Advanced Acrylic Landscape Techniques - How To Plan Your Painting | Robert Joyner | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

teacher avatar Robert Joyner, Making Art Fun

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

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

14 Lessons (2h 31m)
    • 1. Introduction

    • 2. How to use Google maps for inspiration

    • 3. Discover The Big Shapes

    • 4. (NEW) Student Critiques: How to discover the big shapes

    • 5. Design Within The Frame

    • 6. (NEW) Student Critiques: How to use two tone value sketches

    • 7. Two Value Pattern Sketch

    • 8. (NEW) Student Critiques: Refined Value Studies

    • 9. Demo Part One

    • 10. Demo Part Two

    • 11. Demo Part Three

    • 12. Demo Part Four

    • 13. Demo Part Five

    • 14. (NEW) Student Critiques: Final Paintings

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


This course will fous on creating dynamic, loose landscapes using acrylics. You will learn many tips for how to simplify your subjects in order to discover the big picture. Once you have this minimalistic design your work becomes much easier and you will save hours, if not days, of frustration.

The Four Essentials

  1. Explore - Discover a valuable tool that will help you find limitless inspiration. Learn how to simplify your subjects into basic shapes.
  2. Connect - Dive into thumbnail sketching which is the best tool for saving time and money.
  3. Simplify - Learn how to create a simple two value pattern study.
  4. Create - Paint the final masterpiece based on all the previous lessons.

Who is this class for?

Intermediate and experienced acrylic artists that want more guidance on how to take their art to the next level.

Suggested Materials

Note; your supplies may vary depending on subject & desired painting surface.
140 lb. cold press paper 22X15 (used for final painting)
3 sheets 90lb. drawing paper (14"x11" of similar size will do)
#2 pencil, or whatever you prefer to sketch with
Masking tape
Gator board
Two water reservoirs
Heavy Body Acrylic Paint
Titanium white, Ultramarine blue, Cerulean blue, Cadmium yellow, Cadmium red, Burnt Sienna, Alizarin crimson
Large round, Small round, Large filbert, Medium fan, Small flat , Large flat

Want To Learn More About Design & Composition?

Check out the class below! It covers some of the basics along with advanced methods for creative awesome design and compositions.

More Acrylic Courses By Robert Joyner

Landscape Painting Fundamentals Part 1

Landscape Painting Part 2; Sunrise, Sunset, Cloudy, Back And Front Lit Scenes + Composition & Color

Acrylic Painting Essentials For Beginners With Easy Step-By-Step Project

Acrylic & Mixed Media Essentials Part Two

How To Blend Traditional And Contemporary Color Theories With Acrylics

Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

Abstract Acrylic Cow Painting

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Tips For Painting Loose With Acrylics

Paint Loose & Expressive With Acrylics - Brushwork

Paint Loose Techniques Using Acrylics And Mixed Media

Expressive Flowers With Acrylics - Learn An Approach That Gets Results

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Have Some Fun Creating With Acrylics, Collage And Graphite - Expressive Painting Techniques

Expressive Flower Painting Techniques With Collaging And Acrylics

Contemporary Owl Painting Techniques Using Pattern & Collage

Expressive Still Life Techniques - Secrets To Painting Abstract Style Art With Acrylic

