otherwise, if it's just like a day or so spritz, get your paint scraper, which this is just a window paint scraper that I got at the hardware store So cheap, easy and then scrape so easy. And when I first started using my glass palette. I didn't realize that spraying it makes it a 1,000,000 times easier. And I was over there, like going her. So don't do that. Spray it with water and then you can just wipe it off on a paper towel and you will be good to go. 4. Workspace: Substrates (Paper/Canvas): Okay. Now want to show you what substrates a k a paper canvas that I use for my paintings. For if you've taken any of my classes, then you know I love this watercolor paper. This is really inexpensive watercolor paper. This is 30 sheets 11 by 15 inches by Kansan, and it is this whole thing of watercolor paper is about $10 super cheap in really good, great quality it has is a nice thickness. It has a nice textured side to it, and it just really does well and you can't beat this and you definitely can't beat the price. So definitely recommend this. At the beginning of all my painting classes, I show you how I prepare a just a piece of paper. So if you want more details on that, it will be at the beginning of the painting classes. But just a quick overview. First I just of this the paper let it completely dry, and then I tape it down to the table. Okay. My favorite canvases that I use, I get at Blick and I love the premier. They're really good quality. They are. They feel really sturdy. They they're made out of like, really nice blood. And Blick has excellent customer service. I've gotten like, you know, like one out of 20 k Mrs may be to have an imperfection, and I email them and they are like, no problem. We will send you a replacement canvas immediately. So they have excellent customer service. Definitely recommend shopping from their when you can, and they always have sales. So that's also something good to know. And I will link these as well. But this has, like, look how nice these are. I seriously love these. These are great quality and, um, you can't go wrong with them. So like premier stretched canvas 5. Color Mixing: Resources: Now I'm going to give you a basic introduction to mixing colors. This is just going to be a very basic like we're gonna makes a few different colors out of , Ah, yellow, red and a blue, which are your primary colors and the only colors you really need to create all of the colors. Um, but you could go so far into this, and I just want to recommend, like maybe getting a color wheel. These are great because you can spin this around and they'll tell you different things. Like if you add, um, e found a good one. All right. If you add red to this blue violet, you're gonna get a purple. So this just is, like, good. So you don't really have to think about it. Color wheels are awesome. So this is a good thing just toe have on hand. But if you want to go really deep into it, you can get a book like this. I got this off of Amazon. I will link it, and it is amazing. It is a color mixing recipe book. So, like it's it's kind of organized by, like, first, here's color recipes and it will say, like you want four of white, one of cadmium orange. And how how they measure that they have this this little color mixing guide that you can take out. Get this out. You can take this out of the book, can put it over here on you're palette, which this is actually for watercolor than they also have one that is specific for oil on public, which is what we're working today. So I'll pull this one now. Um, and that one said four white, one cab me an orange. So what you would do is you would say, OK, four squares of the white and then you would add one square of orange and then you mix that So this is just a way to kind of measure out the recipes super easy. And you can just do all kinds of recipes like Look at this. They have it organized by landscape, skin tone, color, hair color, all kinds of stuff. So this is a great resource. If you are interested in really getting detailed with color mixing 6. Color Mixing: Part 1: Okay, So basic color mixing. You really only need three colors yellow, red and blue. There are a bunch of different yellows, reds and blue. So, you know, that's something that you kind of want to just experiment with and see what your favorite yellow, red and blues are. But you're gonna get basically kind of the same, like colors out of all of them. I am going today. I'm just gonna use this Hansa yellow. And what do I want to use? I'll use this cadmium red light. I don't really have any method and why I'm picking these, But I'm just going for it in this ultra marine blue. Those were the ones minutes show today. Also, for a curling and oil you wanna have on hand a tight ain or white a white paint color and you don't have to have black because technically, you can create black from all of your colors. Kind of you can get a type of black, but I love working with black because mixing black with yellow with this yellow creates really amazing all of green. You can just get a lot from black, so I recommend when you're first starting off. If you don't want to spend much money, get a basic skit where they'll give you, like pretty much the primary colors and in black and white and you're good to go, at least at the beginning. So I'm going to show you how to make some basic colors from thes five paints right here. So the paints that I'm using today are made by Golden. I'm using their regular heavy body acrylic paints and also their slow drying acrylic paints , which is called open. These are really, really nice paints these air definitely artists, great paints, but you can use any paint you want. There are excellent options out there, and kind of the way that they're right are the rated is student grade, which is going to be a little bit on the less expensive side, but still great quality paint or artists grade, which is gonna be a little bit more fine and nicer paints. And they're gonna be more expensive. It doesn't really matter. There's options for everybody. I kind of I do a mix of all kinds of paints, like if you've taken my classes before, you've seen that I love these Blick, Matt acrylic paints. They are already mixed into really pretty colors, but these are more like students slash craft grade pains, but they're silver lead equality. But I just want to, like, let you know there are all kinds of range in terms of how expensive paint is and whatever you can spend a little or you can spend a lot but these air what I'm using today. All right, I'm going to start mixed in some colors. Alright? So first, we're gonna start with this yellow, get these three on here so we can see how they grow. Like we're gonna kind of Marange him off of each other. And that is the cadmium red light in the ultra marine blue. Whenever I see primary colors, I'm kind of put off by them just because they're just straight from the tube. And I'm like, uh, those need to be mixed. Let's get some different shades. So something I wanting heard you is try not to paint directly from the tube like there are instances where maybe you need, like, really, really bright red to highlight something in a flower. Something where you do need it straight from the tube. But for the most part, try not to paint straight from the tube because it's gonna look very just bright. And I don't know if you like that. That's great. But I want to encourage you to practice mixing your own colors. Okay, So what I want to do here is I want to mix. I want to show what happens when you mix all of these together. So orange are red and yellow. We're gonna get an orange. Really nice orange. So these two together create this nice orange and then read and blue, they create purple. I love purple. I paint with purple a lot. It's just for some reason. Whenever have been a painter, a paint they used yellow and purple a lot. Okay, so the way that this purple is gonna work is you're gonna get different types of purple, so, like, this is a more like a dark kind of violet purple, but you can also at a little bit more red to it. 7. Color Mixing: Part 2: you kind of get more of a reddish purple. It