Acrylic Painting for Beginners Part 2: | Malcolm Dewey | Skillshare

Acrylic Painting for Beginners Part 2:

Malcolm Dewey, Artist and Author

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12 Lessons (1h 18m)
    • 1. Color Relationships

    • 2. The Dune and Color Relationships

    • 3. The Dune Part 1

    • 4. The Dune Part 2

    • 5. The Dune Part 3

    • 6. The Dune Conclusion

    • 7. The Expressive Landscape Introduction

    • 8. Expressive Landscape Part 1

    • 9. Expressive Landscape Part 2

    • 10. Expressive Landscape Demo Review

    • 11. Contemporary Approach Part 1

    • 12. Contemporary Approach Part 2

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About This Class

Welcome to Part 2 of Acrylics Painting for Beginners!

In Part 1 you learned about the essential qualities of acrylic paint. You also learned about the important painting techniques and skills needed to paint your first acrylic painting. If you have not completed your first painting in the course please do so before starting Part 2. You will be building on these skills in Part 2.

In Part 2 you will be learning more painting skills through demonstration paintings. This includes:

  1. Color relationships;
  2. Expressive brushwork;
  3. Contemporary painting approaches;

and much more.

There are many demonstrations to inspire your next acrylic painting. I hope that you try them all and enjoy the fun to be gained from acrylics.

As I always tell my students - take your time. If you are a beginner than do not rush your paintings. Rather do one over again to learn from the previous attempt. The first few attempts at one subject will look nothing compared to attempt number 10. A natural progression is part of the learning experience.

Thank you for joining Part 2 of this course.

