Acrylic Painting for Beginners: Modern Landscapes | Eleanore Ditchburn | Skillshare

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Acrylic Painting for Beginners: Modern Landscapes

teacher avatar Eleanore Ditchburn, Art + Illustration, Teacher

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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

7 Lessons (1h 29m)
    • 1. Intro

      1:23
    • 2. Materials: Paints, Brushes, Palettes, and Surfaces

      12:54
    • 3. Value and Composition Sketches

      8:18
    • 4. Painting the First Layer

      19:55
    • 5. Painting the Clouds and Sky

      20:45
    • 6. Refining your Painting

      25:14
    • 7. Thank You and Lesson Summary

      0:24
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About This Class

You will be guided through a super simple step by step process to paint your own landscape. Learn how to simplify the values and composition of an image to create a modern and dynamic scene.

This class is for the beginner and uses colours that are easy to find and popular in art gift sets. We’ll take it slow and make each stage simple to digest. Those with a little more experience will also find it fun!

By the end of the class you will know how to simplify a photograph through value and composition sketches, how to paint the first layer of your painting, as well as  how to refine your art through final touches and colours.

All you need are some acrylic paints, brushes and a surface to paint on!

Meet Your Teacher

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Eleanore Ditchburn

Art + Illustration, Teacher

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Transcripts

1. Intro: Hi. Today we're going to paint modern landscape in acrylic paint using the paints that are often found in Gifts Sets. It's going to be easy and it's going to be fun. I'm Eleanor and I've been a professional artist for over 10 years. Shall we get started? Sure. 2. Materials: Paints, Brushes, Palettes, and Surfaces: So I'm going to talk about some of the things you need to get started. I've put together Resource Guide and now includes suggestions for brushes. But really use what you've got to do a go mad, just get one or two sizes. And we're particularly looking at colors that you'll get in a lot of the starter sets. So they often include this kind of range of colors and might differ a little bit, but this should cover most of those. Will have a little look at palettes and a little look at surfaces as well to Peng Tom. The lovely thing about acrylic sister, so flexible. They really will paint on anything. So starting with the colors, you'll often get cadmium red. It's quite useful color, it's quite opaque, and it covers very thick clay. It's very good for making bright oranges when paired with cadmium yellow, lemon yellow. But it can go a little bit dull with certain mixes, but it's a pretty good starter is and how much she views it in landscape really. Then we have a cooler red. You may get an alizarin crimson or something similar to this. This makes really vibrant purples. And it can make really vibrant oranges with the lemon yellow. So it's really good for those kind of orange poppies, things like that. Very, very zinging colors. Cadmium yellow, a standard color in many paint sets. You can see all my paints are well used. And we've got these kind of brands is a Winsor and Newton Dale around knee. There are other companies I use, but these are perfectly good for getting going. Cadmium, yellow and other heavy color. Quite fake. And very good for landscapes making brighter greens. Lemon yellow. That's the cool version. You can see these have all been squeezed by my tubes squeezed. And lemon yellow will make very yellowy greens, so very good for spring landscapes. And it can be a little bit weak sometimes you can end up using quite a lot to that and it's always better to add the darker colors into light. Got some white, titanium white. That's a staple in any, any kind of studio. You need a bit of white to make keep hostels and lighten colors up. You'll often find ultramarine blue. It's quiet, Violet kind of blew. It can make some quite dull brings with the cadmium yellow and some brighter ones with the lemon yellow. As you can see, it's such a staple in my studio. I buy it in huge tubes. You'll often find the other blue that's included as Sara Lee and blue. It's a very nice summary. Blue, it can be a little bit weak when you mixing. So again, you might end up using a bit more of it to get the color. It's often suggested for skies. I actually often turn to cobalt blue for a sky or find it's better glue. It's not quite as violet as the ultra marine. And it's not quite as of pale is this Sara Lee and so cope cobalts, a nice color that is one that you may have to purchase separately. It's not often included in sets. And it's also reformulated thing now because cobalts not terribly good for the environment. So they reformulated less toxic versions of that. You have a range of Earth colors. And