How To Paint Loose With Acrylics And Mixed Media

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Meet Your Teacher

Teacher Profile Image

Robert Joyner

Making Art Fun


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: welcome to advanced acrylic landscape techniques. His course is broken down into five sections. In the first section, I will share one of my favorite tools for finding inspiration, and I use this tool to find my inspiration for this class. In the next section, we will talk about discovering the big shapes. I will share some fantastic tips on how to take a very complex image and break it down into one or two big shapes. And the next step we will discuss design within the frame. This is a wonderful method for understanding how to take your big shapes, and they come up with a composition that's going toe work. Many artists fail to understand the frame, but when you're finished with this quick lesson, you will learn why. It's important then, how easy it is to transfer your ideas to the finished canvas and the next stop, we will look at a to value pattern sketch pattern sketches of wonderful way to see the Big picture toe. Understand how your lightened darks will work within the frame. In the last up, I will create a final painting using various acrylic techniques. This will give you a full scope of how this process works from beginning to end. Painting loose and abstract style artwork requires the right approach, and this class always share blonde that works for me. I'm sure it will work for you too. So if you're ready to learn more about how to create expressive landscape paintings, sign up today and I'll see you on the inside. 2. How to use Google maps for inspiration: I wanted to share a little tool. I use quite a bit for inspiration, and that is Google Maps. You can get there by going to google dot com forward slash maps and then that will bring you probably to either the last place you've searched for something or possibly even your current location. Okay, so this is what you have. And then there's on the bottom right hand side. There's a plus and minus. I can click minus, and of course, that's going to take me out to a much bigger view of wherever I want to look at. So if I get plus course, that's gonna take me in. Now they say, If I want to look at Richmond, for example, I can get in a little bit further so I can really start to see the roads and now there's a little figure there, so also left a hover over it. It will make a little action. I can click on that and then it will get a highlight. Roads and those roads have been marked by the Google Maps car, so that's basically a vehicle that goes around, has a camera on top, and it filmed gives you a 3 60 view of all of these roads, and that's kind of interesting, because that's a nice little way to find inspiration. If sometimes you're you're looking for that and maybe you've seen the car in your neighborhood to, But any way I can take that figure, click on it and then drag it to one of those roads. And what that will do is I don't bring me right in to whatever the vehicle was seeing when it was, ah, looking at this. And then I can kind of click on the screen and then drag it. So you click, hold down and dragging around, and then I'll start to give you a 3 60 view again of what's going on. So this is downtown Richmond, so I can just kind of click on the road and then I'll bring me right up to the next of you . You could start to find some interesting things, and again, this is just a good way to start to look for inspiration. Okay, so, like, this is a little place I discovered online. I've heard about it. She was called Peggy's Cove innocent Canda, Nova Scotia, and it's got some really nice nautical scenes. Like look at the little boat there on the dry dock and things like that. I mean, you could really have a lot of fun with trying to find some cool images to paint. So anyways, that's the tool I use. And now let me show you the scene I found as I was kind of venturing around, I discovered this little place here and Boothbay, Maine. I thought it was a really good shot, and I liked all the boots there. I thought it had some nice, interesting scenery. And so what I did is I just simply took a screenshot of this and I could zoom in. So what I can do is just click the plus There s so again that's on the bottom right hand side. And now I can zoom out and there's a few ways you can save the image. We can do a screenshot, so I'm on a Mac. So if I do shift command three, that's gonna take a screenshot. And now I had that saved on my desktop. If your own ah PC or whatever other device, you will just simply have to google how to take a screenshot if you're not on a Mac, but take a screenshot or go appear to the URL, and if I click on it, it will highlight at that particular scene. Aiken do come in and see, and that will copy the address. And then you can bring up a text file or whatever and say that you are, well, a very important to do that. That's one way to save it. Or you can go over here to the left hand side, copy the address and then again pasted somewhere because you will lose it. And it's easy to do so anyway. This is a good little tool to explore compositions, so there's places you visited and things like that that perhaps you thought would be interesting to paint. But you maybe didn't take pictures or maybe did take pictures, but you don't have another shot. You're looking for floor Google maps a little bit, and I think you'll find it's a really good resource to get inspiration such as this. And this is the image I will use, Ah, for my painting 3. Discover The Big Shapes: in this lesson. I wanted to talk about thumbnail sketching, and this is where five minutes of time can save you hours and hours of frustration that certainly save you plenty of money by not wasting your pain. Now, this is a large sheet of paper. I would typically typically do this on a very small sheep. But just so you can get a good overview in a good view, really off what I want to talk about with, um there sketching I went a little bit larger. Now what I'll do, though they just kind of get a rectangle gone here and then maybe divide that in thirds and then maybe again. Okay, so I've got basically the same nine rectangles. I'm just kind of making this a little bit darker for you to work with. All right, so what I would do is just shift things a little bit because the image has a lot of information. I do not want to paint every single detail that's there, because I don't think it's necessary. Whenever you're creating art, the goal is to simplify. Find one particular angle one composition, one store, basically that that works, and with an image like this. There are probably 2030 different compositions I can create from this. So I just simply need one that speaks to me today and that's the goal. So again, with thumbnail sketching what I will do and I may not use all nine, but I do know is many at least four. You don't want to do any less than before. I think for any painting you do, four is the least amount of thumbnails you should do to find something that speaks to you. So the idea is I want a shift thing. So I may. Let's say I will look at the horizon line. Let's say I bring the horizon line down to here. So basically I got the back the background, which is all these trees. I have a building that may come up something like this, and the building really doesn't go much higher than the background. So really, it will go. And here somewhere I'm really only capturing a bits and pieces of that building. And then, you know, this building would come out something like this, so you would have that sort of perspective going on and then with the background So really , this would be a lot of sky, and then maybe we'll get some boats and different things that are going on in the harbor. Okay, maybe I could dress that up a little bit window in or something, but for the most part of, that's what this composition would be about. Now I'll keep on trucking. Now, let's say I do something else. I'll bump the horizon up a little bit. Uh, maybe How about this building over a little bit. And, you know, we've got this one coming in saying here somewhere, I'm just checking that angle that that's a tricky angle in here, But that roof and then it comes out down and maybe we'll catch the front of this building here. So a slightly different view here and we get the background there. So in this particular view that you will get the pier or the doctor, Whatever. And come down, we've got the other little doc Shadow. Guess what stuff happening in here. So we've got this other little thing happening with boat back in there. We got a little boat in here, and then we, of course, have all the little boats in the background. Okay, so that's an option. Now, I will say focus on the trucks. So I've got truck here, the foreground, maybe. And was checking the angles. Really? And I kind of have this sort of perspective going on Where is kind of leading into the picture on that's that. And maybe we have, Ah, second truck, the white truck. And here, that's and then there's 1/3 truck, maybe over in here. We have all this stuff happening here, and then we have appear. There's breaking up in here somewhere, you know, And then you can come in here and kind of get the buildings, stuff like that, the boat over in that area, maybe a hint of the background. We have the other little dock boat, and then we have a little background. Okay, so try not to spend too much time, you know, with it. And you really just kind of trying to get a feel for you again. Something that would work. And I could do another one. I think I was switched pencils here, and it's a good idea to have several pencils own hand, ready to go, which, which I do. I'm pretty rough on pencil so they tend break apart pretty quick. Okay, let's see. Maybe I'm kind of liking the trucks, so I'm just gonna do one more, maybe with the truck on to see how I feel about it. So I've got and I think for this one, I'll just do a couple of trucks and we've got this. The Pierce. I'm getting a better fuel for. How All these angles, this stuff work too. So it's really a good exercise of buildup, familiarity and things like that. As you dio you will, you'll get you warm or comfortable with it. So by the time you get to your painting, you'll be very familiar with all these angles and stuff. So So when when to get that building? Something like that. But the boat and the other little both in there. I like it better with the two versus the three. I think it would frame the picture better. You don't put a focal point in there somewhere. So if I did another one, uh, say we have our truck. Another truck. Thanks. Now about this over a little bit, maybe we can add some figures in here talking about the truck. That would be kind of interesting on. And Pierre Well, shack there. Lobster, Shack, whatever. Maybe we can even take the boat. That was kind of situated up in here. Maybe buffet over here. And instead of having this boat point out of the picture, maybe kind of running off the page a little bit, have it bumping into the picture. It might be a little more interesting, and that, to me, is very simplified. Then we can kind of trickle few boats in the very background like this composition a lot better. It simplifies the scene. So I basically got to cut two trucks, the pier and a little bit of a lot of foreground, really, with the trucks and I include the truck's, then this will have quite at least 1/3 of it will be four brown. So let me now kind of focus here and bring that forward. And let's look at what's really going on, like what is really happening in this composition and try to find one big shape, one big exclamation point or whatever that says. That's what this compositions about, and to do that you want to simplify things that There's a lot of kind of armatures and things like that with composition. The one of the most common, you know, is like this s curve that leads you in like a path or a road or whatever. There's the kind of the l shape, the fulcrum, you know, which is basically where you have something, you're really big And then something really small, something like that. So I'm always thinking along those lines in the back of my head, like we know, What is this about? How can simplify it and reduce it to this? And you have to get away from details here for a second and think about big shape, contrast, that sort of thing. The one thing that, like jumps out at me big time is just this foreground is very light value, kind of almost a warm gray. You have this Doc going out, which is very light value and then of not really worry about what's going on over here. But let's say you had this nice kind of interesting shape like this that's going into this very dark blue or blue green. Okay, so that's a me is interesting. If I can capture like a shape that is his lighter value Going into this dark blue like that , that's kind of like a light khaki color. Brownish, maybe jetting out into, uh, this kind of a sea of blue, that would be cool. And that would help me reduce this to a very, very easy thing. Because I can capture that. That's more interesting than trying to put in and much mawr, symbol of the hot, of course, and then much more easier to read for the viewer than tryingto include 10 million details of all everything that's happening in this picture. If I can get that and include a boat, a couple of trucks, maybe a building off to the side that I've got something that works. So now if I did that again, I've got the pier. Okay, I've got, like, the this stuff going on over here, okay? And I've got, like, the truck cover in this area. I've got a truck over in this area. Okay, so I can kind of get this sort of stuff happening. Shadows the shadows