Happy painting


1. Color Relationships: Okay, so let's have a look at a few basic mixes using my stay with pellet again. Andi. Oh, no Primary colors. We got yellow being the most potent color on our color wheel and kept me in red. So a combination off those two, we'll get us orange arts and I always prefer to mix. My are angels using those two colors, obviously the orange not as warm as the yellow, but what is the lowest supreme? The orange on the rid. That's a list obvious thing to decide, and you would say that the orange probably is warmer than the red, but what if we use instead? Off kept me and rid we used Eliza Rin Crimson compared the relationship between the Liz Aerin crimson and they kept me in red. You can see Lisbon Crimson is a cooler red when we'd assume, then that mixing Eliza in crimes um, with the healer gives us also an orange. But relations between the tough orange on one on the bottom. This is a cooler orange, so we've got whole variation in color temperature there, and that's very important to keep those in mind. The other prominent mix that we're going to use throughout. Our painting, of course, is blue on a killer to make green. Never that used tube greens because because the relationship with Chief Green's to reality is so far removed. Convicts more accurate greens working from ultra marine blue and care granular. So I can address those greens in a variety of ways, adding rid to adjust temperature and value, adding more blue to adjust value on temperature. And so, and I haven't even brought white into this yet. But as you can see the blue and yellow like a strong green, if we use different blue, well, let's just use the same blue on and set off cadmium yellow overuse something like yellow Oka, and we're getting a different green entirely. They saturated and not as warm as first cream, just with blue and yellow. So a whole variety there as well. Finally, let's compare the color temperatures from another classic mix blue on a Liz Aerin to make purple. What a lovely, deep, dark, transparent purple and I often use that combination in shadows in trees and etcetera. There is also a classic combination, and then, if you bring a white into it, compare that value and temperature a warm purple on. Do you want to adjust the temperature further? You can, of course, add in mawr Eliza Ruin to warm that up even more to get really lovely, warm, rich shadows, maybe with some reflected light into the shadows and you're leaning towards the lizard. I'm gonna bring that temperature down again. You obviously will be adding blue because blue is the coolest color on our spectrum color wheel and a touch of Euler, and it gets quite a cool, dark green, de saturated because there's, of course, the red in that green. Now these makes us cover an abundance off areas in your landscape. Painting most important issues, of course, as I keep stressing, is the relationship between one to the next and how warm or cool it's going to be. Of course, everything changes once again when you bring in white, add watch to your blue, and if you had what to your Liz room, and if she had wants to purple, you get start getting these beautiful violet shades. Everything with white is that it makes a transparent color opaque, so I try to keep white out of shadow areas because once shudders to be transparent as far as possible and also in the docks. Generally the docks in a painting you on a kid, transparent and much thinner, then lot full areas. So, for example, we that is our shadow area. Maybe even potential you learn there shut our area of a tree. Little is lust if you bring in what Suddenly you got this pick chalky and cool color. So you keep watch out of it on the tendency of what, as you know, is to cool down colors. So what in that orange my accident Much colder color leaning towards peach, that warm green completely lost By bringing in what? You gotta be very careful. You would probably have to add in more yellow to get that what? Looking less chalky and pulled with color again Because too much white gives that cold, dull, chalky look to paintings and you want to keep the white down to an absolute minimum. So there we have it. Relationships, foster rev colors using the primaries. Okay, so what happens when you want to bring in the grays neutral colors and they we're heading towards the two Cherie's so secondary color green, and you want to change that? Well, you ca ndy saturated with red. Of course. I just notice how that is neutralized the green. You've got a sort of Cray coming up. Do that too much, and you could end up mud. So we don't want to do that, either bringing some or what practically disappears. So I wanna want to achieve graze very often, especially for aerial perspective. I don't want them to turn into lifeless colors, either. So it try and keep our graze fee. The woman cool as well. You could warm up a gray. I'm bringing in warm color on either leaning towards the reds or yellows, but it's D saturated, so that's sort of off Hillary color leaning towards perhaps a yellow Erica could be a distant field, influenced my aerial perspective. Close up with my look more like that even warmer and far away. It's gonna look great. Dung yellows. Do you saturated with their opposite color on the color wheel, which would be the violence? I expect the Euler quite considerably. If you want a color to stand up more, you can put it next to it's complimentary. So orange you find you can only make an orange. You can make an orange brighter by simply adding more orange to it. It might have to bring in some of its complement to set it off like blue next to that orange sub me. There's something going on between those two and the same with raids against greens so near the green might look really strident. Next her read, um, Yeller, you're a scar. My really stand up next to bothered on. These combination of colors should be kept to a relative minimum. One should always be dominant. That is the important thing. So, yeah, we've got a lot more orange set off with a bit off blue. But if they were equal, they would fight against its Southern. It would not be unhappy. Medium it'll. So we're looking at balance between a dominant and the less dominant color. Okay, so that is really the primary colors and white all being used to create a multitude opportunities. And remember the grays mutual colors for an important part of every painting that can't be vibrant like this. Otherwise, you get a very flat painting effect. You need to push certain colors back and certain colors forward and white plays a massive part in pushing colors back on. DSO does mixing in the complementary color off a particular color, so green and red green knocks that bit of red right back, and you can take it even further with white. So experiment like this on your palate, with different colors and color temperatures to get a good understanding off how you can make these colors work on your painting. 