almost looks like a like a mob. So look, we only have used three paint colors, but we now have six paints paint color so far. Okay, so next. This will probably probably be an obvious one for most of you, but maybe not. And that's totally fine. If it's not yellow and blue, make green. So we will put I'll put this just appear, since they're not together on my boards, that yellow and blue make green. And now I want to show you how, adding to adding whether either adding white or black to all of these colors completely changes it. I need a missed. My palate was either getting well dry, so I just added a little white to my orange up here. Look, we're getting a completely different color. Amores Love that that's such a nice color saying with this ma V color, which if you're familiar with water color, you don't use white painting Watercolor you, you, your water or your lack of paint is kind of like your white paint on watercolor. And so if we were doing watercolor, you would not have white just adding more water to it would give you these different variations. Just side knit of that. Okay, so let's do it was make eye a light version of that violet and pay for me when I'm mixing my paint colors. I'm not. I don't usually do the recipe method that I showed you with that book. You can totally do that. I just kind of keep mixing until I come up with a color that I like the most. But it's completely up to you. So just experiment. Try recipes. Just see what you like best. See? Look at that. Nice. And sometimes I'll add black to my paints. Um, not always. It's not gonna be the same situation, like Okay, you get this and you get this nice. You have a stark mob, and then you get this nice light. Mauve color is not gonna be quite as like a different shade like that. I kind of just add it when I need to darken something up. So it's not a used exactly like White is what I'm trying to say. But the way black one of my favorite ways to use black is to create this amazing green with my yellow. And this is when you discover things like this. This is because you've been experimenting and you just you kind of stumble upon it. That's how this happened has stumbled upon this particular color of green, which that's really, really dark. It's a very dark all of green you can kind of see under there, and then I'm gonna do a light version of it so you can really see it. I stumbled upon this green cop color combo by when I was doing my Italian landscape. Siri's because there was times agreed and I love it. I just keep going back to it over and over and over because it's just such a pretty, pretty color green. And that was just do to me, experimenting with different colors. I just want to encourage you to experiment. Okay, so this is just kind of a basic overview. Um, you can do all kinds. You can even add white. Just adding white to your primary colors is going to get you some really nice color. So we'll put this here just because I don't have room to put it right by that yellow or let's see what happens if I keep this white yellow on here I go for the red. Look at this. That's such a pretty like salmon e color. I love that. Oh, that's gorgeous. Love it. Love it, love it. 8. Color Mixing: Part 3: This is probably one of my favorite things. I think that I discovered as an art student was how you can get so much from just these three colors. And like I said, different shades of blue or yellow or red are going to give you different variations of all of these. But you're going to get the basics like green, orange, purple like you'll still get those basics. But it's not going to be the exact same like Hugh of the Color. Let's see what happens if I mix these two. This has kind of given us a little bit of a awkward color, which is really nice, Yeah, digging that. I like that a lot. Then again, you just keep adding your white. I kind of always call these kind of like just branching off of each other, like I'll just start with something. And then I just keep doing all these little branches off of the same like mother color. It's like the mother with all of her baby colors branching off of her. And then let's say you really love this yellow or this all of green, but you want to make it a little bit more yellowy. You just grab your yellow there and do a branch off of it. I love my glass palate because it's non porous and it the pain and mixing paint on. It just glides. It's so great. So if you can use a glass palette highly recommended to look at this nice variation of a color right here. So nice. What's that? Some white to us and see. But that gives us that almost looks like that yellow up there with the which was just the Gilo in the white. Very, very nice. Okay, I want to give you a tip when you are mixing your colors, See how I've got some dark green still, but I'm mixing like a light green right here, but that dark green on the back make sure that when you're mixing your turning your paintbrush over on both sides so that you're mixing really good, because when I do this stroke, I don't want to come back over here and it be dark. You want it to be the same colors, so just make sure you are mixing your turning your brush when you're mixing your colors and to keep your palate wet. because saying makes all these colors and you love them. Then your palate dries up and, you know, keep a little Mr on hand and just missed him every so often, and you will be good to go. All right, let's do something with this blue Do some more purples cause I love purple And I love just seeing all the different variations that this can Dio I'm gonna do this color, which is really similar to that color. But now was See what happens if we put just a dab of black. Okay, see how there is like, I don't know if you can tell, but I really just dabbed the very tip of my brush and I'm mixing it, mixing it in. We'll see if that changes it too much doesn't change it enough. So maybe we need a little bit more in here to darken it up. That changed it. Now it's much darker. And then let's see what happens if we put some white and thereto lighten it up. Hey, you can just do all different kinds of stuff. Okay? So this is a basic overview. And how cool is it that we got all of these colors with just these through three primary colors, plus the addition of white or black. Very amazing. So you really do not need a ton of paint to paint like I don't want you to feel intimidated . When you see my studio and I have four million tubes of paint, you don't need them. You can get really beautiful colors like these really nice light blues and salmon colors and everything with just honestly five tubes of paint total. So I hope this encourages you in the hope it just encourages you to also experiment. Try all sorts of different things and just see what you can dio. 9. Brushes: Part 1: Now I'm going to share you how different brushes make different strokes. There are all different kinds of rushes. You can literally go to an art store and get probably really overwhelmed because I dio, um, looking at all the different brushes. So I picked out a few of my favorites that I use regularly to show you the differences in paintbrushes and how they can affect the way that you're painting looks. So I'm going to start off with this flat brush. This is a great standard brush. Tohave it is called a flat brush, and this is a size 14 but all the brush sizes vary from brand to brand, so that doesn't really matter. Um, this is a divinci great brush. It has this flat top appear, and this is what it looks like from the side. And there you go. So I'm going to show you the different marks that this brush can make. Okay, I missed my palate, so this can make a nice, thick line, which you can see. I didn't mix my paint very well. This is an example of what happens when you don't make sure paint very well. You're gonna have like darker parts and lighter parts, which, if that's what you want to go for, that's great. I wasn't intending on that, so that wasn't really what I was going for. So you just to fix it, just mix it and be sure that you were turning your brush. Like I said earlier, over and over. So it mixes really well, So that's a