these are the wonderful subtlety to your mixes. The best way to think about Earth's colors is actually to look at the color of them and think about them as a DO yellow and UDL, orange to brown. So these are very, very useful. You'll often get burnt sienna as well in 2-SAT. Both of these, when mixed with ultramarine blue, yellow ocher, make some very good greens for pastoral landscapes featuring fields and things like that. It can go little bit dels, he can brighten it alphabet using a bit of lemon yellow when you mix with burnt umber, makes a beautiful black when mixed with ultramarine blue. And the nice thing about that mix. Is you can use it very neutrally or you can take it slightly towards the Brown aside for very warm black, deep black. You can take it towards the blue for a much cooler one. So that's your basic colors you likely to get in your standards. Sets of paints will also need some brushes. This is a very well used. I mean, I've had this brush for maybe 15, 20 years now and it's starting seen better days, starting to splay a bit in. It's in need of a bit of PID of love, but it's great for doing scrubbing marks in your paintings. I love it so much. Have actually bought two or three replacements. These happened to be de la rounding. And there were short flat bright and this is a bright, it's got slightly longer bristles on it. They're synthetic, which is fine for acrylics. The other brushes, you might just have a little small one. That's fine. But small brushes are going to make small marks in your paintings. And large brushes are going to give you nice sweeping marks. So it depends what effect you're after. You can also get around over one. This is a round oval wash, but there's a similar one call to fill but and that makes a much softer mark. And then probably be familiar but you get your playing round brushes are great for detailing. These are from a supplier called Rose marine CCO, who's a UK brush maker. You can, if you buy very good quality rounds, use them from everything, from very large washes and sweeps of paint down to find detail. But acrylic does tend to, even with washing out, it can weigh your brushes down. So you might end up with a few little tiny ones with detail. You don't need a fancy palette. You can't just use an old plate. Please don't use it for food again, once it's being used in the studio for painting, that's not a good idea at all. You can use things like this that are really suited to watercolor. And you will have to wash them well afterwards, otherwise the paint will stick. And that's quite long job gang that off. So these are fine. They're not going to keep your acrylics nice and workable and wet. You'll find especially on a hot day like today, your acrylics will dry out and basically dry in into the wells here, so they're fine if that's what you've got. What I actually use in my studio is a very not pretty but practical solution. It's an old, I think it's an old kind of cake box, little tupperware plastic box. And I'm sure you've seen this solution elsewhere, but I just put a bit of kitchen Rollin. Mistake was water. Lay in a piece of silicon grease proof. Pay for anything like that from the kitchen. I tend to keep a separate role from our studio because I'd like to keep all my paintings well away from feet things. Now it's just good practice. Again, I would miss the layout McCullers. And these will keep good in here for awhile. You know, at least a few days to a week. There's no anti microbial treatment unless it's a very simple solution. If you leave these covered for too long, you're going to get a bit of a nasty surprise. So check on them. Some people keep them in the fridge. I don't do that. I tend to use use my colors and then replace the paper in them when it's time to do that. You'll also be needing something to paint on. You might have seen similar things like this. This is a canvas board. Some people prepare them themselves. It'll have a piece of MDF. The cheaper ones will have cardboard underneath. And I wouldn't really recommend those. Especially if you paint very wet. And then a piece of kind of cotton cloth, you can actually use polyester with acrylics satisfying fluid down and then prime it with some gesture. These are great portable surfaces and a great for packing. If you're going on holiday, you can do a lot of paintings and pack them away. I don't use these that much. Personally. I prefer painting on traditional box Columbus. So this is a little canvas. I've actually read prime this, so I don't know if you can see there's a bit more texture on it. I think I started painting. Didn't like the effect, so I cleaned it down and we prime the surface. And to be honest, I actually prefer adding a bit of a primer commercial campuses when I use them because I prefer the surface. So they come in different profiles. Some of them are much thicker than this. This is a reasonably narrow one. And then you can just see they stapled on the back and you can see the back of the role Canvas. So you put a fixing