on the truck. This could be a very pale truck. Okay, so I got this light value going on in the foreground. So that's going to get that back with this kind of light value jetting out, then I can say, OK, well, that's fine. Maybe this can be kind of a midterm value with little shacks and stuff that are going on. This is kind of a dark truck anyway. And then we've got, like, this shape of that moving out, you know, And then I can Sprinkle in a boat or whatever is going on. And that, to me, is reducing this to something that I think I can manage. I can paint that I can do a well and we paint loose or we pay in general, I guess style is irrelevant here. You know, you always want to if you had gain of vision, you know, if you get that vision before pain is put to the canvas or paper, you are miles and miles ahead of most artists, Okay, because the mistake many artists make is they see a picture. Oh, there, they love it and they start painting every single thing, and they miss out on simple simplifying it. But really, they miss out on design composition. How can you make this scene work in a way that it reads well. And before I never you know, when I saw this image, I never really saw it this way. Like where I see the, you know, the light value jetting out into the dark value. Okay, those things No, don't really come out at new jump out at you in the beginning, you have to kind of toy with your subject a little bit, dude. And that's what this thumbnail sketch it does until you find it, is there he had to make it work sometimes. Yet the changed the Hughes or changed the values of things. Tweets like that. That my truck may not work in another composition. I may want to make that truck red or black or darker value to make the composition of work . It just so happened toe work in this particular composition. But anyway, the thumbnail sketch in Is it was it 67 minutes or whatever have spent here simplifies things. It gets the painting to a manageable state. It reduces the clutter and it gives you the big picture. So when I start to approach this in a painting, I know. Okay, well, I need a big life value that jets out. I need some dark value here. I've already got colors working for me, and now I know what the big picture is. So all these other little details and here simply don't need to confuse what I'm after, Okay? They are just supporting casts. And that is really what thumbnail sketching is. And I think if you spend time doing it, you're working will change dramatically. You will spend less time painting in circles. You will save plenty of money, and you'll become your paintings will get much stronger any time you simplify. And you can, uh, get your painting reduced to this. Whatever. Nice, clean, you know, composition. Then it is going to improve. And then that way you're not simply painting because you see a pretty picture you're painting because you have a composition. You've got something more to say here. Okay, so anyway, that's thumbnail sketching and hope you enjoy this lesson. 4. (NEW) Student Critiques: How to discover the big shapes: all right. Week one feedback for those that submitted. Um, start right here. And you mentioned like the horizontal layout here. I would agree with the ones I see it. I think that's probably your best option. One thing you want to do in terms of thumb now. And I'm going to go over this. Ah, much more detail for your lesson this week. But always make sure you put a frame around your things. Eso you're having them randomly sketch sometimes is Salter Mind off. So it's not distracting is okay, but it can, um you don't really have any edges to work with, so make sure whatever lay out your using, whether a square rectangle, vertical horizontal, whatever. Go ahead and put some life solid edges around. I went ahead and put that around this and red for now. Just so it kind of helps me zero in on what I want to look at with yours. Now, though, the one thing the drawing is good. I think I like how you quickly put your shapes and they're nice and loose at a couple of values and all that stuff. I mean, that's that's good. I definitely think you've got to get Start should be interesting to see how this evolves for you of the next three weeks. But what I would do in terms you know what I would change. Rather, it would be be careful of your rule of thirds basically. So the rule of thirds would simply put three lines across the image like this. So I'm basically have three spaces of we across the top and then the high height of it as well. And the thing I see is it looks like the ground level right in here. Brakes on that third, which is fine. But whenever you put the horizon on the top third, what you have now is three equal spaces. So you have equal squat sky, equal water, equal land, and you want a dominant. And their dominance is important for your art on many levels. But this just talk about composition here and you want to one needs to be heavier than the other. Okay, so just kind of keep that in mind to make it work, though, you would either need to push the horizon up. So if you want to keep it the way it is, that's what I'm saying. So keep all the elements that you have. You would probably want to push the rising up, possibly. And then that would make the water a little more dominant if you wanted the land dominant. Because you have all these elements here with the truck and the buildings. And I may get squished if you do that. So maybe making the land this bottom third bump up mawr towards near the half, but not quite all the way. What would maybe work better to give you room to put your main elements in there and again that would make your land dominant if you went in that direction. I made a few changes for you just so you can kind of get an idea of how something like that would work. And I think I will turn off this for a second. And so what you have there is kind of the idea I did is I put the buildings here Ah, bumping up in this direction and then I put the horizon line up to the top, so this would all be land up in the section. So you get your water coming down and then into your all your buildings and stuff and to make that happen under simply kind of zoomed in a little bit and large. What I have instead of what you did is you kind of reduced everything so you have more elements in your image, but it doesn't necessarily on. I'll give you a little bit better. Look at that too. So here we go. So maybe this will make it a little more clear, but anyway, you'll see here now that you have a visual of what I mean. So every land is dominant now, right? You get a little bit of water and then just a touch of this background there. So now if I take that off and then we'll put yours back on, I'm you'll see now how it's equal. Okay, so we'll do this one more time when they hear you got a little. I think, in my opinion, just a little bit better layout. So keep that mind this week, we are going to tweet things when tweak our thumbnails. And again, I'm gonna talk about this a little bit later. But take this information into consideration as you move forward, and I think into the lesson for week two. And I think that's gonna help you out a little bit. Okay. All right. Next up is this one. This is working pretty good. Looks like we got arrows pointed to these two, which is fine. I think they are a little bit better compositions were doing. Although I don't like this one on the left as well. Focus with this one down here. I think it's a little bit tighter from the to. And, uh, what is catching my eye and throw me off is right here. So you have this angle coming over from the wall or whatever. You have a tree coming down. This tree is coming in like this, and it's basically the same angle is what you have there. Try to make that a little more perpendicular. So you have a more of an interesting angle versus something to similar. The next thing I'll talk about that. You have a nice shadow coming down here. Cash shadow from the building. I like that. But they could be cooled upto Add one here as well. So I know there could be buildings outside of what's cropped here. I don't want a shadow down on this building. He could run that shadow down along the ground level is well, and that that would be kind of interesting adds a little mystery as to what's all off the image and casting a shadow. And of course, I think having a darker value towards the edge of your painting will help keep the eye in the frame as well. Made a few changes so you could see that. And so, first of all, look at the tree. You see the TRIA pull that down now, and I wouldn't necessarily make the wall that dark and value. Um, you probably want to make that a little bit a lot lighter and value than when I did. I just kind of want to show you the angle of how that jets off of that kind of Ah, circular of angle of the tree. Okay, so you could do that. And then this scene, I'm just going lighten that a little bit and that you see here about through the shadow on this on this building coming across and took it down on the ground, they could put some figures coming out of the shadow, catching light on their shoulders and things like that. You got some trees and different things going on here as well. Just make sure you get a nice vertical on the IGA. Nice cash shadow under X. I think that's going to emphasize the light in this image. And I think the life is beautiful in this image, but you can really enhance it by just kind of paying attention to some of those things. You would have won a nice canopy or whatever to your trees. A nice vertical coming down from the trunk and then a shadow coming across. You know, the ground on that would really enhance the light. Okay, but good job. Look forward to seeing what you do and when you do your thumb. Now this week is, well, just kind of refined things a little bit. And think about those angles and you don't leave any stone unturned. I mean, you want to know, work those simple things out before you get to a painting, and then you end up with a problem and you're not sure what it is, but kind of seeing those angles and how it works I think would help you as well. All right. Coming up with this one. This and this is the last for the submission of this week. These air good of the one thing there that jumps out at me is, um, just the focal point is of the umbrellas is that the building itself is an architectural type drawing. You know, I think bringing it to that stage, what would help with this one as well. So I did a little crop of the one that I want to look at and which is this bottom center? One. If you look at this, you got a lot of sky space here. You got these buildings and the umbrellas, and I kind of think the hook here and again. I mean, whether you want to make it about this or not would be the umbrellas. But if I were to look at those umbrellas and then actually look at the image that you had to work with, I won't bring that up room quick. You've got a lot of activity that's going on under there. People eating and walking around and things like that. So if I were to tweak that a little bit, um, I'm just going to take years off camera here for a second. It's something like this. And again, this is just one option. So this is basically taking the building up higher, okay? And then pulling that down and so that you have more room for foreground. And then the four having more room in the foreground would allow you to put a focal point right in this bottom kind of right towards this corner over here. Another option would be to see here we go is, instead of putting the building towards the left hand side, I made this building 2/3 the distance. So if you look from the left hand edge all the way over to the edge of this building, that's taking it roughly about 2/3 of that space, right? And there will be a nice little focal point and things under that umbrella and in terms of a composition and bringing this closer to a painting, I think that would be kind of interesting to work with. So if I take that off for a second, put this one back on. You can see now that between the two you can see how the building only takes up 1/3 instead of 2/3. And I didn't really like that idea because that puts the focal No, that makes this all the space over here kind of dominant. And it doesn't make sense unless you want to put some people going on or something happening over here and maybe just one umbrella and make a focal point point on that side. Where is over here? I felt like this makes the umbrellas and that sort of thing more of a center and interests . But any way you want to keep that mind as you move forward, the thumbnails are there's always an intent, and the intent is really to try to figure out where the your dominant shapes are, and then how you know, how is this going to work in terms of a painting? Okay, so we go back to yours real quick. You'll see. You know, it's kind of hard to decipher what it is you're trying to say unless you're just trying to catch an aerial perspective or focus on architectural, no detail or something. OK, but anyway, that concludes the feedback for this week as I get into this week's lesson I'm gonna go over some things about thumbnail sketch in the things you need to be careful of talk. Ah, lot about aspect ratios and things like that, Um and that I think it's gonna bring a little more clarity, Teoh, what this exercise can do for you because it's a very, very powerful tool and it's easy to do and you don't want to miss out on these opportunities, OK? 5. Design Within The Frame: designing within the frame, whether your thumbnail sketching, doing value studies, sketching in the field with trying to come up with ideas, working from images, it doesn't matter. You always have to start with. Ah, frame and a frame will simply help you understand where your