thick line you can get. You can also get a nice thin line, and it can do great little short marks like this. I want you to notice the flat top on all of these marks, so these are going to be very straight and squared off. A flat brush is definitely when you should have in your everyday arsenal brushes, because it's just a really nice brush overall tohave. All right, so now I am using my Filbert, which I love my Filbert brushes, and this has a nice round shape to it, and it can also get a really nice thin line. This also does really nice, like the CD you'll short. He's short marks like this. You see the rounded at the top. They're gonna be just really nice rounded and get diesel half moon marks. Very nice. I love Hilbers. It is kind of like the flat brush because it just kind of feels very similar. But you've got that rounded edge, which is how it's pretty different. Next, I'm going to use this round brush. This is a great versatile brush toe. Have I actually use around brushes a lot? When I'm painting with water color, they come in all different kinds. Like you can get a look at the variety here of round brush is very different. This fresh in this brush are very soft and they're great for water color, covering big surface areas and just really nice soft brushes. The one that I'm using today is stiffer. And I like that particularly for acrylic paint. Not so much water color, but this is a great brush, and I'm gonna show you how it works. Okay, so this is it's thick line, which all these brushes, just so you know, come in different colors. I mean different sizes. So this is just a variety. I've got tons of Russia's, but this is just kind of a variety to show you all the different options makes a thin line , and this isn't shorts, shorts, trick 10. Brushes: Part 2: It's a great brush toe have on hand When I'm painting. I change up all of my different brushes kind of throughout the painting, just to give it a lot of variety. But it's also really cool if you only use one brush on a painting, because then it's kind of like it gives it almost kind of an abstract feel because it's like especially for using a flat brush. You have these very squared off strokes, and it's a really cool effect that totally just depends on what you want to dio. But you can do a lot with with different brushes. And that's what I wanted to encourage you to do is to just explorer and see all that you can dio. Okay, so this is an angled brush, and it is very similar to a flat rush, but it has an angle on the edge, and I'll show you. And do you see these spots right there? That's actually dry, semi dry paint underneath the yellow that I just mixed coming up off of the palette. So that is something to note. Um, if you're paint is dry and maybe it's not best to mix paint right on top of it cause it may reactivate it, and then you're gonna get chunks in your paint. So that is a rule in what? Not to dio. I'm gonna mix this over here outside of when a Not an old dry spot. Okay, here is this nice than line this angular brush. So nice which you can see it here. It's like a flat. But has that angle really nice? Because you can get some really great shapes with it. But one of my favorite ways to use it is doing fun little patterns. And I also use it, um, for Italy trees in my Italy Siri's You can get some really cool little patterns. I just dabbing it and this angled handle. What's cool about this angled handle is that it kind of our brush is that it allows your hand to rest in a comfortable position and make marks. You could get these marks with the flat brush, but you'd be you'd have to have her hand up like this to give it because it's the way that the brush is angled. So this allows you, Teoh make some really cool marks in a comfortable position and I just really like my angle brush. I don't use it all the time. It's kind of one of those brushes that I just kind of use whenever I'm needing something a little special or different. But it's a really nice one tohave in your painting arsenal and you can I think, this whole pack that I got these. I feel like I just got these in the pack of, like, five, and it wasn't terribly expensive, so you can definitely find you a nice angle angled brush out there for pretty cheap. Okay, The next Russian I want to show you is this is a script liner and it comes in different I have. Here's one. This is different. It's a little bit shorter and is, um, one of those called hairs are sticking out more, but when you get it wet, it'll look like this, and this is great for details. I use this mainly and watercolor, but there have been times where I use it and acrylic as well, so I just want to show you just as an option of what it can look like. I was kind of getting the same problem over there and that green with the old paint showing up, some tryingto just get some new or paint on the rush, and this is great because it's long. It can hold a lot of paint. You can get a really nice long line. See anything? It's so thin I can get really, really, really thin. Look at that thin line you knew really find details with this. So if you had something that had a lot of lines and you just needed it to be there then and detailed, this is great. It's also based off of how hard amount of pressure you put it will change the thickness of the line. So I'm doing more pressure and then thin the more pressure Jim running out of paint on there. So I need toe load my pain up, and this will work better if your pain is pretty watered. Um, that's why I really like these best with watercolor. But sometimes, you know, at that may be the very last stages of an acrylic painting. You would need this so it is good to just have one of these 11. Brushes: Part 3: right. My other brush I want to show you is this is my one of my favorite brushes and I use it for my clouds. Mainly it is this big old mega brush made my blick and it's got a really nice sick brush and it's a filbert. So you're gonna get really nice rounded strokes, which for me, I really like when I'm painting clouds. You can also get a thin stroke as well. Thinner. Not so much thin, but center. All right, for my last brush, I want to show you is this cheap, cheap, cheap brush from my Kia. It is so cheap and it's there's nothing great about it other than its price tag. But I really, really like this brush. I whenever I see our supplies that are mainly for kids and they just look interesting. Always buy them because you never know what you're gonna find. You may find one of your favorite brushes ever got this at the kids section in Nicaea? I uses all the time for almost every painting. I block it out with this, and it is just a really, really nice she brush. But it's got that nice Um see back in the mix up looks like a mixing up a brown. So here's an example of mixing up brown paint. Uh, this has got a really nice, just straight edge, which I'm totally painting on the tape right here. But that's not That's not a problem. You get the idea, but it's just a great brush and it is cheap. Do not need expensive brushes or fancy brushes to paint, and that's the point of me showing this to you. I want you to just if you've got kids that have paint brushes in there, you know, Crayola said. To use that, you can totally use whatever you want to use. So don't be intimidated by the price tags of brushes. Just grab yourself a cheap set and get started, so I hope this was helpful in showing you all the different marks that different brushes can make and experiment. Just try different things and see what's more comfortable for you. I really do flip flop between using mainly a flathead brush and a filbert brush. But then I also incorporate all of these, like throughout my paintings, so just try him out and see what you like best. I also want to show you how to use palette, knives, palette. Knives are an excellent way to get some very interesting texture in a painting. And they're the same with brushes. The different shapes are gonna give you different strokes. And so this is going to give you more of an angled shape, and this is gonna give you a round shape. And they're awesome for mixing paint colors. You can see I'm using