for hanging in the back. But that's good to go. And not the popular surface is to use a cradle panel. So this is similar to plywood or MDF and it will be prepared with just so some people make these themselves. This one's good to go in is from a supplier I use all the time in the UK. And you can see it makes a really clean sort of edge to your piece. And then you'd pop your fixings on and it's ready to hang. And that's kind of complete all, all M1. So that's just an idea. Rough surfaces you can use. There's many, many others and I can show them in other classes for you, but you can simply use a piece of thick artist paper prime to adjust. So all good quality 300 GSM paper would also be fine for acrylics to get going. I've made some resources for you. Check in the class description below. This includes a PDF link in the resources tab and a Pinterest board LinkedIn, the description and the PDF. So in this video, we had to look at paints and pigments that are often included in gifts sets. We also took a look at some basic brushes and how to look at some appropriate surfaces that are great for acrylics. Don't worry, use what you've got. It's best to get started and get your hand in practicing. Don't be put off by not having exactly the right color. Next, we're going to take a look at value and composition sketches. 3. Value and Composition Sketches: So once you've selected your picture that you'd like to use, you can use to Pinterest board or one of the stock sites or your favorite photo from a hollow DAG. It's really nice to work from places you've actually been really add something to the whole process. You'll need to start looking at composition. And really composition is just about how you arrange your picture on your Canvas. I'll be using a square canvas. So I need to think about how these rectangles going to be cropped to fit a square. You can make your own viewfinders, which are great for when you're outside. These are very simple. I'll use cardboard ones and you can hold the masses square and cold. Move the picture to pick bits out and change their size. You can make squares and you can instantly see. So you might draw, might say that's quite an interesting composition and pencil out, composition out. But we might find another, we might say we like this figure. So you might end up with quite messy piece of paper, but you can see how many pictures could be gained by playing with different compositions within one photograph will reference. So it's very important when you're planning your composition that it matches the surface you using. So I've done a little bit of preliminary work on this picture already, but really, I would have to think about getting rid of a whole area to make it fit my Canvas and make it square. So what you want to do is a few some nails. Just sketching out your ideas. And if you finding it hard to see composition, you can ramus go off. You might say that's quite nice. So we could play with that and the idea with drawing the composition. Now, you thinking, why don't I just copy from the photograph when you're interpreting your memories and your feelings about the place. Because otherwise we could just use this photograph. You want to add a bit of your expression to this, quite like the way this seaweed comes across some breaks up the horizontal. So we might thumbnail law him. We've got our viewpoint. It's a bit bait in the center, but maybe sweet to move that slightly. You might want to put it somewhere over here. The viewpoint. Now what you'll start to notice that this point is you want to bring a bit of interest into the picture. It's just stop structs shapes at the moment. And the other thing you need to consider a values. And you can see here I've numbered mine. And you can use three values, five values, 10 values. The more numbers of values or how light or dark and images, the more complicated it's going to be to organize these elements. So if you're just starting out, stick to three or five values. I quite like this whole view here. And I like the way the sun related with the water. So what I'm gonna do is build my composition out into a square. And I've just added, since skies are so wonderfully flexible for our tests, an extra section on the top. And I think also to try and hit one of the compositional magic spots. I'm going to move this over here. And thought I wanted to go over there. I think it's going to work on this side better. And being artists, we can do that. We can move things. And it's quite easy to see in this picture we're using our imagination for this section, but we would extend these ones up here and these ones up here, these clouds. And we can see if we were doing a three value picture or three lights and darks that we've got 1, 2, 3. I'd probably put those probably put those together because they're all dark and that will give you a very clear indication of the landscape. If you're a bit more confident or even being drawing and painting awhile, you might want to use five values. So probably outline not