edges are and what aspect ratio you may want to work with to make things work. When you get to an actual painting situation. Okay, where you're creating a finished work of art. So, like, here is the problem and you will see this quite a bit. That's a This represents your sketchbook or whatever it is you used to drop with. And basically, this is a legal size sheet of print paper, and I just start sketching. And maybe I'm doing a landscape here. And I have some objects going on and so on. Okay. And maybe have in the city and I start to do some drawings of some vehicles and some cars and some buildings or whatever. Okay, so now I have these little studies and sketches that I like, and now I want to take them to my campus. All right, so now I'm dealing with the canvas that has this. So canvass has pre defined measurements and there's an aspect ratio going on. There is ah, you know, a certain size and proportion that this has that you're drawing does not. So when you go to transfer here, you start putting it, putting in your elements. You wanna find that things get cropped off because you don't have room for him. So if you tried to take the city your sketch here and you draw lies or grid or something that you start to transfer that and that's how you were, then you're gonna find that things don't always fit within this frame. Okay, So with that being said, ah, frame is important. So in this sense, we could think of a frame as a canvas and the example I have here 16 by 20. So if you take a kind of, ah common denominator here, four So the ratio of this will be 4 to 5. OK, so four towns for 16 4 times five is 20. You get 45 ratio. That makes sense again. That's just one example on. Campuses come in different sizes, but this is just to kind of get the point down. Ah, frame and then the ratio. Now I paid on paper a lot, so I use £140 cold press paper. I buy large sheets, and the sheets come in 22 by 30 length. Typically, I cut the sheet in half like this, and that is 15 by 22. Now. What I do is I take take masking tape and I will use about 1/2 inch border around now. Use tape, not take to my drawing board my paper or all the way around. So we take 1/2 inch all the way around. You're losing an inch all the way around, so I may start with a 15 by 22. But by the time you put the half inch border around, it's a 14 by 21. So if you look at a 14 by 21 for example, the aspect ratio would be 2 to 3. So seven times two is 14 3 times seven is 21. All right, so again, that just gives you two examples off kind of a common ratio or for frame size. And I'm talking about frame again. Assigned about ah finished frame for a painting. It's about working within the frame, the edges of your canvas or paper to design your work. So whether your thumbnail sketching, working with compositions, whether you're doing value studies, it doesn't matter. You always want to start with a frame. So now let's take the next step. So the problem, as I mentioned before, is used. You draw randomly on a piece of paper, OK? And then you have something that works here. But then when you go to the say, squeeze it in a two by three or 2 to 3 ratio here, it doesn't happen. And then the earth you're forced to make changes that you may not want to make a solution would be to understand the common aspect ratios of the ratios that you will probably want to work with. Now again, I'll give you a couple of examples here. So let's say we have a 16 by 20. All right, that will be a 4 to 5. So four units, about five units, it doesn't matter. You can flip this and do something horizontal or portrait style over Mansky. You know, however you do it, it just simply doesn't matter If I took a 2 to 3 sets of 12 by 18 24 about 36. Something like that. But again, that would be some common Brescia he may use. Now you may use a canvas. 11 bought 14. So 11 by 14 if you divide it in half, is 5.5 to 7. So maybe 5.5 to 7. You could even take that and divide it in half. Okay? And if you did something like that, so I know a lot of people work with 11 about four Kings. That's a nice size canvas. But let's say just for the sake of off having this number here, if you divide that in half, Okay, we have 5 to 7. If you divide that in half again. So you have to and the same 3/4 2 3.5 And if your thumbnail sketching both two and 3/4 to 3.5, maybe the size you want toe layout. If that's a comment size canvas you paint on, then that's something you want to keep in mind. All right, so let's just kind of move on now, and we'll get into the next part here, which is the Prepare your frames, All right, so preparing it frames is a great way to save time. And it's a great way to work quickly, of course, when you're ready to go. So these are some examples of what I mean by preparing of frames. So 2 to 3 so you can see. I mean, it's a Siri's off eight on this piece of paper, I use a sketchbook sometimes. But I used good old printer paper a lot, too, because I find I'll work with images, all three things. And then, you know, if I'm doing the sketchbook, it'll sit around. But I'm kind of bad about knowing what to do with them once they fill up all that stuff and for thumbnail sketch. And I just like to get my ideas down and then let's not get him down. And then that sort of thing, I know we don't refer to him and he works. I moved on to something else, but anyway, this would be this ah standard 2 to 3 ratio grid, the half set up. Now I can make a bunch of these, but it makes more sense to me to take this and just scan it and make a bunch of copies of it. And I keep those off to the side. And now I may want another one that's maybe 4 to 5 or whatever. If I did a 4 to 5 ratio, OK, so I worked a lot in the 16 by 20. Well, 4 to 5 is kind of big for thumbnail sketches. In my opinion, I would probably reduce that the 2 to 2.5, All right. So I would set up a grid that's two and then 2.5 and then 2.5 and then make my grid that way, and then I would label it. So I I know that this is a 2 2.5 So if I want to go to a 16 by 20 or something with that ratio that I've got that ready to go make copies of it and then you're ready to thumbnail sketch whenever the impulse pitch, you that boom, I've got something. I want to work with this getting here now and see what happens. Okay, with my thumbnail sketches. Now, let's say from a thumbnail sketch, I've got something that I like a lot. I want to pump this up to maybe a better composition to kind of refined things a little bit . In that case, I would scale that up to a four by six. Okay, so double the size of that put it on to put you on a sheet of paper. And now I can refine my composition. I can get it here and work on. You're adding some figures and different things and details that maybe I wouldn't do with quick thumbnail sketch in with quick thumbnail sketch in. I'm just working on the main shape boom, boom, boom, boom, boom, boom boom that works. I like that shape. That's a good pattern. Let me bring it over here and, you know, take it to the next level. I would do value studies, composition studies, things like that. All of this scale foreign again. I would make this would be. Maybe my master copy May stands of it, and then you've got a bunch ready to go. And again, you know, different ratios. You depend on what you use and what you like the paint on. We determine how many of these you have, but it wouldn't hurt to have to the three common sizes 5 to 7 things like that around at all times. And in that way you can try different stuff out. You know, you ready to go? But this is Ah, smart way toe work. It's much better than coming over here and trying to sell with it. That's my friend. We'll find what is that used to be realized with? That's a two and 1/4 by to win three eights and now you got kind of a really bad ratio. There are framed work with that doesn't really work, and we start to transfer it to your finish work. OK, so lastly again. And this kind of just well, something's up once more is the goal with all of this is to avoid compressing your sketches and your ideas and, of course, avoiding Teoh cropping them all right way Don't want to lose our idea because the things that we sketchily work with we get excited about. We don't want to make changes to him once we start to transfer them. Okay, have to a few sizes of thumbnail ratios. Okay, we'll talk about four ready to go at all times. Okay, Have one for your thumbnail sketch in. Have one for your value studies and compositions on then. Have you another aspect ratio ready to go over here And you may want three. I don't know, but you don't want ever to put your image up on the screen or on your iPad. Start painting okay without spending some time thumbnail sketch in the value studies and that sort of thing. Eso anyway, us, Like I mentioned before, scale up the sizes for your composition of value studies that would kind of follow along here. And the more you thumbnail sketch in, the more you design within a frame. This having that frame, their working within that knowing that that's going to transfer to, besides that will work is gonna be a huge plus in your workflow. Okay, so that concludes this lesson, and I'll see you in the next one 6. (NEW) Student Critiques: How to use two tone value sketches: All right. Welcome to round two of the critiques here for our landscape workshop. Before I get going, I just want to mention that, of course, the feedback will be based on your assignment. The things I wanted you to do. And then also, I will give you some additional feedback here. Awesome compositions. And then the composition. Basically whatever advice I give you whether you decide to make those changes or not, you want to apply that to your third assignment, which I will share with you as well. So again, whenever you do your assignments this week, keep in mind the composition. So anything you want to change or tweak or advice you want toe, consider that I give you making those changes and then adding that to your your assignment . Okay, so anyway, I'm moving forward here. Let's look at this one first. First thing I want to point out to you, um, Azaz. This edge right here is angle. So if he used a straight edge and you used a ruler or some sort of way to actually measure , um, your ratios of the frame okay, whether it's to buy three or 2.5 about 3.5. Whatever it may be, you should have had a straight edge. I mean, that's the whole idea of that second assignment was to point out that if your frame is off , then you're not really dealing with a true composition er or anything that's going to work once you start applying this or transferring it to your paper or canvas and everything has an aspect ratio. If you have an angle like this, then either you didn't measure it out or you didn't have bothered up to you straight lines . But these things should be perpendicular. Nice, clean edges. And then that's going to save you. You know, a lot of headache, and then you know exactly what you have. So we have an angle like that. You have air his of this simply aren't gonna be there anyway. So in the bottom breaking corner drew a big circle there. The question mark. I'm just this area you have to think about. I'm not really sure what it is, but, you know, these are the things that you want to figure out now. Okay? You want to think Okay. What elements are gonna be there If there's gonna be a shadow, then put in a shadow and then if there's gonna be a non object in a shadow, then put an object in a shadow it could just be a shape. It doesn't have to be anything that way. We need to know exactly what it is. You can loosely depict it. But just keep that mind. Of course. Maybe if you use a straight line, allow that area have been cropped off anyway. So if I drew a straight line here, there's your straight line. Okay, so now this is a mess. So let me get rid of these. So this is a little composition adjustment I made for you are the things that were throwing me off a little bit in yours, and it's just go back to a really quick is you the federal line from the sea that where this is safe from the truck to your buildings, you had this pretty strong diagonal coming through here. And the angle of the roof, the angle of the car, all of this You have another angle here. I mean, that's going to take you right out of the picture. Unless you have something heavy over here on the right That's going toe. Balance him back this way. Okay? And you don't really have that. So in terms of a composition, you get some things to work out. I think all the elements are there, and this is the part about being, you know, using your imagination and your creativity to change things. So if you look at your your building, for example Okay, so right here, Um, you have That's nothing but a cube, okay? Or rectangle. And you have the ability to change that in any direction. You want to change it. So if you can draw square cube thing, you have the You can easily manipulate that building structure to make your painting interesting. And these are the things that I want you to dio and think about as you move forward in the spark shop. And, of course, with your own painting. But yeah. So the shadow to shadow, you know, this whole thing, you know, runs You have the picture. Also, this telephone pole here. Um, I think that would be better if you moved it up here towards where the water meets the doctor. So you could put that up there and that will be a nice, strong vertical to kind of keep your eye on the picture as well. But I didn't make some changes and I'll show those to you. So I do this. I want the truck over to the right, Do it all in shadow. So you have a shadow coming across the foreground. This is the shadow from the truck. And then you kind of had that whole corner now worked out over here. It's hard to tell what's going on. And, you know, I took some