my angled one over here in this with white and the red to mix up paint colors, getting a nice, peachy color. You scoop it up. Well, let's get it. Well, that more mixed. You scoop it up and you can do nice color. You can just do all kinds of different. It's really interesting texture. It is going, Teoh, use a lot of paint, so keep that in mind. When choosing to paint with palette knife. You're going to use a way more paint than if you were just using a paintbrush. I want to show you how this round one, how it also kind of changes with but the the shape of the round. Okay, so here we've got that nice, then Look, we've got this nice little round shape that would also be really nice. Rush for clouds. So there's so many options you can dio you can make marks Anyway. You can even get a potato, a raw potato, cut it up in tow like chunks and make a stamp out of it. And that's how you can make marks. I mean, there's so many things you can dio. But these are like, you know, just a few examples of ways of how to paint and different brushes and what they do. And I really do enjoy palette knives. Look at that. Isn't that cool? All right, I hope this was helpful and that now you feel confident in the different shapes that brushes, make and just experiment and see what you can come up with. 12. Brushes: Cleaning and Care: Now I'm going to show you how to clean your paintbrushes for every day. Painting. Renting it with water is good enough. But every now and then you really do need to get an actual brush cleaner and clean your brushes. It will just keep them in really good health and they will last a long time. And you will save money by having your brushes cleaned every now and then. So this is called the Masters brush cleaner. I've used this cleaner for many years. It comes in this little tub. It comes in a larger tub, also a thinking, a bar soap and maybe even in a liquid form. But it's great for oil paint, watercolor, acrylic, like just whatever. It's awesome. So I just want to do a little demonstration for you. I'm just going to start off with some water. Actually, you can see So this brush right here I was using black paint and I just rinsed it out with water. But there's still some black paint on the brush, and we're just gonna clean it Very good. So I'm going to start off a little bit of water and then you just swirl it around in here and just really get it good and lathered up and just do different brush strokes in here. Just kind of slather it all up and then scoop up that ladder and take it to your hand and just swirl it around and clean it really good. And I even will go and just come massage it into the bristles and always like When you're doing this, make sure you're not going against the Verceles because you don't want to bend your bristles. You just wanna go with the grain of the bristles. Make sure you get really good at the base. One. If it's looking pretty clean, you're good to go and they can rinse it all right. It is clean. And then what I like to do is I like to reform the bristles just in its natural shape and then set. It bristles up to dry and then, and this is how you should store your paintbrushes all the time. Never store them down. You can store them flat, but for the best way to protect your paintbrush, it's best to store them, bristles up 13. Texture: Part 1: Now I'm going to show you how to use a curling mediums. There are a ton of different acrylic mediums out there, and you can even make up your own mediums to add to your paint. But there are actual acrylic mediums on the market and the ones I'm gonna be using today or from golden I'm going to demonstrate a gloss medium a map, medium light molding paste, heavy jail Matt and clear Tar Jail. So let's go ahead and get started. These air all gonna be different. I'm going to start with this clear tar Jill. First, I'm gonna mix up some more paint over here. I'm using the cadmium red and the hands a light, the hands of yellow medium that I used to mix the paints earlier. So I'm actually going to using my palette knife to kind of scoop it together. Helen Knives air Great, because you can use them to make sure paints, But also you can use them to paint with. So since I need to kind of get a blob of paint I did. I wanted to come and get it together. Escort a little bit of this out. This is clear tarred Joe. Get someone get a blob of paint. The ratio You want to use Berries from product A product which this doesn't say on here. But you can read about it more in depth on their website. But I just kind of guess I if you want it thicker, I would say have more of the medium and see, You can tell that this is pretty solid. So the color is definitely saturated. All of the Jill, which is great. So let's just gonna see what texture that gives us. You see, that is a very hopefully can tells very thick texture. You can see all my brush strokes, my brush marks. It feels really heavy, but still kind of like Tory. It is sort of tar like which makes sense because that's what it is. Okay, Okay. So next we're gonna try this heavy. Jill. Matt, which this is going to dry, Matt. So we know that I can already tell just from squirting this out. That is a much thinker medium. Look at that. It almost looks like icing. It's so thick. You know, I don't use that mitt mediums that much these days, but I used to use them a lot in the past, and that's not to say that won't experiment with stuff all the time. But this is just kind of a no overview for you to get an idea of what is out there. Look at how thick that IHS see here. So this is the heavy Jill Matt. This looks and kind of feels like icing, so this would be an excellent medium to use if you really want to get really, really thick brush strokes, and they probably make this in a gloss as well. I know most golden they kind of come. Every product comes and all the different finishes, so that probably comes in a gloss if you would want really thick strokes, but it to be a gloss finish all right for the next one. Let's try the light molding pace or modeling paste because it can is probably modeling. I don't know which one it is, but it's one of those, and I actually have used this a lot in my past. It has. It has great to it out if you can tell, but it almost looks like Sandy, so it's got a definite texture to it that is, unlike these others, the others air kind of more of a smooth, But this looks like it is gritty and sandy, but it can get really thick of well, I'm paintings that I used these on a 1,000,000 years ago, built up the modeling paste like really thick on my Caymus about, like that tall so you can really build this stuff up. 14. Texture: Part 2: Okay, so these are different than these three that we looked at. Thes three are more so going to give you, like a texture to your piece. These are gonna be thes air used more. So, for how do you want your painting finished toe? Look like if you're painting a painting and you definitely want it to be Matt, you want to use the mat, or if you wanted to be a glossy finish, you want to use the gloss, so they're not gonna give you, like, a texture, like a thick texture, But they're gonna give you more of a sheen or finish. All right, so I'm gonna get a little bit of this out with my nice. So this is really it feels just like my paint. It's not like a big, thick texture. Yeah, it's very thin. Just like the same thickness and texture as the actual paint In the same effect is gonna be with this gloss. But the difference is that these air going to they're going to dry. Either one is gonna be glossy, and one's gonna be mad. Very different finishes, which, you know, there's, like, different reasons to use either gloss or Matt when I was doing my desert Siris for some reason, my desserts to me, they needed to be Matt and I painted him in either Matt paint or I was using Matt Medium with my Italian landscapes. I kind of wanted them to be glossier. And so I used gloss medium in it as well as when I did my finishing spray. I used a satin or gloss spray for the toe seal my painting and which side note on that. You don't have to seal a painting with varnish with a spray varnish or a brush. Varnished. I