to be. Let's do a quick sum. There will be lines. But our landscape pen, it's roughly removing that some are going to put our clouds and nice fluffy cloud, stormy, stormy fluffy clouds are going to have our horizon actually dips back a bit with the shoreline and then comes back round, disappears. Behind this piece of land here, comes out. We don't really want anything hitting directly halfway across the picture if we can help it. So just nudging things are put down will really help you picture. And then this lovely they, some of the soup comes round, got some Bush's, got our mountains actually come down like that. And then we've got some slightly behind. So that's very simple line drawing. It has to make sense to you. And so as long as you're clear with your plan at the end. And we're gonna do 33 value. So we're going to call that one. That's the brightest. And we're going to call all of this two. Now we can add interest with our colors when we start painting that this stage is really important to establish what you're doing. And it really helps you picture hang together. That's another to number these for year two. And then we're going to call these three are darkest and we're going to color nice and hard on the penny each. Lock that in. And again, we can use other techniques like texture and color to make these shapes a little bit more separate once we start painting. So that would make a very simple value statement. So in this video, we looked at simplifying your composition into three or five values. Now we're going to move on to the first layer of painting. 4. Painting the First Layer: Once you've got all your preliminary drawings done and you've decided on your composition and you've done your tonal study so that you know where all the lights and darks are going to be. You can begin to sketch in on new canvas. I squeezed out some paints here. I was going to use to make this sunlight a nice warm red cadmium red with a little tiny touch of lemon yellow, but we're really going to use a lot of whiten. And when you use some ultramarine, some cobalt blue, some Alizarin crimson, some burnt umber, which makes our nine stocks. And probably a little better. This is the yellow ocher just for down in the rocks and foreground in the grassland. So that'll be our palette we'll be using today. So I've just got a mechanical pencil here. Sometimes pencil can show through if you're using paint very thinly, So I'm gonna do it quite boldly. See you can see it here on camera for the purpose of the tutorial. But you might find that you just wanna do a light guide. Once you get very confident, you might not like draw in the guide at all. It's really up to you, but as long as you have your preliminary pictures, then you're going to know what you're doing. So the first thing I would do is draw in the horizon. Now, horizons straight unless your land is your landscape, your horizons of fun slant. It means you're either on the slant or the urine the hill. But really, so in a landscape like this, you want your horizons to be straight, so your horizon will continue all the way across this page. And then we've got some mountains to bringing sure our brooding mountains and they got slight undulations in the hills. They go up and down and they taper off towards the lock quarter of an inch, somewhere about there. So as you can see, I'm just blocking in very simple shapes rule this is going to get hidden in the end and we're not gonna see it at all. And then I actually went back a bit. So this, this shape is coming in front of our mountains right at the back. So we can adjust this as we paint. But it's just giving us something to follow so we don't feel completely, completely lost. Now this one on the right-hand side has a little little piece of land coming off there and then it starts to go up and the shapes rule so dark. So if if you were there in person, you might find who I made a mistake there. I'll just ignore that. You might find a few there in person. You can actually see more detail. The photographs. Don't pick all that up. So in a way that great to begin drawing from, I'm painting from because they simplify the landscape for you. So bringing the coast, the lock side round set and then we've got some nice Bush's should give us a nice textural interest on that side of the canvas. And we decided that our light was going somewhere around that. Might move with it. Well, we'll put in their end, but we can make that decision. That's the nice thing about acrylics is you can change your mind. You don't have to stick with what you first saw. You can just paint over and keep going. They will eventually get to slippery and select to paint over. But let's make that shape a bit more dramatic, I think. Okay, We've got rough shapes and so you could paint the sun first been focal point. What's very important about this is the sun's often have yellow and orange tones in the sky is often blue. As a service. No blue and yellow tend to make green. And you don't want a green sky. And that's