of the boats were in the water and I put a boat right here. You see, I put the telephone pole up up there and you know that's going up. Maybe take your i n. And then the boat pointing to the left here will take you over. You can see that made changes here. So I kept the diagonal of the truck and that changed the look of the building. That's all I did and what that does that keeps your eye pointing back into the picture and through some figures here around the truck near the dock, I thought that was a kind of interesting way to throw a little subtle focal point there. Some something happened, and then you just Sprinkle some boats back in here is fine in the water. And, you know, make this boat here in the middle ground, you know, prominent and things like that. But in terms of composition, I just think it works a lot better. So if you go back to yours, maybe you'll see now all of that, she's taking you right on out. And maybe now you can see how this may work a little bit better for you. So always, always, always. And this goes toe for everyone. Don't be afraid to make changes. Don't ever get locked into your image. Take the things that are there and that you can move if you can draw a rectangle cube, But things basic shapes, then you can always change. Okay. All right. Moving on. Um all right. This one worked out really good. I liked what you did. We hear. I think it's a great composition. You have a nice strong shape here, these two buildings. So it's really anchoring the painting. Very well. The only thing I would recommend here is maybe casting a shadow across this foreground area and moving this truck back just a little bit, so it would help give it some substance in some body in the foreground. So you have kind of a foreground is a little bit lost in there, but I just wanted to, but you did a good job tweaking everything. And over here on the left hand side, I just want to show kind of how you're spacing is much better. So, last speaking, he had everything to buy it evenly. And now you have no medium area with sky, smaller area with the water. And they have a large area with a middle ground foreground. So what I did is I kind of made the truck a little bit bigger and scale. This will be the shadow coming off the truck and then maybe a foreground shadow there. But that may help, um, anchor that foreground a little bit and then no, make the compositional stronger. I did a little telephone pole here to maybe some wires going into the building. Something like that. Looks like you had that over here too. But that might, you know, if you use a poll like this. I'm working with this one left. Go ahead and stretch it up into the sky because that's a nice way to connect. You know, this middle ground to the sky. So when you run that up a little bit, I'll change my color here. Something like what you have that's a little heavy in the line, but it's OK. And then, of course, you can, um, you know, run your wires, you know, down to the building to and maybe make this poll a little bit heavier of anyway. Um, good job. Really? Like the changes you made in did a really good job with your values and everything, too. So the floor to see and what you do and we'll move on to the next. All right. I'm great job on this 12 excellent composition. You've got a lot of things. Interesting things happening there. Of course, you got a lot of detail, a lot of little elements and shapes going on. So gets work cut out for you whenever you're this. This is just some advice as you move forward with your painting the same week for you don't need every single window. Okay? Especially Since these buildings are in shadow, you don't need at all of them. So just keep that mind as you move forward. The ones on the buildings that are in light, what typically have a more of a contrast with their windows and stuff. But the things Aaron shadow, he never want to overplay those You want to keep those subdued. Okay, so just just kind of a heads up there to decrease the amount of detail in your shadows. And that would, of course, applied to this scene or anything for that matter. I just made a few changes for you. Added a few figures here in the middle, right in the sun could get this beautiful area of sun sun. You have some boats here, but it be a shame not. There's some figures with some shadows casting, you know, from their bodies and things like that. I think that would be interesting if you and maybe in shadow, over in here walking out so you could get light on their shoulders against that shadow area . That would be a really nice, interesting thing to pain. Be sure to keep your shadows interesting under the like these little areas of the buildings . I've got this little red here. You may want still a vertical chimney, or this could be some dormer windows or something on these buildings casting shadows down the roof. So, you know, make sure his roof tops have something interesting going on there. And then the shadow under the tops of the building and then also a nice cash shatter their so Akash shadow from this building going down this building, this one. So this That should be a light, you know. So where I put light here on the buildings, make sure you present that as a distinct change in value from where the sun is hitting it and where the where it's not OK. And then also, I just popped a few of these umbrellas right in here, and, you know, it makes you put good light on so that again and you have a nice play of light hitting those in a shadow area. But anyway, I think there's changes will help me out with this one. This was working good. Much, much better for your composition. I mean, this works. We actually have a scene here, something we can sink our teeth into so excellent job there. Whenever you're dealing with verticals better and shave, make sure your verticals are a little bit darker. So I just kind of shaded that in. So that will be, ah, darker value. This kind of accentuated, maybe two people sitting at the table. It's like someone may be standing there, but I mean, got three. Got two people sitting on maybe a little later or something they're helping about. That would be kind of nice. Um, yeah, going through a nice maybe a little bit stronger shadow going across. You know, the sandwich board, like this will be fine. That's not gonna hurt anything. A nice, darker shadow under the the table. And then you can put the figure here, standing up, whatever. But all this is working a lot better. Just, you know, whenever you move forward this week, keep this in my life said about the shadows and even this vertical here, the main building. I would put the one on this side a little bit darker. And then this building here in the kind of the middle ground, a little bit lighter, okay, and value. And then that's going to push you know, your background away from you and this gonna pull with this building full word. As long as you have get separation between these two buildings also in your umbrella. Just add a little more dimension in the air so you can see how pointed this is. So even if it's not there, you can kind of add this little edge, you know, to the umbrella and kind of change the value a little bit darker and then a little shadow on the back half. But apart from that, you have to anchor the bottom of the umbrella. Somehow you can put another table right here, chairs or whatever, but don't let that kind of just be a stick or a line. That kind of goes nowhere. Okay. All right. This was working really good. Excellent job. Much better. Play it on the angles here, coming out that I does a lot for the line in the structure of this painting. And yeah, you're you're in good shape. Made a couple of changes are kind of similar to the other image that has ah, the same view that when the figures in the air just to ask people when the light couple of coming out of the shadow. I think that's going to just give it a mawr life and just pump some life into what's going on the scene, your brother than just looking like an empty square. So things like this get this beautiful square and light hitting this area. So take advantage that light and take advantage of this focal point and throw those more verticals. And there there's people, and I think it will be you be in good shape. But, yeah, I do the same thing. I put a little shadow underneath the fronts of these buildings just to make sure you got, you know, some sort of contrast there. Um, you can Yeah. Maybe throw some little edges or ridges on the roof. Here, give us some textures. Fine. But yeah, you're you're in good shape and look bored of seeing what you do in the next one. Okay, so that concludes the feedback for, um, this week. And now we will move on to bigger and better things 7. Two Value Pattern Sketch: a two tone pattern sketch. Okay, you're dealing with. Ah, light and a dark. That's it. Okay, so the idea behind it is it will simplify your lighten shadows, and you will start to see how they connect in your painting. So when you start to approach painting, you will have that simple visual of understanding how your shadows and how your lights hopefully luck. Skates were trying to get these things toe lock and not live separately. Okay, so when the moon, we can get them to merge, the more interesting with the painting becomes Okay, So I gave you. Ah, a couple of examples here. So let's say we have our light source in this top one coming from the top right hand side. So shining down on a cube So the the side here and this side plus the shadow would be in a dark value. Okay, Notice. They're the same, though. So I didn't shave this side any darker than this side. Okay, so is one value. It's either light or it's dark. All right. So I'm not gonna treat anything any different than the next. All right? This is an example that say, the sun is just starting to come up. Okay? We have a low sun here hitting this shape. In that case, the left hand side would be getting the light, the top, the right and the shadow would be in dark. So you can see how these to change whenever the light source is in a different position. All right, now it's important to understand it. Here. Have you never done a simple pattern sketch? This is a good way to look at it. And this is different than positive and negative and all that stuff. This is more about understanding lightened shadows, trying to dissect how you're different shapes and our lock and how they kind of connect with each other and how they sometimes don't connect. All right, now let me. So we try this first just so you get a feel for what's going on, These very simple, huge shape change a light source a few times, and then you will start to get a feel, for they could move on to your composition and what you want to do. I notice, too, that I'm putting things on. This is a 4 to 3 ratio. OK, so 43 Okay, so I'm using my frame. Okay. You cannot do this anymore. Just randomly sketching and then over You're done. I'm gonna draw my little frame around. Okay? Now you have to start with your frame. That is the ratio of the painting that in the size of the canvas or paper that you're going to use very, very important. O K. Doesn't take but one minute to draw those lines out. But you have toe have all right. So moving on to a more sophisticated design here. This not food one of landscape. You can see how everything that's in shadow is treated the same. I don't care if it's in the background. Middle ground, foreground. It just simply doesn't matter. It's in shadow. It gets that one value. All right, that one value is right there. Okay. This light, it's here. It is nothing in between. So you can see the truck here. The top isn't light. Okay, so you can think of your light source coming down in this direction. So light, this would be a shadow. This is a tricky one. You're gonna have a few situations like the rooftop of this building. So me look at the the angle of that rooftop. Okay, what do you revealing with a pitch like this? So, more than likely, that's not going to catch a lot of light. So this pitch is a lot different. Okay, so that roof, because of the angle, is probably catching a little bit of light, as is this one here? Okay, so that pitch is almost a flat roof, so I would have put those in light. So you have to make some decisions here on, um, once in a while about things that that could be, you know, in the caught in the middle. But just simply make your decision and decide. Finally, based on how your lights and darks are starting to connect, how is that pattern looking? So notice here is a little figure, and I let the little sliver of light that would be hitting the shoulders and look how that is interlocking up into the shadow off the buildings. Okay. And that's important, because now that connects these shapes. Very, very kind of interesting thing to think about with your painting. Same thing with the mass. So I have my dark boat here, this in shadow the masters going up. It's in shadow. It's a vertical list May be getting light on this side, but for the most partisan shadow. But whenever I get up into the background, which is trees or whatever, notice how I left it white. Okay, so that would be where I would want a place that lighter value to pop that mast. Okay, so that would be something that I would do Is an artist to improvise and to make my my two tone patterns sketch more interesting. And, of course, you can look at the top of this, the truck and how it was white and how that shadow and how those values basically, how these shapes right here kind of locked. So this white spade this dark is stopping here is going up, over, down across, and then the light value off the truck. The top is kind of connecting with the light value off the ground. Okay, so, um, that's the idea. Okay, That's what we want to do in terms of creating a two tone pattern sketch. Okay, that tells you how things air connecting how it gives you ideas on how you can shift things to make them connect better so that these shadows, they all start to relate to each other. Okay, they all become a little more interesting. There is a little bit of a white speck right there on top on that truck. So maybe the front of the truck is catching a little bit of light. There's that nice little pop of white and light right there in that dark shadow. Okay, so this is the purpose of it. And this is the value of what it will add to your paintings. And then as you get closer to creating your finished piece, you now have something really solid there. In terms of understanding, you're painting from a simple two tone value sketch or pattern sketch. Okay, so that's basically what a to tune patter, sketches, and hopefully it will help you out as you move forward. 