did just because I was using charcoal on my paintings and I needed to seal it so the charcoal didn't come off. But anyways, it just depends on whether you have a painting that feels like it's glossy or it feels like it's Matt. It's up to you, totally up to you. Okay, so you can see that this gloss medium, it's also just thin, Like this map medium and another way you can use this gloss medium as you can use. It kind of has like a and we could do it with the mat to, but you can make it kind like a glaze. This you just kind of want to do like small layers or light layers of stuff. Or you just want to tent something versus, like a full, out opaque stroking. When I just do like a tent or hint of color, that's a good way. Teoh, too thin a paint color without watering it down so it doesn't lose like its ability to adhere to the canvas. You can thin it down with a medium like gloss medium or the map medium to then it and give it the ability to be a sheer layer. This is definitely looks more blended, kind of blobby. I don't know. It looks, it's smoother. You can you can kind of see the strokes, but not really. This is a great I really like this one. I like how this is so thick and you can really see the strokes. I like them the modeling paste, but I don't love. That is gritty texture. So I think I personally would pick this. Um, Jill Matt, Medium heavy. Is that the heavy? Jill. Yeah, the heavy Jill Matt over the modeling paste, personally just toe. Not have the gritty, sandy like texture. But I think this these air great mediums in Golden has really, really high quality products. So I definitely recommend checking him out. They have so many more products. These air. Just a few that I had on hand. These would be great to use with a painting nice or a palette knife, for example. Let's just let's just play around with it a little bit. I will use the modeling paste. Scoop this up over here. You really gonna mix this in? Look at that. That's a really pretty color. Okay, so this would be so nice. This medium is really, really nice with a palette knife. It looks like cake icing. Like I said, I think you could get the same texture without the grittiness with that heavy Jill, Matt. And they probably have that in glosses. Well, you have to check it out to sea. Very nice. Right. Well, I hope that was helpful and that you now have a little bit more understanding about mediums . 15. Dimension: Part 1: Now I'm going to show you how to achieve depth of field and dimension. These are two very important things that you need to kind of just have a basic understanding of when painting. But it's not that hard is a lot easier than it looks. And I will show you we'll start with this photo of an orange. Okay, I'm gonna mix my colors. I am going to start with a red, an orange, and also use white these out the red amusing ISS CP Cadmium red light and the yellow amusing is Hansa Yellow Medium. These air both made by Golden. And I'm using a titanium white okay to start off. I'm just gonna kind of sketch this scene out a little bit. I usually like to sketch with Oh, colored pencil. You don't have to use a color pencil. You can just use a regular pencil. It's up to you. Okay, Some looking at this, and I'm just gonna give Okay, someone, uh, drawl this out. Kind of on the picture plane. So this is where the back of the background meats and dens we know our orange is gonna come about here. So this is where the shadow be then above the ground. It will be about here. So this is approximately the size of the orange I'm not going to do to detailed of a painting. I just want to give you some basic tips of how to achieve Ah, painting an object that looks three dimensional. All right, so let's go ahead and mix the colors. I'm using a filbert brush. Just because I preferred a paint with these for the most part and because I'm used, I'm painting around the subject. It helps having this round tip on the filbert toe. Just go nice with the round shape. Great. So let's mix up a nice orange And the key to all of this is you're gonna have dark tones, light turns in mid tens and we will definitely be added in some black because you can see it gets really dark to the right of the orange, but the way Okay, So the way that I look at these paintings and how I tried to achieve a sense of dimension is I really just look at the photo or if this was a still life here in front of me, you just look at the shadows. So you see, right here this is a dark side of the orange is this is a shadow, and it's making this all darker. You can see right here. This is like, ah, hourglass shape of a mid tone. It's more orange, and then this is lighter. That's how you're going to achieve dimension for the app for the orange. And so let's just start and you'll kind of keep adding like mid tone start tons and light tones throughout the whole thing and kind of blend it. But that's just a basic overview. So just like we do in my other classes, if you've taking them, which if you haven't you'll learnt, I'm going to block it out. So have a nice, pretty much mid tone are hairs. I'm kind of just gonna block this out using this pain right here. Kind of get that hourglass shape in there. And there's a lot of variation in the mid tone that we will go and add end. But it's just the initial steps are blocking it out. Okay, I'm gonna go ahead and squirt out some black painting, an object over and over and over, especially if you have the actual physical object in front of you is really, really good practice. I definitely recommend doing that, if you can, because you'll it will be have, like, 100 day project sort of thing. Paint and orange over and over and over any sort object over and over and over for good practice. Okay, so now have a darker orange dark color. So I'm gonna paint it over here on the darker side. All right. And now it's Mix up a light. Okay, That doesn't look like much to begin with, but it's a good start. Okay, so we've blocked out these major colors, and now we're gonna come Wyndham in together and try to achieve the like, a realistic picture of what this looks like. So I'm just going to kind of go back and forth between this mid and dark tone and kind. Just go in the shape of the orange. So imagine like an orange is round, so kind of following the orange shape with my I mean the yes, the horn shaped the round shape with my paintbrush 16. Dimension: Part 2: mixing up this orange somewhere. All right, so we're just gonna kind of same kind of doing the strokes like this. I'm going to go back and forth with this, so just look and see what are the color? So I'm seeing this is, like, kind of darker. And there's a little bit of light here, not top Coleridge right there. And so we already have a lot of variation on here so far, but we can see that this is really, really dark. Okay, so I'm gonna work on darkening up this edge, but I made a mistake. But that's OK, you know? Mistakes, Onley, happy accidents. Bob Ross says he's one of my painting heroes Say, I've kind of lost my Midtown in there, so I want to bring it back. Going to mixed that up again in the hole like process of this is just gonna be kind of a back and forth situation is kind of like a dance. You take a step for you, take a step back. You just kind of keep going back and forth until you find what you like and what works best for you. But just follow the photo like It's so here now. Now that I've gotten this pretty much laid out, I'll draw this out for you so you can kind of see, see like we've got. Hopefully that shows up. I need to use a darker one. But you've got some major like shapes of color here, so that kind of breaks it up free so you can look at it in terms of shapes in terms of blocks like that, and you'll be good. Todo all right it must work with on this lighter orange color was really like on the edge, and it's actually looking a lot darker on that right in that photo. So let's try to darken this up a little bit mix of this dark orange You can get as dramatic as you want or, as like, subtle of you want. You want to make this, like, really, really blended and photo realistic. You may want to sit here and just really blend it