2. The Dune and Color Relationships: in this list and we're going to work on. The lessons were really learned in the value based painting. We're going to develop that some more. But I'm also looking at bringing in extra elements, such as the complementary relationship between colors. In this painting, which is called a June shadow, there is a large, cool and dark shadow next to a sand dune and then strongly highlighted sand as the sun catchers the remainder off the beach that lit up saying June is heading towards the yellow spectrum off color yellow orange that's top of womb color, whereas the June has that cool violet leaning towards blue. So there's a complementary relationship. Onda. We're using a complementary color scheme predominantly. But then, of course, there's also the fantastic working off light and dark values against each other as well. So this makes the entire painting really stand out and catch your eye, and you'll notice this little painting across the room very easily. So use this these systems when you planning your next painting or look out for scenes like that when you're art looking for new references to paint. So let's get stuck into this painting, and I hope you enjoy it. As much as I enjoyed painting it 3. The Dune Part 1: thing thing is the subject and, as you can see, a beautiful contrast between light and dark and the complementarities off blue and yellow. So I'm going to use some of that in pesto medium in my yellow paint and add a bit to the ultra marine blue as well on. We'll just taste start the toll medium as well, while we're about it, but of titanium white, I will serve some warm red Eliza in Crimson and Vince Vienna starting off with getting the horizon lines. I can relate all the shapes to that line, a bit of Diagne Owens, adding some flow. The contrast between light and dark. Also hoping to lead the Lyle I into the painting, have a diagnosed in those waves as well. I'm going to trust trying a century that a little diagnose Craig Nice movement in your compositions to look out for those opportunities, then strode into the mess. Dark shapes in Sienna symbolism crimson, ultra Marine blue on were just blocking that on a dark shape off the foliage on the June Lawson. Quickly get that behind us. Once that's in getting also dogs in on the writer insiders, you can see we'll go over those with lighter colors late 19 to the big mess shadow, which is really, I think the store of this painting, it's gonna be that shadow because they're gonna cause a lot the, um, other colors to stand out nicely. So I take my shutters from dark to light. As the shadow approaches the sunlit areas. It does lighten up a bit. There's more reflected light into those shadows. Shadows are not flat. They are an interesting shape. So we try and put something into the shadows as well as we progress. But there's with the critic painting. I work in many layers to build it up and add interest to it right now. Just getting the early blocking in off the main shapes, done the green foliage, also hoping to lead the in a sort of curving motion towards the focal area. Now, with yellow raid on blizzard crimson, we'll get into some. There's nice, warm highlights suggested in the dark. Foliage is well on the lift on, um, looking at that line off waves. There's some strong docks in the shaded side of those waves. Remember that when you're doing waves. Actually, most of the wave is in some sort off shade as it's curving over a lthough bidder to make the highlights stand out. In the end, that's almost the end off Port one of this painting. I'm going to just block in the latter see shapes, and then we'll get into developing the highlight us well. 4. The Dune Part 2: but let's get into the completing off the blocking in stage. We're going to get in a few of these lights reflected off the sky onto the water, so they'll be flattering value. There's some of the green I'm going to bring in the wave as well on Get in some nice light against the dark of the dune vegetation, pretty much aiming for broken color in the sea. So although I'm just laying in the foundation color over the water when I put in darks, it means that I can add lights over that later on and take that broken color. But further, it's just toe. Get through this pretty boring stage. I must say these words off the crushing ways. I'm leaving that white. I'll develop that later on and using some of the canvas white to help me along day some lovely, deep rich color in the June vegetation on. So I'm working in a lizard in crimson radio, some oranges and just coming into the core off the shadow, and I'm gonna have to just dark and that up a little. So we're bringing some ultra Marine with that, really sure. Liz Aerin and Orange Mix on just Reese. Tabish lies, talks a bit. That's something I do quite often is stand back and see where can reestablish the darks and do therefore reason because I'm going to be playing off colors against the darks later on. But although this is dark color, it's not dead. I'm not using tube black or anything like that. It is a dark, made up, off, a lot of rich colors on that makes a different and interesting kind of shudder a bit of the shadow side in that village on the right, but getting into the an exciting port I always love getting in the lots when I establish the foundation off dark value mess shapes. Bringing in those strong