8. (NEW) Student Critiques: Refined Value Studies: All right. Welcome to the third week. Feedback here and critiques. I know you guys ready to paint? I'm ready to watch you paint, See what you do, but that's going get these reviews out of the way, and then we can move forward. I'll start right here are the main thing. I see. I mean, definitely simplified the composition. It looks better. But the questions I have are, um, shadows. So you kind of have this, um, kind of triangle thing moving in through here, Obviously, the buildings in the background or in shadow? Not sure where this angle is coming from. Uh, right in here. And I'm not sure where this one's coming from. Okay, so the sun is coming from this direction. Seems like, um, I see a shadow in here. Maybe something under the umbrella and maybe something out of the picture here, coming across the foreground. I don't understand. Like that angle right here. So just kind of work on that a little bit. Give it some thought before you move into your final painting. And then also, um, under the umbrella. I'm not sure that she's chairs or what's going on, but make sure you just put a table, make it clear. A table. Two figure sitting. Ah, later, they're putting a drink on the table. Anything, but just make sure that's clear. I mean, that's your focal point. That's what's in the middle ground in foreground area. And that's got to be something. And right now, I just feel like it's an afterthought. You can't really treat that as a background, because that's something that's going to be in the focal area. Okay, so just put some thought into it, okay? All right. Moving on. This one looks good. The big thing, I would say, Be careful of are the repeat patterns and the windows, these air all kind of the same size. And what not. I know we're just ah, dealing with the two value pattern sketch. But these are the things that a pattern sketch will reveal. And these are the things you want to think about. Fix. Okay, so you have one This a little bit smaller, but a lot of these air kind of repeat their evenly spaced trying to avoid that. You can join a window right here with this sharp, dark hairy can join a Linda with this dark area, Um, conjoined a window with the shadows coming underneath the same thing here with the trees. You know, they all like the same shape and all that stuff. So just again, did just spend some time here trying to figure out No, I think enjoin a couple join Juan and you know something like that just to make those a little more interesting and then make sure they have a cash shadow. Uh, that would make sense with the top with a big canopy there on top. Other than that, I think you ready to rock and roll me. This one is good at much better composition. And I think this is something that that will work. I would say it wouldn't hurt to build up that background a little bit just to make it a little more interesting. And then it will give you more kind of shapes to paint again. You don't need to overstate them. I wouldn't put extremely light values any of this stuff. I just kind of trick within some boats that could be resting back there and maybe a little bit bigger. Want bigger one right now in here with the mass going up or whatever, but just something that kind of dress that background up a little bit. And But I think you ready rock n roll to All right, this Well, that's great. I like everything you did there like the newt she made. I think, um, yeah, I think this one's ready to go, but I think you did a really good job of bringing this together and making the composition interesting. And I think it's a really good example for everyone to come to look at and kind of appreciate, because that's exactly we never over after is to make those organic shapes appealing. I mean, they're just dark masses, but they're interesting to look at. If they're interesting to look at on this level with a to value pattern sketch, you can really start to have fun with it once you start painting it. Okay. Good job. All right, Next up. Um, yeah, this was looking better to The main thing is the cash shadows. So if we have shadows from the building here, obviously in the this section here that the the shadows coming down from the building. So wherever it meets the ground there should be a shadow as well. Casting from that and this was all very light. Okay, so that's got to make sense. Okay? And then I just ran a shadow along the foreground. Maybe is there some taller, a taller building back there or something? But apart from that, I think is working pretty good. You could have had some, you know, Dark Ray here on the boats because, you know, boats are basically just think about him as a rectangle for a second and sons coming from this way than whatever is here. And it was gonna be dark. This will be dark, and then you'll have your your shadow there. So just make sure you think about those things. I mean, another little subtle details and go, Wow, you know, not a big deal, but it really is. Because if you don't understand, if you don't address it here, if you don't acknowledge it when we get to your painting, there's there may be that kind of You know what I'm gonna do? Type of thing. But if you already kind of playing this thing out, the you know what you're gonna do Also, I noticed right here there's probably a wall or something coming along this area. Sorry about that. I just put a cash under there, too. But, you know, a couple of these boats can have amassed or something on them. I mean, even though if they're not there in real life, it would. So what? I would maybe make it a little more interesting to look at, you know, give it some height and kind of connect. You know, this foreground with the shadows in the middle ground. So it's all kind of a connecting game, you know, but good. I think you're ready to go. You come a long way with this, and I look forward to seeing what you guys dio so that concludes it for this week. And you got your assignment, which is pretty much you. You know what that's going to be now, on that screen? A final peace based on everything you've done up to this point and look forward to seeing what you guys do. Okay. If you have any questions, just let me know. 9. Demo Part One: All right, let me go over my materials here I'll be using for the final painting. This is a piece of £140 cold press paper. I have that adhere to my gator board here with some masking tape. Mr. Reject painting, but do not be concerned about that. I am going to tone it down with an even coat of titanium way. Probably a little bit of sienna. And speaking of paint, let me go over that. Oh, my palate. I have titanium white, ultra marine blue, surly in blue Uh, cam iam yellow. Can you read? Burnt Sienna and Eliza in crimson. I also have a couple of containers here of clean water and for brushes. This is a large round. This is a fan brush. I'll use just for some a little bit of grass and just to get some loose strokes. This is a small flat. This is a filbert, large Filbert. There a really small kind of a detail round. As you can see, it's got some pretty nasty Farrell their bristles. But I will try Teoh. No use. Use it for just some loose strokes. So I don't want to get everything absolutely perfect. So this is kind of a good brush for that on this is a large flat, and they're also used my very small six signature brush here like a liner brush for masts and details and stuff. Okay, So, as I mentioned before, using a reject here, I'm just going to just coat it to get to get rid of it. But I use rejects all the time, and I don't like the way stuff. This is a good way to recycle it. So I'm just using a little bit of a titanium white mixture here with a little bit of Sienna . I'll neutralize that just a little bit with some cerulean blue. Probably neutralize it a little too much. So I drag a little more weight into that, a little more Sienna and maybe a touch of yellow. That's giving me kind of ah, grayish color, which is fine. Whoa. Actually had a little bit of crimson to this. And criminal, be careful with crimson. It's It could be a really potent color. That's better. That that gives me a little bit of a neutral gray. I thought was a little bit too cool there. But working with a gray sometimes is good, especially if it's kind of a mid value gray because it off. As you start to put values in it both light and dark, you really start to see See those developed. So sometimes working with a a stark white canvas or piece of paper is tough because he simply cannot see the values. So we start like this with something in the mid range, Then you got you got a little something to work with. Okay, I'm just using a lot of water now, someone that is quite a mix up quite enough. But I'm going to make it work. I don't think I want to mix anymore because that could present problems. I'm just pulling some of this thicker paint down. Now, if I tryto match that mixture, then probably will lose. So now just getting this to where I've got a good amount of coverage doesn't need to be perfect. It just seems to be good enough to where I can kind of see what I'm doing. And it's not too much chaos with with reject meaning. That's what I'm doing. All right, clean my brush off. Really good, because we are working with acrylics. This is going to draw a super quick. All right, I think of this stage. I'm just going dry it with a hair dryer off camera, and then we'll be ready to lay out the composition. 10. Demo Part Two: I decided to give this. Actually, two coats did it off camera. You kind of get the idea just simply trying to tone the paper down. But the first coat was a little thin and reject painting was showing through. So I just did it. One more and we're ready to roll. Um, now, let's go lay in my composition here. And to do that, I'm gonna keep it real simple that sometimes the best way to keep it simple is to use a big brush. So I'm just going to get with some sienna again a touch of by Saru Lian to get a nice dark mixture here so I could see what, see what's going on. And I start with the longest line and the most important line, which is really probably this foreground. So it just goes right across, find the halfway point under the pier. Probably starts just off of that, and this stretches over and we kind of get this sort of look and that's pretty good. And we have another little line there of the other little Pierre. And now I can kind of Sprinkle in where that boat is going to be and we've got the truck that's really taking the window was taking up almost this entire area in this water, so I can kind of put that in, but the cab or the back of it And we have the other truck that's moving and here. So it's kind of following this perspective, that line right there, so kind of go with that. If it runs off the page a little bit, that's OK. I'm not going to be too concerned because the bulk of this is really all in all in here. Okay, that that's gonna be wherever I want the people to go. This is just a supporting cast, if you will. So let's not get too concerned about it. And we've got the buildings over here, something like that side of the building just nonsense in here. And this is where kind of the peer goes out. Maybe the boat and then you're back in here will be all the all the boats and stuff will put some figures in here talking. Maybe some figures on the pier, and that's it at this point, Um, there's, ah few options you can do, but I'm just going to basically chunk everything in and the less chunks you can kind of envision at this point, the better. So I'm thinking water Pierre, foreground buildings and vehicles. Okay, so I'll start with back here. So I want that water. Teoh, let me say first to I'm not trying to get these things absolutely perfect at the staves. Okay? APS Actually, I'm trying to not make it the right color if that makes sense, because, all right, so I'll get a little bit of Saru Lee in a little bit of ultra at this point. I know what's going to be a little bit on the dark side for now and just touch a little bit of yellow and start whacking that in there. It's important to have Ah, nice and loose here kind of sets the tone for what's going to be going on that I work for Now. Now, if I think about value for a second here the pier, I want to be much lighter than the blue. Okay, because that's what's happening, really In this composition way, we get past where the lines are what the objects really are. What you want to think about, really is I mean, what I envision is just kind of this light mass of color jetting out into this kind of darker blue. So that contrast needs to be there. And I want to start to establish that. So I will go with a live some titanium white here and touching must sienna touchy yellow. Maybe a little bit of that blue. That's already there. A little bit of sienna touch of cat red. So we start to kind of wack that in there again. You know, it's just about getting the big picture, you