really well. I'm not going to do that today just because I'm just trying to demonstrate how to look at things and see and achieve a dimension. But you can totally do that if you want more yellow something else that will help. This kind of come to life is a background. We'll do just a tiny bit of work on the background just to give it an anchor to the page because it's kind of just floating on air right now and look for highlights. So I see highlight right here in the here and OK, so now once you kind of get the majority of it, paint it out. He's an I want to look for like, you'll be able to see the details on this more So there's some shadows in in this Midtown. So I'm gonna do just real light. Kind of barely darker than the mid tone color. I'm gonna cut them in, get a hair darker. Oh! 17. Dimension: Part 3: Okay, okay. For a man, however you like and do the same with the light colors. A lot of times, my highlights are just the lightest version of like, the color we're working with or sometimes even white. We're gonna put a little bit of a background. So we have some sort of Angkor going on. I'm gonna use Payne's gray because I love it. It's one of my favorite colors ever and could use a bigger paintbrush. This paintbrushes probably actually a little too big, but it'll do the trick for right now. So I was trying to get around that orange. I need more white. You just have to learn to really look at what you are painting from. That's like one of the things that my teachers would always say is learned. Toe Look, what are you looking at and paint what you see? Don't paint what you think you see paint what you actually see. I'm going to switch brushes because this guy's a little too big for me to get the shadows. And over here this is another Filbert. It's a little bit smaller than the When I was just using the bigger than the first fresh was using. Okay, so we see there is a shadow pretty much right here. So I'm gonna paint this in. I kind of tried to give So there looks like there's a was a highlight here that's darker. Closer is to the orange. It's darker. This the way the light was hitting is kind of weird in this photo. So I'm gonna just imagine that this line isn't there, because I have my blinds just partially open when I took it. So that's kind of a strange has a strange thing going on in the the background. But I do know that the darkest part or where the where the background meets the the bottom is there is right there. So I'm gonna kind of play into that a little bit. Gonna use more white to give sense of change right here, even though it's still pretty dark. Well, over here 18. Dimension: Part 4: so you could really work on this for so long and just keep blending and keep creating shadows and just make it even more prominent. But this is just kind of, ah, overall little school. Very quick lesson on how to make your objects look three dimensional and actually a face of Syria. Here there is orange shining on two, the ground. So let's let's add a little of that because that's kind of cool. Yeah, that was cool. So it just kind of adds to It's very good. Paint kind of dried quickly overhears missed my palate. All right. There is definitely a difference in the you can see a very start difference in the dark shadows and orange this So I'm adding some light on this edge. So it stands out from the background. Okay, Now I'm going to do my final look and see what can be made better and what can like just my final details. I'm using a smaller brush and I'm going Teoh, actually bring this back a little. There's like some. There's, like a lot of white right here, so just look for your shadows. Look for your highlights and exaggerate them. Really That's kind of what you do and painting as you sort of exaggerated. Because our eyes, I think, like if you have a real object in real life that you're looking at, it's just gonna be is different than whether you're painting it. So sometimes we have to exaggerate it, right? So that's pretty dark right here under the orange, Really dark under here tryto get that as dark hoops, ships and water. Try to get that as dark as I can. You can also see it kind of goes like this and like that, don't try to get that shape. There is best I can. 19. Dimension: Part 5: po black in there, - just kind of going through and looking for highlights and final things that may need to be touched up. Okay, so I'm just gonna I'm adding in some more of my the orange reflection to kind of show that that's there in this area could blend. Whoa. - Okay , I think that is good for now. I could work on this forever, but this gives you a general idea of what to look for when you are painting to get a sense of dimension And, like, honestly, there should there could be and should be some highlights, like right here. This could you could just rework this over and over and over and over. We are gonna call it a day and in my classes, like when I'm trying to achieve something that has dimension or more of a depth of field, like I'd talk about it in my process. So you will see that as it comes up. But this is just a general idea 20. Depth of Field: Part 1: now I'm going to teach. You have to create depth of field in a painting. This photo is such a good example of this in part in the watermarks here. That's just because I've painted from this photo before. But this is such a great example. Depth of field is achieved by, um, the different colors. So you can if you notice this back mountain, it's, uh, this back cliff is light colored, and it gets darker and darker. The closer it gets to the front of the photo and depth of field is also achieved by size and scale. So this is really large right here in the front of the photo, and then it gets smaller and smaller and smaller as it goes back. I just want to give you a overview of how to accomplish depth of field and actually in my classes. When I am painting the landscapes, I talk about that throughout the class. I tell you why I'm painting the mountain lighter or in one class that I am doing. I'm in painting cactuses and I want to show that there like there's some closer. There's some further and so I choose colors based off of that. So this is just gonna be an overview of how to achieve this. Okay, so too start off. I'm going to kind of mark out where the mountain begins and will say here. But then also, we want to get an idea of a horizon line, so it looks like the horizon line is gonna be about here. So if our mountain is there, this is very there's not much difference between this horizon line and then where mountainous sketch out a horizon line and then kind of go just kind of sketch this out. So I'm just going down the coast of this photo and kind of just doing the contour lines. So now you can see we're getting more larger in the scale. Okay, so there we go. Our coast is sketched. Um, this right here. This section right here is the rocky cliff part there. So this is kind of one large cliff, and then right here, there is actually one more cliff kind of rate there. So that end. So there we go. That was pretty easy. But you can see already there feels like there is a depth of field Just because the scale the scale of these cliffs in relation to these giant ones up front. Okay. And I'm just gonna sketch these little rocks Rocky points in the ocean, just a give us a sense of like where they are on this photo, just for just for kicks. You see these air probably as large as these in real life, but because they're further away, they're gonna be smaller, all about perspective and the depth of field. And so just scale is how you accomplish and achieve all of this. All right, Gonna get started with squirting out some paint colors. And I'm gonna primarily just be using Payne's gray. This is my favorite. One of my favorite paint colors. I love it. It's just a really pretty dark blue, and I tend to paint with it all the time. So I just wanna shout out to my favorite paint color and I'm going to be using this is Windsor Newton titanium white. It's just one of my many acrylic whites that I have, and I'm gonna use that day and we'll probably need some black. Well, where did my black belt? Maybe