lights is always a lot of fun, so quite a simple makes your regular tiny touch arrayed and titanium white, nice and thick paint right from the start block in with some nice thick painted the light areas go over it again when it's dry and thicken it up some more. Don't hold back well, this is basically Rifugio is putting in some in pesto color, scooping it up with the brush, putting it in nice and thick, contrasting against the thumb. Cool Scheller color off those blues and purples, violence was thick. Yellow paint really stands off nicely against the docks. Little touches into the solid mass shapes and in the vegetation, for instance, because as you're seen, reality always glimpsing some of the undergrowth or sand. So none of the vegetation is an absolute solid. There's always something showing through. You need to just break things up a little and then come back in with some more vegetation shapes later on. And that is how you build up a rich and interesting painting through varied layers off paint. Don't just settle for one layer. It's your painting. You can add as many as you want. And generally, if you have an objective in mind, it'll work out just fine. Share these little dots off light against Dark Resonate and had so much energy. So I'm mixing up a few light colors to just sit off the dark vegetation a little. I might leave them like this. I may change them again. It's too distracting, but there is a bit of highlight bit of sun touching them, and that's always important. A little touch of light does a lot of good. So let's say the bucking and stages pretty much over. I will let this play a dry for a few minutes, come back in with the next layer and start developing the shapes a bit smaller and a bit more information in those mass shapes we got already. 5. The Dune Part 3: this stage is all about developing the shapes. We've got the basics in place. Now we want to find to the existing shapes, getting in a couple of shadows on the right inside of this foliage and the some distance but off Sanju hitting into the middle distance and keep that cooler, not too much detail. Want to lead the air in the direction? There's also direction off the dune as well, which will gravitate towards that middle section area. A few little details. As you can see, footprints suggested in the sand just a little too big. So come back in with the light again, and to find those shapes a little more. Make them a little this clumsy. That's the great part about a chronic says. I don't worry about muddying up the paints. Keep the paint clean on my palette. Pick up the color that I want to get onto the canvas and put it down. And the thing with the critics is that it's it's not as easy to muddy up the paint as with oils over with practice that becomes a second nature so more you work it the least chance you have of muddying of paint. Are these dogs on the left? I'm gonna have to work into them once again, bringing reflected light into that area. You can have the mass shapes to flat, as always, stress bringing something to develop every shape but keeping within the overall value off that shape touches of light, as I mentioned before, Sun just catching that area. But I'll probably develop that and turn that down a little, because remember we working in layers, we put something down and we go over it again and develop and define that shape were necessary. So I'm always thinking about the potential off a shape, and I'm not worried about adding color over it to develop it some more. Until I'm happy, I keep going. I love these little Debs off light. It's almost like I've got a magic brush. And I could just paint in sunlight wherever wanted, trying to bring a little bit of life into the shaded vegetation again cooler red but warmer than the dark reds in place already. So going over those touching on them and bringing some life into that shed. If I could get people to peer into the shaded bottom of painting and look at them and try and see something that's in there. I'm engaging their imagination, and that is mission accomplished for his on consent on these ages off the shadows. Softening up those ages, you notice that with a lighter violet, so I don't want a crisp shudder line. In this instance, the wave is well made up of many layers. Off color I'm going for in the water is, of course, broken color. So a variety off temperature, paint and temperature changes and value changes well, they're not major, very changes. The lights on bringing in will be consistent with that section off the painting. Like this area, it is fairly flat water, sir. It's getting a lot of reflection off sky and will naturally be a lot lighter. Then the wave that is shaded as it curves over. Keep that in mind, look and observe at the observe the shape and ask yourself, Is it lighter or darker, warmer or cooler? A lot of the crashing waves is, in fact, in some form of shadow and picking up a reflected light. It's only the crystal, the top parts that are getting the direct light on it so don't make the whole wave white. For instance, go for those little grey cool colors and reserve the small parts that will get direct light . Reserve those for the bright. A lot of bright, warm paint re curving wave has a gradation off color, dark at its base and lightening up as it goes up towards the Crist on more light is filtering through the water and then, under the white butts affirming water, there will be a darker shadow again. So that defines the, um, white crashing water very nicely. That adds to the three dimensional quality. I think that's an important part of a wave. It is a three dimensional object now, using but ofhim pesto on the brush arm. Getting those son let puts off the crashing waves, the Crist, the parts being struck by indirect light. I'm making those stand out of a wood, but of warm latte valued paint. Just notice over that. Although it is warm and light in value, it's not as warm as the sand June. That's right in the foreground, of course, the foreground will be warmer and more saturated to the I broken color, broken light, sense of movement forget that them. I'm happy. Not too much fussing. Get it done quickly. If you don't like it, you go over it painted out. That's a simple is that. - Let's get in a bit of my slot green and get in the sunlit for Lige to find that a little more. Soften these. INGE's up with a few upward strokes of the brush. Once again, the shapes on bolt up of layers. We start off with fairly dark and then move into lighter and then lie to store and we build up the three dimensional shape that way, smaller touches off the brush. Now shapes are getting smaller. We're getting towards the end off this painting. Also, soften these edges up a little with a few quick upward strokes consistent with foliage as well. I'm going to come back into the dune area in the next part to finish off this painting. 