going to happen if you don't let one or other of the colors dry. So you can either paint the sun in. And reserves and paint around it or you can paint the sky in and then put that back in and will cut him with the clouds, which is what I am going to do. So I've just got my first big jar of water and I've got a small another jar over there for my second wash up. Just kept these out of the way so you can see what colors are mixing. I've also got a piece of kitchen roll. You can use any rag. So I'm going to start with the cobalt blue. This is going to be far too bright. I'll move to if you had a very I mean, this would probably be too bright for anything but a really hot, hot, sunny sky. So we're going to bring the paint out to make it workable. We don't want to get all of our white paint and blue, so we can just wiped some of the paint off. Or alternatively, you can use a clean brush to transfer over some white. So I think that might be quite a good time to start off with. We're going to make our sky go from dark at the top to lighter down at the horizon. If you take a look outside, on a fairly bright day, you'll see. That's, that's how skies work. So they're a little bit more intensely colored at the top. And then as you work your way down, they become lighter and more neutral and color for this painting is we're just going down, we're just going to lay in some colors and have fun learning how to blend them down the canvas. And we need to get water in there, It's a bit dry. One thing that's quite important is to be quite generous with the paint. I use quite a dry cell or my canvases, so you need a good amount of paint color for them. It's a mistake that a lot of people make is just not using enough paint. So the choice is yours at this point whether to leave little wisps that my add to our Cloud later online, quite like some of these brush marks and you might not, you might want to blend very, very smooth blended transitions can just look a little bit dull. And these will all add to the effect that we're going for. So I've picked a smaller brush, big shapes, big brushes, smaller shapes, smaller brushes. It really is not that easy. I'm going to put these in quite dark and I'm gonna give him a brownish tone, depending because I'll probably put that central one m with a bluer turn. So I'm going to mix my dog Melbourne. I'm just going to make the paint a bit more workable and pull it out from the main pool that we squeezed out from the tube. You find that different colors can have different consistencies. So sometimes you need to pop a bit of water in or medium if you're using medium. Spite the brochure, we're going to start bringing the blue. And now when these are very evenly mixed, you got a really nice neutral black. And the lovely thing about this mix is you can take it towards the brown or towards the balloon. It's all gonna turn together as we were only using. A very small amount of colors in OMICS. So I've got some paper of pop down just so I can use it to test colors or you can do in your sketch book. You like to work. I'm going to just refer back to our sketch, thumbnail sketch. We're going to start putting less mountain, bringing it down. And because we're using this nice flat brush, that lovely crisp edges that the paint starts to dry out. Tiny touch of water back into APIC the color up. And just carry on and use a similar color wrongness of the site. And then the blue and mix. Now assign left-handed or find it quite hard to paint straight on so you can have to bear with me turning the canvas. So you've picked up a bit at the sky in men because it's not dry yet. So I mean, if you bothered about it, then really wait until the skies dry. I quite like a little bit of overlap because it is a whole scene we're doing here. So I'm not going to worry about that. No worries. It's quite warm today, so my paints keep drying out. Keeping that mix on the Brown aside for the mountains. It's nice to have a little bit of variation. Why is it will do look a bit cartoony. So we're just going for block and so we don't have to worry about it being a bit rough. Something's not quite the right shape. You can straighten that up. I do try and get most of my main shapes in right at this point because you can end up in a bit of a thing later on trying to sort them out. So tapping the brush so it's not too wet, so we're not splurging. I'm going to go in with this stock. Just finished completing the water. So slightly grayer version of the sky color and becomes lighter as we move towards the horizon. So we're going to start blocking in the foreground now. It's quite dark enough value plan. So I'm gonna go with the browner version, Yvonne neutral mix. We're going to need quite a lot of it. So mix up a little bit too blue there. So just bring a bit more burnt umber and it's nice to start mixing in the colors. Popping a bit of alizarin crimson and just very vary the colors a little bit more. And add some interests. Advise 50 scholar, very dark, dark picture. Make sure my paint