know? And that's the big picture. Really. Is this that shape in there? You can kind of start to see it develop already, and then we have this other little Pierre happen or yeah, little doctor, Whatever. Going off to the side there. I just can't mess that up. There we go. Let it go. And now I've got the foreground here, which I'm gonna make a little bit cooler. So as this comes towards us, you know, I want this to kind of be worthy. I set in the arrests over in here, so I want to make this life but cooler. It's got some little holes in there and stuff where the lights coming through. But for now, that's fine. Now, the next biggest block, when we're going to start to lay in the buildings and the buildings in terms of value, will be right along the lines of the water. But I don't want to be the same color, so I don't want to be a dominant blue even though in the picture tells me you know it is blue, but I think that would be rather boring. So I'm gonna change that to more of a brown for now. I don't know. I think I think it would work. So I'm just going to pull that off, kind of lightened that up a little bit, just with some a little bit of yellow. I'm I'm I will touch a little blue in it just to cool it off. It's probably too much. Someone go crimson. That'll work right there, and this is going up and in here somewhere, and then we have our other building back there. That's pretty good. Cleaning my brush off really good. And now I will think about we have another little truck here. I know this is like a really, really liked value and the real image. But I don't want to compete with all of this right now, not too much. So I'm just going to make that a little bit darker than what it iss and we've got. Well, actually, something like that going on, we have a little side to it, something like this. Now we have this one, which is pretty much already there. I'm going to Sprinkle a little red and a little blue one of that just to start getting a little bit of color on it. No. Now I can start to establish a couple of darks in the water, so I'll go really dark green. Someone go with this ultra blue touch a red, yellow and just kind of get feeling up to some darker value in here and then have a roof. That's kind of coming up like this when the building and then we can put some things happening on the pier here is well, I'm going to Sprinkle in some color for now. This to start to get my eyes adjusted to what's really going on. Yeah, we've got the boot, which I'm gonna point towards the image, so I don't want it pointing out of the image we have basically the other little Pierre going back in there. I don't even know if I need that. Really? Yeah, just go ahead and put this build over in here. I think that's fine. Now I'll get these little polls happen here and now with these kind of gray's kind of start to Sprinkle in some votes and different things that are happening and there. And I'll get kind of some Brown's maybe going here with some yellow look where the green that was there that could touch so white into it and just start touching some warmer hues on some of these two. Not too many. And, uh, that's all looking good. So Lizard crimson cad Red writing that ultra will establish this dark a little bit stronger in here, and I kind of come under this one now just dropping in some color here is Well, then we'll go a little bit cooler, a little bit whiter, that light. Maybe some saru lian crimson Touch of this. I want to be cooler. I do a little bit of ah, cash shadow for the vehicle. Try to keep that consistent. And we've got this kind of lighter Brown and I can start to maybe put in maybe a feeling of some, you know, little pilots and different thing. They're things that are happening that can start to figure out where these little figures are here. You can add another little guy over in here, something like that. So that's good. So you can see you know it's real loses riel. Quick, real gestural. But the important thing is to kind of make sure you get the big picture. And the big picture was this light doc moving a lot, almost like Enter locking into this dark that's coming or this dark blue that's coming down . And that's really the key. If you get that part than I feel like, um, the rest is a little bit easier now. I'm not gonna go as far as it say. It's, you know you're good to go or anything, but I think you're well on your way. Getting simplifying, I guess, from thinking about the process. So this point things were wet. Things were kind of sloppy, so let's I'll let this dry and then we'll reassess 11. Demo Part Three: all right. Nice and dry. And what I'll do is, uh, guy paper towel here. You see, things were getting money on my palette, and this is a very small pallet. I typically use a larger ones, but because I want you to see everything that's going on, I couldn't fit it on the in the film area. Then, uh, opting to you the smaller one. But things get really messy really quick, and all of these colors start to merge on the power. That's a recipe for disaster. Okay, that's how your paintings will end up Very money. I've got another clean towel here. I'm just going to get the center nice and clean, and I'm showing this on camera. I know it's not interesting to look at, but it's important to do. But I want you to know that those things have to happen. Wear your colors will simply become much. Okay, so the big picture is still there. I haven't lost it. All right. I've got the light value kind of forces way out into that blue water, and I got the feeling of his little boats back there, and that's that's the picture. And I have to keep reminding myself that that's what's important now. Looking at it, it's important to see what's working. See what isn't so that I can start to make some changes. And I think for the most part, everything is okay. I'm not crazy about the orange, the orange, the orange. The orange is all kind of makes this big, even with the tail lights kind of rectangle there, You know, start that you would follow those and, you know, compositionally I don't like it. I think I'll probably get rid of what's over here. I want to keep these figures over in the right hand side. Could start to add some reflections and some little things happening here and there. But, you know, I have to remind myself to that I don't really care. What's happening over here just doesn't need to be distracting. That's the main thing. So I think the truck is important. I think I need to make that a little more solid. I don't really care about the building. This stuff can be. Just be nonsense. So no need to worry about that right now. So I think really just, uh this look of the reflections first, I think establishing a little bit of green. Ah, some just some different things happening on the bank. There would be kind of nice to dio. Now this going to use actually don't want that one for the reflections. I just use this a little Filbert and I want to use something kind of dark there for now. So I'll go with ultra surly in ultra A Touch of the Crimson Remember, Crimson can be very, very dark Sienna and then just start to pull kind of the reflections off this appear kind of down in this area, and I think that's going to help kind of anchor this whole thing happening here. I could pull that over. That's okay. Clean the excess paint off of that brush. I'll go with my fan, a little bit of yellow, a little bit of my saru lian, and just get a nice Papa green here, and that may be a little bit too cheery. So I'm going to tone that down with some Sienna and that probably will work a little bit better. And, you know, just touch some little things that can be happening along that bank. That's good. So I don't want to think details yet. I'm still thinking, What is the big picture need? What's it telling me? And you know it's not. It's not horrible. I think I want to start with the background and start to pull this forward again and kind of regroup with my colors and get things a little bit closer to what I want. So I think for the for the water, I want to be a little bit more on the bluish or the green sign. That's our He blew. So I'll pull a little bit of this, uh, blue cerulean into the green that had mixed for the foliage. Maybe a touch of ultra in there. No test that and that's good. And I don't even know if I me that other building that I really don't think I need it. So I'm just going to do away with it and we'll see how it goes. And now, just touching that in the background, just dragging it along, trying to leave little books, got a lot of green on my brush there, trying to leave a little bit of this original white put down for the boats back there and now change that was almost pure. So Ruli. And just to get a little change of pace there and now a little bit later and value just to touch. I want to start to just see how that is. Could be work could work in here. I've got these little holes and different things that are happening. Ah, along the pier here. I don't want to get too fussy about it, but I'll just Sprinkle him in there and to see how it works for now. So now I've got that color on my brush. Sometimes it's good in terms of harmony to see where else that can work. And there are some places. I'm just going to lighten this up a smidge, though I think it can help me. So they can just along the side lightness a little bit too. A little bit too dark Here. Is that yellow again? Drag right into it. And now I can use this getting sloppy. Here, let me try again. We get my based green going not to come down here. We're here now. I just want to kind of define the top of this or the shape of this truck a little bit better. That's good. And now I've got that mixture going. I'm gonna try a little bit of red just so everything is not a base blue and establish the window here. And maybe Aiken darks really aren't doing much for the truck that helps. Maybe we hit some wheels or whatever is going on in here. That's fine. I think that would look better for the water and all that stuff. No, I got a little bit of brownish mixture here in the middle I saw. Which is kind of what I'm after now. Ah, I think push that more. I want to test that on the roof. I think that looks better. Have some sort of dominant Hugh there versus that kind of money White. And now I'm a go a little bit lighter value using that same color. I like the way that's looking. I can start to establish some nice verticals in here, and that is how you know I did this some. And now I'm doing I'm changing it up, and it's getting a little bit different brushstroke in there, and that's nice. You don't want everything to be too much the same Now I've got this lighter. Brown. I like to look around, see if there's any place that would possibly work. Maybe I got a little reflection of the tire in there. Maybe I can kind of put little bumper reflections on the vehicle right now. Want to come back in here and work with that boat? All switched to my smaller brush here. I think I want to re establish that and we'll go with a warm side. I kind of want that nestled in here somewhere. It doesn't need to be perfect, but I think a little bit bigger and possibly just a little more of, ah, role in this piece. I think that I think it's going to make a nice accent, if you will, and I think in the kind of a warmer shadow. So it makes a little bit of cad red with those graze, and that's fine. Maybe I want to tie that Hugh and a little bit. Maybe we'll put a white shirt on this one. Reassess, just looking things out. Looking a house, working as a unit. We'll go with some lighter values, test something right on this. Whatever is happening on the top of these little I guess it could be crab pots or something , but the light could be hitting that nicely. So that's kind of getting a feeling of Ah, maybe that happening. Maybe something happening here. This a texture. Now I want to anchor that boat. So I've got some darks already happening here on my palette. So I will do that. That's pretty good. Kind of maybe pull a reflection down, connected with that pier. Good. And I know what kind of, ah, little bit darker gray color here, maybe put in a little bumper. We'll go with a lot of water on my brush Now, uh, because I want to get these really thin and maybe a little bit little bit bluer here just to change it up to I want to get these really thin kind of maybe reflections that are catching on this on this. I want to have to remind myself I don't want that to be a big of a deal. And maybe we have a mirror happening there. Put a little hint of a detail on that boat. And now a nice cool, uh, white, so crimson ultra with these whites may be warming up a smidge, and I can start to trickle and some different things happening back here. Now I'll go a little bit lighter. Now, mix that right in to that. What? The mixture I had just doesn't want it to be compete too much with the foreground. Leight's and this hinting a details All I'm doing. Um, no, This stage, uh, this better, especially with the background. You're better off to do not enough than to do too much good. It's just there for a little bit of interest is all in all of this. I'll go with stingrays here and maybe establish a little light there on and like that. And it's kind of reshaping this truck a smidge. I could go back into these reds crimson, cool it off a little bit This So you know, I can always come back and put something more intense down. But work. I have my little liner brush here, so I'll go into this red on, and I think I will catch a nice deep red there and a little bit darker on that side. Here we go. And that it has a nice little pop of color. Now, in a tone that down with some some of the tans and stuff already had on my palette. And we can at a little detail may be on that boat under yellow, red, some white, and I'll go