6. The Dune Conclusion: now the final stages off this painting. It's about adding the final touches of light the smaller soaps, those little highlights that we'd like to you keep to the end. But it's so much fun to air to the painting. Don't overdo them. Just take a moment to also step back quite often. Have a look at the painting and just see what it might need. Um, adding a few cooler counters into the middle distance. Remember to keep that warm to cool special relationship in place. A few lines, too, suggest the curve of the wave. I just want to dio show this a little bit more detail. Heading some in pesto touches lots of thick paint over existing layers in the foreground. It's nice to have that texture and visible brushwork after all we are using, and I've picked medium and we can other on, and I think it gives a nicer touch, something to look at when you closer to the painting. But approach this with confidence. Put on the paint. You can't go wrong by adding too much in these final stages. That's pretty much how concluded the painting, and I think that's about it, okay, Now that the painting is done, I've had it framed and let's take a closer look at the final result. Okay, well, look at the final painting in its frame. And overall, I'm quite pleased with how it's turned out. I think there is some interesting features in the shadow, and it is not a flett shadow. The shutter curves into the sunlit portion off the sand dunes over here and creating a nice contrast between the cool shaded part and the brightly lit son. Fold sand over here. So that's really the primary feature that I was going for you miss painting, plus the in pester off thickly applied paint in different different temperatures, we would say I'm some more white, some more yellow, But overall, the value off this sunlit area remains the same. So that's important is to keep your values intact together with the docks off the shaded area, the values remained the same despite there being features. Um, like the dogs, um, different color, different temperature. But amongst these dark. So the values still the same And of course, in the shaded Sanders Well, secondary points of interest, the line curving around to take the air into the painting, so that's part of the composition. So much thicker, warmer paint in the foreground, receding. Getting summer and getting cooler over here and taking there are into the sea on bringing it back again with this diagnosed joining up here and we go around and I remains within the composition. So that is, I think, another objective. Cheap. What's a broken color in the seawater? Just to remain true to the idea off the sea, coming in some highlights in the wave as well, but not to the extent that it over ours what is happening here in the foreground, So this must come forward. The lots on the waves are light compared to the docks and cool paint around them, but first lights are significantly cooler and less intense, then the lights in the foreground. So you keep that spatial arrangement so that that reads correctly as well. But there it is, a simple A picture, basic composition elements, basic complementary color arrangement in the full grandeur that works nicely between the yellow and violet. And there it is. You can put together a painting that works really nicely with a simple idea, and that is normally the best thing to aim for. Execute a simple idea as well as possible, nicely communicated to the viewer, and you create something that they hopefully find pleasing to look at. 7. The Expressive Landscape Introduction: some, I'm going to do a demonstration off an expressive landscape painting. Now, with this painting, I'm going to start off with the palette, knives or painting knives and go some distance with those I'm using a relatively small size painting, the painting Penhall that are prepared for you in earlier. Listen, that is the canvas land panel. You'll see how to use the painting knives, and then I go into using a brush. The purpose of the brush is to just get a few or some variety in the shape, some smaller shapes. Of course, you can use a painting enough throughout. Just remember to add variety of shapewear turning the painting. I have to get more rounded shapes here. On the otherwise, that all looks like it's bean buttered on. Now for this type of painting, as you'll see, it is very much about expressing yourself in color and shape. It's not so much about getting an accurate painting off a particular landscape, so I'm not working from a particular reference to try and get an accurate painting off that in fact, mawr, inspired by other paintings after off landscapes to help me with the composition, for example, Let's look at a couple of landscapes now. Years amore, representational type of landscape on. But the composition is quite pleasing, and I can paint another one like this. But using in pester or otherwise thick paint with a painting knife, it just is the approach that will change now must mention I mentioned the would in pesto and pester. Really, for practical purposes simply means a thick layer off paint, one that normally stands out from definately layers you've done in the painting. And you could say that we're also using any pester technique with US painting. Sometimes I think it's implied when you use a painting knife that you gonna be using thick , juicy paint. But it's not necessarily the case, so this is an expressive landscape painting, using a