system to dry a little bit. So I'm just going to get a very light spirit sing with my water spray. In my reference picture, this. More green around this area. So I'm going to use little bit of ultramarine pick up and carry over here. The brush-off. If you press your brush in and out, you may you keep your colors cleaner. So we can see the blues lot stronger than the yellow ocher. So it's made a really dark, sludgy green that we got a nice, nice grassy green we've got going on. So if you pick different blues and different yellows, you can get a different field to the painting. So really good idea is to practice in your sketch book. Makes saying maybe it's just three colors, just pick 11 red, one yellow, one blue, and see what you can do with them. So I want to make a brighter green. So what I would do is use a brighter yellow. I'm feeling like there's not enough interest in this foreground. I'm going to add yellow current. What's nice about wet on wet and so you can blend it may really interesting colors in effect. I think I'll lightly red on this side. So I'm going to just wipe my brush rather than bring any more water and pick up some of the alizarin crimson and really take quite a bold red brown mix, bring that in and it just provides a bit of contrast. But if something starting to see how you can use really neutral colors to make nice effect. We're using quite bold strokes, which is kicking in very simple. Sticking to the main shapes evolve. Balancing the tones out. Just taking care with orange juice. So that's pretty much blocked and doesn't have to be perfect at this stage. You're just giving himself all the colors to play with. You can see the overheads little bit thinner and color starts to get some nice modulations of colorant. And the next thing we're going to paint the clouds. So just to recap, in this class, we got our first layer of paint laid in our basic shapes for your composition. Next, we'll work on the sky and clouds. 5. Painting the Clouds and Sky : We're moving on to painting some clouds into our landscape. And the similar Scottish landscape that I've painted, you can see that the clouds have a 3D quality, so they're a little bit darker at the bottom, which gives some weight and something to sit on. They have a mid-tone and then they have some highlights around the edges where the light can really shine through. And what you sometimes also find is that they have other colors. So you can start to sneak in some little yellows and pinks and things like that. And that adds a nice trusty of clouds, but really, really light touch with the colors because otherwise it can look a bit too close to a sunset or just, just a bit unreal, but it entirely depends on what effect you're going for. So this is a very similar painting. And just to show you what can be done. So we can start with some white now to tell him why is very, very thick and opaque so it can be a little heavy for Cloud, so you need a really light touch and you paint to be thin down either with water and not have too much on your brush. Some artists prefer to use zinc white, which is less opaque. So referring back to our thumbnail plan, we're going to start just putting in the general shape of all the clouds using fluffy cloud movements. I particularly like how some of this darker blue is breaking through. And the house, some of the streakiness in the mix is lying on those far mountains. So I think I'm going to just see how that works. If I don't like it, I can painted out. If you get in a real problem with laying in new clouds, you can actually wash acrylic paint off using water before it's dried. But obviously it drives very, very quickly in especially when it's very, very hot, it will dry extremely quickly. So you'll have to keep missing the paint down, checking the consistency, and just seeing that you're getting the effect you want. So I'm using a slightly rounded, this is the oval wash brush. It's a nice soft brush rather than a bristle one. But bristle brushes work fantastically for clouds because they give you all those nice little edges. Now depending on the weather conditions that you're painting, you might want very gray heavy clouds for a dramatic effect or you might want to keep the whole thing very, very light and fluffy. But even on a sunny day, these clouds are going to need some sort of weight to adding to them. And by weight I mean slight darker gray. So I've just used a little bit of lemon yellow, slight touch of cadmium red, really light touches because these are strong colors and a lot of white. So you can either test that on a piece of paper. Perhaps needs a little bit more whiten it. Really just want a very, very subtle color. And we don't want much, so we're gonna keep wiping it off onto our cloth or towel that we're using. And we're just going to introduce that into why we decide it. The sun was coming from. Now if I think for fine, that's far too yellow. I can simply take my cloth and very carefully wipe away. Not a problem. That's much better. So just a