a little bit of an yellow ogre to get a little bit of that warmer color. So we're not going to be using a ton of colors. This is a pretty monochromatic photo. Anyways. It's not crazy. Colorful. It'll be pretty easy to achieve. I'm going to start off with a pretty small brush. Um, this is a filbert. I love my fill Burt's. So that's just what I'm gonna use today, and I'm gonna start painting. Okay. Well, actually, let's look at this vote, Ogan. So if you look at this in terms of just a just kind of zoom out of the detail, don't look at all these details. Look at the photo. In general, we've got a lot of light blue here. This is the majority of the picture. Plane is a lighter blue, and then the other, like 1/3 of the picture plane is this dark color and it becomes the cliffs. So kind of look at it in terms of that. So I'm going to go ahead and kind of work on the lighter blue part of the picture plane, and I'm gonna use a larger but brush just to achieve it quicker 21. Depth of Field: Part 2: Okay, so let's just mix up a lighter blue. And this is I start my paintings all the same way. If you've taken my classes before, you know that I block it out. So I'm just blocking out some some areas right now and I'm going Teoh, just get it all mapped out, and then we'll go and and we'll do the details. So I'm going around this cliff paint Bill's pretty six. I'm actually switching brushes, toe bit stiffer silver that I have and I'm gonna wet this. All right, get back to business. Does get a little darker as it goes closer to the picture plane. So that's totally start adding that in as I walked this out and you don't have to go around every detail like I'm doing with these rocks. Um, usually if I drew men dark enough, they'll show up in the background. But I am just today because I feel like it being careful about not painting over my cliffs . A round brush like this would also be really nice to use when doing this particular piece right here around these cliffs, because you can get in really small spaces and I'll say you. Actually, we'll show you how this can achieve. Really nice results getting into a little spots. So it's pointy, and it just allows you to really get into the details. Look at that and that. Great. You just right up in there. And you don't have to worry about running into anything painting over anything. So it's really, really nice. I like my round brushes a lot. All right, finish up these last few details. All right, so we've got the majority of the painting blocked out, and now we're going to block out the rest. I am actually gonna use the round brush again because these air so small I don't want to running like I just want to keep it detailed. So I'm gonna use this painting. I mean, this brush again, And I'm going to start with this guy that make them kind of light, but different color than the rest of the background. So he's kind of more of a gray. Here we go. And, you know, it could probably even go wider. So I'm going to do another layer on top of it in a lighter color, because it's our furthest cliff, and it is going to be lighter, all right? Cleaning my brush. And I'm gonna work on the next cliff, which is a little bit darker. And these two back ones, they look more blue than they dio black, like the other ones. So keeping that in mind when mixing those colors, Okay, so these new, he's the next close coming up. They actually have a little bit of a green in them. You can't really tell too much from this photo, but there is definitely a little bit of green. So I'm mixing in some of this yellow Oakar into black and into the Payne's gray to kind of give a sense of a really dark black, blackish green and probably a little bit of white just to not make it terribly, terribly dark because it's gonna get darker as we get closer. You can kind of see that green. And there now, Okay. When you use the same for Okay, notice in this photo. You see, the top of that cliff is a tan brown and also kind of right there. So I'm gonna keep those out for now. I'm not gonna paint that, And I'm just gonna pain in the dark parts of this cliff 22. Depth of Field: Part 3: okay. And when a mix up, a little bit more pain over here to get these big close over here. And she's there much darker, not quite that dark. So I can like in that up a bit. And you can tell even though it gets darker as it gets closer to you, they're still gonna be a lot of variation of lights and darks in these cliffs because they are like, the closer you get, the darker they get. But they also get more detailed. So you're going to see a lot more detail in the cliffs and in what is actually in the photo . I'm gonna switch paintbrushes now because now that I've gotten around all the detailed spaces, I can now use Filbert kind of do more of the other strokes that I like. I saw him mixing a little bit of my Oakar and green are black blue ogre mix in a little bit more Okkert into it, and I'm gonna paint this in just because this is a much lighter section of the cliff, and again, this is just were blocking it all out. We're still in the blocking out phase of the process in this color is very similar to this light color appears I'm gonna uses Here is Well, okay, our cliff. Well, actually, I need to get these little rocks in there, so let's get these painted in. They can go into the water, so we'll add that these are more just, like, touches a color. They're not gonna be detail. Okay, we've got that all blocked out. And now what I want us to look at. It's just to see where the difference is in this horizon. So it's definitely lighter at the top. And there is definitely a line here, like a darker line that is going to create our horizon line. So I'm going to kind of go back and work on that a little bit. I need to miss my palate because it is getting dry. This is a great tip to dio toe have on hand have a little Mr so that you can definitely keep your palate wet cause a dry palate just not very helpful when you're trying to paint. All right, so I'm trying to draw my kind of give me a baseline for horizon line here, and then I want Teoh go whiter up here, It looks like there's a little bit of black and my paint. Joe wasn't really wanting, so I'm going Teoh liking Fix that kind of paint it back out. All right, here we go. And this is gonna change throughout the painting, but it's a good It's just kind of nice toe. Have it already separated. So you don't You have an idea of what is gonna happen and you don't have toe. Imagine it. You can just pretty much see it even though we're gonna add to it. And it's gonna change throughout the pace right in the ocean is darker or the okay below. The horizon line is the ocean, obviously, and it is a darker blue. So I'm gonna just kind of give hints of that on this horizon line just to give us a sense of anchor on where it iss could you see right there It's very, very faint, but you can see ah, horizon line. Yeah, I think that's pretty good. Given us a good idea of what's going on. All right. The ocean down here is a lot darker, so I'm going to go ahead and kind of work on that and notice How is lighter? Closer at the eso is light hair light, light, light, light, light. And then it's dark kind of back here, the further out to sea. So we're gonna paint that in again. I'm not getting too too detailed in this peace just because I'm just It's just a demonstration. But I want just to give you an idea of how you can achieve depth of field. So one thing I like to do, especially with stuff like this, I kinda like to sketch out like my my barrier. So I kind of know they don't don't draw or don't paint within this area. So that's what I just did. That wasn't me sketching that out. So now he's gonna kind of keep the dark within those lines. But within that boundary line, 23. Depth of Field: Part 4: then emphasize with White. He's a lighter areas and there are dark areas in there, so we will add those. But I'm just gonna kind of just paint in where it whiter for right now. And then we'll go in and we'll add in those dark areas. See him trying to keep my horizon line still there. This is a lighter. Okay, so now that we've gotten it in, let's add in a