painting knife and brushed but also using an imp Esther technique. So let's look at a few other examples. Let's say it is an oil painting, and it is also within impressed a approach which I've just used with a brush. So this will be a reference for me, which I'll put to one side and will help me with composition. Help me to remind me, or I'm certain shapes and structure that I went. Another example is this one of more subdued color? But it was so a reference that I can work from, and so is this one with somewhat more expressive color. So existing paintings that you have done make excellent references. Island and I encourage you to keep them close by so you can look at them. Remind yourself off things that you have done and the way you have interpreted scenes before. If you haven't got any previous paintings and this is your first painting that you're going to be trying out, then by all means find other references, whether they fighters or even going outdoors, preferably taking your and photographs as well, or looking at old ones you from your travels and just look for a basic landscape. We're looking at simple composition, simple structure, the sky hills or mountains or distant landscapes, farmlands or simple countryside where you can see a transition from foreground to middle ground to distance. And that's all it is other elements that we've spoken about, all concepts we've discussed, like aerial perspective, coming to player as well. This isn't an abstract painting into Dimension top painting we're looking for creating the illusion off 1/3 dimension. So aerial perspective shapes getting smaller with the distance. Keller's cooling down with distance. Things like that still come into play when we are going to do this expressive landscape. So all of that theory on basic theory that you have learned about your also apply a different approach, though with this kind of painting, as you'll see something about working quicker, not stopping to think and consider and labor parts of the painting or labour's shapes. It's more off. Look at your reference and paint quick gloans hand scoop up lots of paint, put it down nice and thick lever to learn. Those techniques are extremely important, and if anything, I want you to get out of this. Listen, is how to apply thick in pester paint and leave it alone without going back and brushing it all the way and losing that juicy effect that's the stop painting is when were are kind of fly by the seat of my pants, and the results can be unpredictable but always a lot of fun. So let's get going 8. Expressive Landscape Part 1: As for this painting, I've got my palette, knives, different types. I prefer the one off the around it end as opposed to the pointed one, but have them both to choose from and see. This one has warned to really nice, thin and flexible consistency. Be careful that they do get very sharp. Do you have a selection off brushes on standby as well? Some tissue paper to help clean things up as we go along, as you can see how good an assortment off color a variety off reds, dealers, oranges, some a broad, green and white listen crimson violet, obviously ultra marine, blue and cobalt blue Because this is more of an expressive type of painting. I'll have a few of these extras on hand, and it's a palette knife painting. I do pretty quickly, so I don't want to spend time mixing more unusual colors. You can pre mix, of course, and have them ready or simply have a few. And they are certain modern colors that are very difficult to mix from traditional primary , so you would have them already available in a tube. That's fine for this type of painting. That's the way it works, I'm quite acceptable. So let's line them up. As mentioned. I'm basing this landscape on similar landscapes of done before, So I've got a basic idea of the structure. Skyline at the top range of mountains in the distance and keeping the pencil on the painting surface, not lifting off too much. Just getting organic soaps in there. The usual principles off aerial perspective will still apply. Although this is an expressive landscape, it's not abstract, so there will be some depth and three dimension into it. But now I've got a NATO Rykoff shapes, and I can work from there and getting into the sky region using some light blue. But I want to get that done. Start off myson Bold, big, big strokes, big shapes. The CC's Innis in essence, a looking what on the blew up as we near the horizons for those things still read correctly . Just call it in some thick. I really love about this as well is you get surprised, pleasantly surprised, hopefully how things develop, and they developed very quickly that time for second guessing. You just get started on moved as quick drying time so we can go over working in lows is, of course, one of the big advantages off critics getting in some plants just bringing in white paint strode into their and working with shapes around. Now the mountains have an idea over the direction of the sunlight. We're going tohave son from right to left. That's gonna be warm shapes on those slopes on cool elsewhere. I'm going to mix in fellows for the mountains, mostly using cobalt blue, light blue and some violet with titanium white. Bring in a little bit off red or orange, too. Get warmer shades where the sun is is catching the mountains and leaving it more blue and colder in the shadow areas. And this is something where you will just work and develop as you go along. I'm not copying a particular mountain. Of course, you can work from various references or reference photos to God. You, um, womb up the colors a little now to get into the lower foothills off the mountains, so this will generally are working yellow workers or pinkish colors for the distant landscape, because that is cooler than using reds. And we're in CNN's orange in the foreground, so start blocking in some of those shapes that are drawn. Slide There's colors along on the pellet. Mix them in quickly. Get a few happy accidents working in your favor as well. If you work in this method and I still try to work the entire painting, so I'll do here is in the middle ground in the back, scrape