very, very faint tint. I'm going to clean my brush and I'm going to just refer back to my thumbnail and tease this paint out and really thin it down. So it's going to blend our sway very gently. Once we've got that basic patch and we can begin to build up. So we've just done the painting, the sunlight here. So clean my brush and I can carry on just building these clouds up, blending edge in. And it will give us a suggestion. We can make that color a bit more dense as we go, as we let it dry. This is a little thick here, so so if we want our body of our clouds, the second tone we're going to go for probably quite a light gray. So we can use up and tumble. And our ultra marine next, I'm going to mix it quite neutral gray and wipe the brush. Introduce some White House, possibly too dark at the minute we're really, we just want a subtle gray thing now might be good. Let's have a look so our clouds are going to be lighter around the edge. So I'm going to start building up the body of them and you can see already gaining a bit of weight. So that's it. So Let's do that. So to speak. So with mixed up a gray, this is quite a blue gray, which is good for stormy clouds. So little bit darker in tone. If you look at your value scale. We can go in with accents towards the end of the process, which is tronic, get the general idea. I begin with this brush. So very, very light. Not much paint. I'm going to give these clouds something to essentially set on. Good morning. So Good day. Not a good thing to do in your sketch book or practice paintings is to hold the brush in different ways. So if you hold it straight down, you're going to get quite round. Round splotchy shapes or very light ones might want to hold it sideways. So they're aware I made it too wet. No need to panic. Just simply gets dry brush will dry brushy using and sucks up paying top. And it's very important to be really kind to yourself. Good morning. So if you photograph doesn't have enough information, visual information for you to actually see what you're trying to paint. If it's the right sort of whether have a look out the window, Nobody's going to know if he's borrowed some clouds. But I would always recommend looking at the real thing. Whatever you depicting. Try if you can, it's not always possible. Try to go and look at the real thing. So if you're looking animals, dogs, go to the park, guarantee friend's house. If you've got your own dog, do some sketches of the real thing because you get so much more information and new. You train your eye and hand to understand the shapes and how to interpret them in your way. I think I'd like a little bit more blue in my granny. So those real sundry, anybody who's been to Scotland knows it can be quite weathering. And it can be some Murray in the morning. Can be raining sideways by lunchtime. And it can be back to sunshine for the evening. But the way the light hits some of the mountains, the hair and the locks is truly, truly beautiful. Okay, as a whole. Good. So in this lesson we painted all the clouds. And next we're going to move on to refining all the colors and tones in your painting. 6. Refining your Painting: So if you've reached this stage, fantastic, really well done. What we're going to do now our painting starting to come together is neaten up some of these edges and brighten up some of the very dark things and add a little bit of interests with some greens and oranges as we have in S1. So it just threads a few sort of PT bits of grass through. When we mixed up this color, we use the yellow ocher, which is quite a dull yellow. So if we want brighter greens, we can use a brighter yellow. Have a little experiment in your sketch book called Two on the palette. I quite like this contrast here. And I think it's a good point to be a little bit bolder with your colors and really block in some interests. Otherwise you just end up with a rule that's very interesting. Otherwise you end up with a really sludgy painting and you don't want that. And when you look in the landscape, there is a lot of color. And if you'd like me to talk about seeing more varieties and new colors in the landscape. I can do a class, let me know in the comments, and I'm happy to take suggestions. So I'm going to thread a little bit of green through and always, always modulating and changing our colors. I'm just using a round brush. Surreal standby go to. It's quite important to think about shape if you brush too, because you can get a little bit stuck with one shaped brush. So everything can end up very linear if you just use a flat brush. And remembering with the bushes there, again, similar to the Cloud set of three-dimensional form. So you want them to be lightest on top, darker underneath where the light can't get to them. And if you decide later on that that green is a little bit too much, you can blend out or cover up, that's totally fine. There's no way you can go wrong in there, so you can't go wrong. Which is a really nice feeling, isn't there? I really, really enjoy seeing