little bit of that dark. That's right here. And it's not all the way you can see. There's still white cost separating it from the edge. There we go. So now we have a whole oceans and going on here. It's looking pretty cool. We can go in and we can start adding in a little bit more paint to this, cause this is not quite this light. So I just did like a little bit of a gray. What kind of scratch it in here to cause the cliff is kind of rocky and it's kind of give that look me a little bit more in my broker and mix up more of this color. Also, this looks darker here, so I'm gonna dark in that up a bit, huh? Was into here to this color. Okay, Gonna keep building on to these cliffs. Just building up those shades so you can see there is a line here so kind of lines up well there. And it's darker above, and it's a lighter below. So when you're when you're doing, when you're doing a painting, you just have to really learn toe. Look at your piece. And what helps is how at block off I start off very simple and then and once I have, that is like I'm able to see the next layer. So I'm like, OK, there's dark hair but a pain in the dark ocean. And then once I get that and I can see the next layer Okay, I'm gonna pain in this light ocean and I can see that there's lighter here on this cliff. There's later on that cliff. You can just see each layer better, the further you get into it. But you just have to be patient, take your time and go layer by layer and you will be golden is really not. Painting is totally just like doable. You A lot of it has to do with patients. So if you've got patients toe learn and just to take your time, you can totally do it. So I'm just building up these layers, building up these colors and trying Teoh a TV, the depth of field. I'm kind of working on some of the shapes because I g o Okay, so I want to bring in some of the lights right here in the front. I'm gonna put a tiny bit of white an ogre into this mixture, which my Oakar go. It's right here to bring in more variation into this front. Cliff. Yes, there's you can see there's light here. This is like bushes and stuff, which I could do, like actual lines and stuff to give it the actual look of grass. But I'm not going to go that detailed. I'm just gonna do a color variation to show there is something else here. But you can't see it, really. But it shows there is a difference in color in this corner. Okay, And then there's also a difference in here. So I'm gonna just kind of start putting in this These changes in the cliff free here 24. Depth of Field: Part 5: again kind of working with that light because that pops out to me a lot. This this cliff also has a lot of this nice, warm tone to it. All right, I'm going to switch brushes because we're getting a little bit more into the details and we're going to kind of work on these cliff heart. So I put in those those Oakar warm spots, and now I'm kind of bringing put him in, and now I'm kind of taking him back. I'm just kind of trying Teoh do the opposite with the darker color to shape the's a little bit more. They don't just look like brush marks. They look intentional and they look more natural. So there are some really nice, like, black details in this photo, like on this edge that I really wanna like highlight because I think they give just a nice sense of where it is on the page. So gonna paint those in, see that? Have a change. That was a little too sick of a black warning up there. So I'm taking it back a little bit. That's the beauty of painting is you can add and you can take away can edit your piece constantly. His painting paint can paint on top of each other. So, like I said earlier, the more you get onto your page, the more you're gonna actually see. So now that I've gotten this kind of more developed, I'm noticing some other things in the ocean here that I would like to add. It's right from palette, like noticing some darker. That kind of comes at this. This is like some like just the texture of I don't know what it is. Maybe it's rocks, but it's just got this nice texture of darker. That kind of goes and here and you can even see it down here. So it's real nice, toe. You just see more. The more you the further you go, you're gonna see alive. All right, so then there's kind of this blue. I'm gonna keep adding a little bit, too. It give it a little bit more complexity and same here, all right, And then these rocks there's definitely darker blue around. See, this is still lighter, but it's not as light because we kept going and we're seeing differences. That's pretty good. Little quick Seascape right there. All right, So I'm going to start wrapping it up and I'm gonna add in a little bit of variation to these clouds because there is some change up there. 25. Depth of Field: Part 6: it's not completely white. There's definitely variation. And I'm just doing kind of random strokes just because it's a Seascape and it's very brushy , like there's lots of brush marks in this piece and I really like that about it. So I'm gonna just add to that same ceiling with different kind of a brushy looking sky. Yeah, like that. All right. And maybe we're gonna add actually a good bit of white right here on the horizon just to separate it to give it It's feeling like this is different. This isn't just ocean on this guy we've got There is a difference here. We're gonna go around that back Cliff, then kind of blended in from there. There we go. Very nice. And just to give it a little bit of definition on that very bad cliff, I'm going. Teoh kind of go over it one more time since adjusted the sky. And I want to make sure that this stands out really nice against that sky. So I'm just doing really just like the edges and then I'll kind of still it in. I'm using my smallest filbert that I have. I think we can shape that back, back Mountain a little better. He's not the best shape. So let's work on that said I wasn't going to get to detailed, but I think that's physically impossible for me to dio. But that's okay. More to learn. He was making darker because he's definitely a little darker than in the cliffs behind it. Oh yeah, that's good. He's got a little bit of light in the base of its That worked out perfect. Okay, I like that. I think that's a good, quick, very quick demonstration of how to achieve depth of field. And I hope you you got, like, where I'm coming from. It is in terms of shade. So just look at your piece. So easy, lighter, darker, darker, darker, darker and scale. So it gets it gets smaller, the further away. And I hope that was helpful. And I will take the tape off and show you what it looks like without the tape, because that will be helpful. E usually don't take the tape off until I and don't until it's dry. But I just want to show you. And I didn't even tape it all the way on. All that is just so it's kind of rough looking, but now you get a You get a better idea of what it looks like already. What I didn't do, What you could do is you could add more to these things. They have, like, more of a darker bottom tooth. Um, right there. But I think that's good. Okay, so that is your quick lesson on creating depth of field. 26. Final Thoughts and Class Project: I really hope you enjoy this class and that you took it one step at a time. If you're feeling a little bit behind, don't worry. You can rewind and keep practicing the parts that you need help with. But for your class project, I want you to practice makes and colors and playing with different brush marks. This is really the best way to practice painting into get used to painting because A you're learning how the mixed colors and then be you're gonna become more comfortable with the paintbrush. And it'll all just feel way more natural when you begin to paint an actual painting. If you're feeling confident and you're ready to start painting head to my first painting class acrylic painting how to paint abstract landscape and take that class because that will be the perfect call up for this beginner class. I hope you enjoyed this and let me know if you have any questions. Please do your class project and show me what you did and I will see you all next time