a few shapes in and textures and experiment with ideas as our progress, bringing in more yellowish Oka in the middle ground, warming up into the foreground. These Debs off violet very important makes a nice counter change from warm to cool. The violence also wrecked very nicely with the yellows and yellow Okkas. So I keep in mind that you need to break up the lights and colors with some darks and cool color as well. Touches off that green coming in and with a bit of ultra marine and orange to make the suggestions off. Trees, bushes and shrubs darker in the full ground. Darks become obviously lighter as you go into the distance and keep that in mind. Just get through this really block in stage so I can start adding in some of the suggested details. Couple of tall trees are also brought in the brush for a little bit more control on the smaller areas. Touches off lights here and there, drag the brush in the shapes in the background. Smaller, obviously, to suggest a distance. I keep that also in mind, Moran horizontal shapes. We're pretty much done with the early stage now, and we can start looking towards the end. 9. Expressive Landscape Part 2: a few more shapes to develop in the distance and middle distance. These little points off interest adds a lot to the painting. Now I've got to get back into the foreground, adding layers, and I'm doing this really off the top my head. So things may change. Start off a road to lead the eye into the middle distance and then possibly some shadows and foreground, um, have to think about that a bit. And then I tend to move onto somewhere else in the painting and work on that. So keep things flexible. Just keep the brush moving. Art with us, I think a good, strong color. That's what this is all about. So putting in a whole new layer simplifying the foreground but giving a lot of more punch as well. On the planting off, scraping away and revealing some of the layers beneath. Some texture, Some interest. Just working. Try a few things and see what it's like. You can always go over it. A few dogs to define the road and a nice warm pink color to a century. The mood off the heat off the landscape, not getting out the rigger brush for a few defining dark accents. These quite important, especially in a painting like this, which is more graphic. And so a few darks in the foreground. Wallwork. Not too many good. It just keep a a rein on that was it can get very bitsy now, the darks in the distance obviously much cooler and de saturated. But what's so important that I will appreciate a few of those defining shapes and are just letting things run their course? Stand back quite often, Have a look and see if you needed add a few little details. Suggestions off crops in the fields, things like that. The sky, I think, needs a bit of oomph as well. So after the Perret knife and some warm whites mix them in, spread them in there nice and thick, get some punch back into that sky. And now we pretty much there are a few more little harlots accents here and there. And, uh, I think we're just about done sonnet off 10. Expressive Landscape Demo Review: Okay, let's have a look at the completed, expressive landscape in its frame. Just a few pointers with these kind of paintings is that while that may seem quite simple to do, they they're quite challenging. The challenge comes in being able to work quickly and intuitively. Our best advice regarding that aspect is to simply take a deep breath, put on some good music that is stimulating, gets the energy going, and then just get started and work quickly from top to bottom and apply the principles that you already know working from the lattice point being the sky. Keeping in perspective in mind, sir. Cooler colors towards the back, warmer colors coming forward, the quicker you work and the more pain to put down, the better the result is going to be. If you work too hesitantly or you're afraid of what's on might think of the painting. You think you're not gonna pull this off, then you probably weren't. The thing is that confidence is very important, and you only gets confidence by actually throwing caution to the wind and getting stuck in and just go for it. There's no crime about not making a good painting if it doesn't work out exactly as planned , doesn't matter. Do the next one and the next, and you work up a process where you can start feeling more confident and all the knowledge you have will come through much better. That's simply the truth of it. And you can definitely do this kind of painting. Well, that further do that's now. Have a look at the painting as well. Okay, having a look at the completed painting a few little extras that do make a difference is adding in these dark accents. A few Debs on the shadow side of trees in the middle or foreground a few shapes year to define the road and this block off warm color for these farmlands here. I broke that up with a few off these dark accents, so it's not just a light highlights that you need to think about very often. All you need is a few of these darks to bring the painting together. The general sense off Hot summer in the countryside farmlands. There's something suggested all over the place. They form houses, suggested just little dabs off what in the distance and smaller shapes in the distance as well. Slightly cooler color shapes becoming progressively larger as we reach into the foreground and warmer colors as well. So there is a sense of depth, which I like to achieve in these landscapes as well. Keep in mind also that the darker colors don't work in the distance. They disappear with atmospheric perspective, so the dark accents work in the foreground. So there we have our expressive landscape and, overall, a satisfying painting. 