bits of alizarin crimson peeking through dark brown. So I think it warms them up beautifully. Ads in trust. And you don't end up with a boring parenting. If you find the greens a little bit too bright and you think, Oh, far too bright, out a little bit of the dollar, yellow nulled, start, tone it down event. It'll help it blend in using similar colors. So you can see we've got a much more natural looking green. You can really start to have some fun at this stage. So if you want to start adding, partnering through spotting. So we're starting to get an impression of leaves I think, are a little bit too bright then I'm just going to turn those down with some of our colors. Now what's happened here? It's also about at the end, trust in the general tone. The tones still fine on this side. Still quite dark where we plant and are valid plan, but it's really starting to jump lighter on this side. So we're just going to have to watch that and keep pulling it back down again so that we don't lose our tonal value, otherwise you lose the drama of the painting. So I found that the water started to look a little bit dirty. And really that's that's your first layer of water there. We want to bring in some of our light that we've planned and we've mainly plan the light to fall somewhere around here. Start brushing and not light color. So you're going to help define water at a little bit of blue and start bringing it down slightly for the horizon. Just cutting into the bushes, they're blurring the boundaries a little bit. It can be really nice to soften the colors. We can still go through and define areas. What we don't want is green water. For show. The nice thing about small canvases as he can pick them up and turn them, which is great. Where I've gone over the edge will be much better approach. He can pick it up. Where can it like this? And it's a really nice way to work. So this piece of headlands, a little bit thin. I want to take that down to quite a, a blue of our neutral mix between the burnt umber and start modulating between the ultramarine and burnt umber. So if you start using colors on your Canvas, just introduce them into other areas of the canvas. Otherwise, things will stand out and look at old hi. And you have to remember that things do get smaller as they go further away. So if you've got some larger patches of grass and scrappy bushes, things like that. They are gonna get smaller and less, less defined as they go away. But that's not the focal point of our painting, so we don't as standing out too much. So if something's too bright, couldn't take it down again and just keep playing with the pain. And we go, we're going to mix a slightly dull orange. So we've got nice bright pinky red, which is the Alizarin crimson and mixed state with the dollar yellow ocher. And what it gives us, It's quite a lovely sort of DO orangey, pinky color. And that can really add a little bit of interests through these brands. Sometimes such own at damped patterns like that. I might just take a piece of uninteresting color, film my brush with it and just let the brush suggests the marks. We're going to move on to putting in the highlights which should add a bit of pop to the painting. We'll do a lot of this work with the white and just pick out the very lightest parts of the clouds. This is often where the different elements and landscape really start to come alive. Some people like to do these as they paint each element. So they'll paint all of the sky in clouds. Then they'll go down and finish the mountains and things like that. But I like to balance the work all over. Think it makes a more coherent pain tank. Good. So do that. So by applying these much brighter colors at the end, we're really starting to lift the painting. If one part's got too much of these highlighting colors, make sure you've got a fairly dry brush and just lift them out again. That started a bit of interests, that very brown lock of paint we had. That way you can 10th things to make them more interesting. Partnerships. Both. In my reference picture, I do actually have highlights coming all the way to the shoreline. So I think that without a bit of interests into this block of blue, we've got the front. These two are too too bright. I'm going to soften them with some water. White comma y. So what happened? I raised my paint started to dry on the palate and so wouldn't flow off the brush. And it just gave us a thick line. So I'm using slightly shorter marks near the shore line. So water hits the shore line, breaks and create smaller ripples and fair drought where the water steeper. If you feel like it's not made the effect, you like at all, you can really paying tech. 7. Thank You and Lesson Summary: Thanks for joining me today and congratulations on reaching the end of the class. I hope you loved the painting you've produced if your favorite place, if you have any comments or suggestions, pop them in the boxes below, and I'll drop in and respond to them. Join me again for another painting class soon.