11. Contemporary Approach Part 1: this quick demonstration is really an introduction to the more abstract and contemporary landscapes that collects lend themselves to a swell. So not only traditional or further riel or master type paintings can be done with acrylics , but also these more contemporary and colorful paintings. Well, I like to use a lot of color when I'm doing these contemporary type of landscapes. That's more about big shapes, layers on, scratching down to lower layers off paint and giving various effects. It's kind of flying by the seat of your pencils well, and you take chances, take risks. Sometimes they work. Sometimes they don't. In this painting, I'm loosely working from an African landscape, some taking influences from different references. Have a go with these. They are entirely free and expressive, and when they come off, it's all is a great experience, and I really do enjoy these paintings for what they are. These are the basic references. I'm using my standard pellet. Few bristle brushes on and have a knives and getting straight ing with the scar. Just a warm white with some rid and in the mountain, a bit of Eliza in crimson, some cobalt blue titanium or it and putting it in, actually very quickly. I'm going for a flattish cool color, but of warm touches with the Eliza run in there but no pretence of details and then into the hillside or the middle distance areas. Also de saturated greens, touches of reading there and, of course, some violets as well. And then with the Pettitte knife somewhat and red but off blue as well for that aerial perspective effect on but more texture moving forward. And then a dark focal point, which will simply be a tree Shope, mostly as a strong dark. And I'm using ultra marine blue realism crimson and a touch off just a touch of warmth in there with some Raiders. Well, a few smaller dark X and shapes just to keep it company and then moving into but warmer color but more of a peach color coming through with the Koreans and white and red, keeping the colors at this point quite de saturated. A little touch off detail for the sun Look part off the tree, your little bits of details and Scott holes. Now the foreground area is going to be strong color. I'm using a range off orange yellow and red basic colors and mixing them in as our as I want to bring in a bit of warm towards the foreground, but more ready in the foreground, breaking up those edges a little, introducing a touch of realism. Crimson on. Come back to that tree or get a bit frustrated with that. I needed to drive down a bit more and then come back into it. You just get that shape more dark and solid. So in the meantime, I'm gonna work on the foreground. Notice that act to drag the penitent knife either up or down or to the side. And just to get some spontaneous he fix using the texture of the canvas as well. And, of course, the direction off the pallet knife creates its own textures as well. So there's vertical and horizontal shapes, a few accents off darks and cools just to break things up in at a little bit of interest. Remember, I'm working in in layers, so there'll be a least of our three layers, particularly in the foreground, and bring in a bit off yellow as well, suggesting things, maybe some water, even over the landscape, scratching in some texture 12. Contemporary Approach Part 2: okay. I want to go straight into fixing up this dark accent tree or focal point. The paint has dried down, but so I can go over that with the dark. Makes Welsh Marine of Israel and a bit of red and just a few of those supporting accents basically three shapes which have an ass but of weight to them touches off light on the edges and try and soften up the ages as well. Off this tree in, uh, sometime or other will put in a few scar holes there. Okay, Getting some more layers just patched up a bit. Here and there. Soften up those ages. I was told Cam bought softer ages. Also helped to give an impression off more rounded shape and also not having a shape that looks like it's bean stuck on to the canvas. So, do you want to look like any three dimensional shape? If you elect violet shadows and then into the ready, the zing sometimes cool it, um this but of lights yellow. And I'm just buttering it on, and it sort of suggests to me a shimmering heat, perhaps some water on after a rain or something like that, but more like a simmering sense of heat and a nice focal area to set off the other shapes a few touches here and there and then sign it off in its pretty much done so. This is the final painting, and I think the important thing to keep in mind is when you're doing a contemporary painting like this, it's more a sense off experimenting and having fun with color and shape. You go to stand back quite often as well, and just see what is working, what isn't And it's sort of clicks into place. And then, you know, OK, that's fine. You can live with that and the paintings done. The other thing is that it is very much down to your feelings about the painting on. This is not copying a reference or doing a life like studying. This is more about the emotional effect off color. Getting a sense off what you trying to communicate on a concept, and you can develop this further as you develop your painting. Maybe you go completely into the abstract Sandra and and put down shapes that are symbols and two dimensional representation. Zoff Reality. If you're painting develops in that direction. That's fantastic. The beauty off acrylics in this instance is obviously the quick drying nature, the fact that you can work quickly with transparent layers or opaque layers, and you can work in and develop an abstract painting or contemporary type of painting much quicker and with a lot more confidence than I find with oils. Both mediums, of course, can be used in in a variety of ways. But critics that's really works for me. And then when the painting is dry after a couple of days, you can put a light coat off retouch varnish on it either glass or a Met version, and that brings the colors back to life, something that is important for acrylics, I think. And that's Ah, that's about it. So, as I said, this is an introduction. This painting is not a complex one. It is fun and colorful and would make a nice addition Onda a punch of color in any room that you choose to place it. But I want to encourage you to experiment and try these top paintings. You will find them more complex as you progress. I hope you enjoy this and that you're inspired to try something out for yourself and just go with it and see where it takes you