ahead and at ah, face on that one. I will go little loom or in shadow on this one because I think you be good to kind of look at the kind of looking at him a lot. Lot of changes there. I'll do the same thing I did before, Let it breast and when it dries, all come back. 12. Demo Part Four: all right. Nice and dry. I had a chance to look at it. I just want to kind of modify this a few things here. Ah, changed. Whenever I added this color here, I think it, um I kind of lost the feeling of that vehicle being in the foreground. So I want to change that a little bit and then possibly changed the dominant blue in the foreground. I think it's just too much blue going on. And I think if I'd take it out, this very, very subtle, it'll help a little bit. So I think I will start there because I feel like that's gonna be the biggest change. I want to kind of look at it and then decided that is going to work and that sort of thing . I've already got some mixture going on. So the kind of reds and the stuff that were happening here in the grays I contest that it's not bad. I think I'll push it to a sienna and yellow and then tested. And that looks a little bit better so I can start to can't chisel in some some of these and here and maybe, uh, this will change a little bit of what I'm seeing, and I don't mind leaving a little bit of that under that blue showing, either. Okay, that that's fine. So let's now tie that color and very important. So I'll take my little liner here and I've got these uprights. He's kind of taller post they're going on here and there. I think that will help A little bit, kind of touched the flowers or something going on here, and we've got the little tire thing happening, so that's pretty good. Let me look at this truck now, and that's better. That's just really more of a light blue. But I mean, it's very, very subtle and maybe extend that over just a little bit. I'll go with my a little bit larger brush here, and I think that's pretty good. Now deal with my kind of bluish green color here, touch a white into that 10 it a little bit. I'm going to go with a little bit later value here to some bits in places of the water, and I just wanted to catch a few reflections, maybe put a little few little holes in here and I'll help um kind of bring this water to life here. We got going around the figures a little bit. Now go. The darker value now. So little crimson ultra touching with some CNN red Have little detail on the vehicle, maybe a little rear view mirror. And now it can't just touch this a darker shirt on this figure, and we kind of just add some darks and there just to kind of anchor things a little bit. I'm a light matte shadow, just a smidge. So it's not competing too much. Maybe touch a window or two a little bit the blues into these kind of reds that are already on my palette. And now this anchor a couple of these boats, I could go with it like a nice brown to maybe we have a little bit darker boat back in there. So red Ultra, I don't want to be too blue or brown. Really? So there's trying to find the right color there? No, I just reestablish the shadow a couple of darks. And here right now, I just want to add a couple of details. Someone use my liner brush and maybe a little bit warmer. Come a warm gray. Basically probably a little too much on the tip. And let's start right here. I think it's good to kind of like that all. Get that off. I'll finish what I was saying. It is good to start where you're were. You kind of, you know, some of the center of interest in things where you want that to be on that way, huh? You got the important stuff in there on. Then you can decide if he you know, as you go. Is there anything else you really need? And just catching a few highlights when the polls. And now I can maybe cool this off a little bit. So more violent. Probably a little too, too pale waken gets the verticals happening back here. It's clean that all. I want something warm, so I'll get over here where I have my yellows. I'll touch a little sienna read, and then get some of these whites some water and and we catch a few highlights on these figures. So yellow into that. And maybe there's some little flowers or something there. And the little green into that yellow for truly and blue like that. Now it was shadow in there looking more ultra fine indicate a window no well blew into these Browns. This would be a fairly light value, but I think I have to go to more of a thinner brush to more of a detail brush. I'll try. We'll see. We'll see what happens here. I don't like it out. Wipe it off. So maybe indicate, well, something happened. So maybe no, just some kind of lines indicating some boards on the dock. And we can Sprinkle in a couple of dark values in there. Now get my little tail lights back. So this little splashy splash here, just in the foreground think I'm just going to continue this kind of bluish color. There's a little shadow coming across here. Try to tie that in really good. Some breads, some Ciena's. Maybe with a little hair on this guy. Let's get um, looking around here. I think now is a good time to take the tape off, and then we'll we'll have another look at it and see how it's gone. 13. Demo Part Five: all right. Well, here it is nice and clean with the edges. Now it's easy to kind of see near the image and what's going on, and I like it. I think it's working really well. I am going to this pop, maybe the orange and did this bits and places Or maybe his catch in some way on the figure . And maybe just the balance that out, Just a little head of some orange over here did. That way we can do maybe a little something there that just helps. I think top figures, and then we can. I don't like how these flowers are lining up with that boat. Probably a poor decision to put the flowers there off camera. I've got a little bit of my green mixtures that are happening here, so what I'll do is I'll just kind of I think that out a little bit. So it's not competing with that boat. So in this he had mixing old try a little bit of my yellows, and now I'm going to the touch cad red and crimson into that, I just saw kind of dark in that and now just almost a pure white with a touch of that orange. I'll just show you what I'm doing here and going right into my white with that orange and want to get something very, very pale and had to Sprinkle in Maybe a few more little highlights here and there. Just kind of bring this thing to life a little bit more. And Adam, just a little touch more dimension to it. Maybe a little sparkle back here on this boat. Just kind of smooth in a few of those out who got a little bit of light blue in here and was gonna add a few. I'm just putting white into something. And some of the blue already had, um a premixed there. We'll touch a green, of course. So I get the water and it's and the hand of some little waves and movement into the water. And there you go, make it official here, and then I'll do it. So I hope you enjoyed the demo. I hope it brings a little more clarity and excitement, really, to landscape painting and really to simplify it. I mean, it's so easy to get paralysis from analysis and you end up doing just too much work and really the goal and painting is toe. Always, always simplify, especially if you're painting loose and you want to capture your that kind of the essence of the subject but not get stuck into details. You really have to. No, the big picture. If I did kind of, ah, full circle here in the very beginning, When I started blocking this end, it was all about taking these light value of the pier and kind of know how it budgets, and it barges out there in those darks. And that was the big picture. And it's kind of got this little's exact thing happening here. And that's what I captured in the very, very first block end stage. And I knew I wanted the center of interest to be right around in here, so I didn't put too much focus in the background. Yeah, can add more details and feelings of feeling of boat and put more detail into those boats and all that stuff. But in reality Ah, and what it does for your work is it will actually confuse it, and it will confuse the viewer because you're that would be competing with what's really going on and here. Okay. So, anyway, think big. Always work with your big shapes and work down into your smaller shapes. And sometimes I think you'll find that really don't even need a lot of small shapes. You know, you'll find the big shapes really do all the heavy lifting for you. And that's really what's most important. Okay, so anyway, I hope this demo did you good enjoyed sharing my passion for painting landscapes with you? Of course. I love nautical scenes and boats and things like that. So it was a It was a thrill for me to do it and to share that with you. And again, I hope that bring some excitement to your artwork. Okay. Thanks for watching. I'll see you next time. 14. (NEW) Student Critiques: Final Paintings: I welcome to the fourth and final feedback. Let's start right here. But the main thing is, I mean, you get some very cool colors. If you actually, uh, check the color here, right in your in this part of the building it's actually kind of warm or cool, and I thought it could be a lot warmer. And then he could have pushed your shadows on the cooler side. An image and a painting needs a have some light and shadow, and it needs. And ideally, in one particular place of the painting, there's a nice, intense light and shadow going. It becomes kind of, ah, center of interest. And I felt like you kind of lack that a little bit. Get some shadow coming in off the the middle area, right here from the buildings there off the picture frame. But I thought, you know, he could have worked the shadows on the building, kind of made those cooler and then made the building that what's in light a lot warmer than I kind of had tested some of your colors all the way around, and you had a lot of cool Hughes in your light source. Now I'm not saying you want all warm hues and your light. You want to balance them, but you shouldn't have a dominant cool value in hue in your your main light source in the areas that are catching light. So I would kind of be careful there, the buildings on the left hand side here. I thought you could downplayed those a little bit. On that way, it would have pushed the focus on the light that's coming in on the building. But because these shadows are very soft and kind of I can't really see him, you know you don't really it's not really catching your eye. I did a couple of changes. Um, you can see how I downplayed the colors here on the left and I'll take mine away. So I kind of just muted him and great him out a little bit. I changed the main Hugh from, but no pink is red, which is the same color family as your main buildings back here. They're catching light to more of a greenest gray, and then that that really pops the buildings back there. Apart from that, I just tried to down, you know, take a take away some of the details and things like that and just made your colors a little more crisp. And I know I did this digitally, but I would have done the same. That same approach with my paintbrush. I added some boats here in the foreground with some masts that would be going up in the shadow area. I thought that would have tied the foreground and with some of that, and, um, I'm just kind of warm things up. Or I thought they should have been warm and then cooled him off a little bit in the areas that I thought would have been cool. But just the shadows alone coming down on the buildings. I put a few, um, of verticals on the building. They're off the picture plane because see the the cash shadow they're making that gives a little interest of, you know in that area and just kind of accentuates the light that's coming in. But there's the things that I would be cautious about when you're painting. Um always tried to find out where where is the pop, you know, where is that light source and that pop going to be in the image tried to subdue everything else of a little bit and then capture what's important and don't always get, of course, locked into the image. Okay, so anyway, that concludes yours. We're moving on. Well, we'll start right here. Yeah. The main thing is, I didn't think you needed all of this right here. I think you had mentioned that in your feet. Back to, but yeah, I felt like that was just kind of clutter the the image a little bit. There's a lot going here. I think you mentioned something about you. The color of the roof top over here. I would have kind of toned that down a little bit and trying to cap a pool of value come a neutral from another source that you already have. And that's pretty much, um What I did is I just can't toned that down with some of these greenest break colors. Added a vertical. Here's well so I could get a cash shadow at a vertical. Here is well on this building to get a cash shadow. I'll take yours off real quick so you can see my changes there. Um, I got rid of the boat that was in yours, Big boat. He could go with or without it. But I thought kind of cleaning that up a little bit and putting some smaller boats in here because we're where I felt like you were trying to push some interest. Like maybe you're adding some smaller boats and some shapes and there might have been nice . That's Ah, kind of pop this green a little bit in the foreground to, and I situated this Ah, made this little bit dark with a shadow coming across the telephone pole. And then I added a little more Papa light here on this guy coming through the shadow source there. I'm just add a little vertical there that could be catching light. It could be anything opposed or whatever. And just downplay the highlights on the cars and the left over here. Just kind of again pushing those away a little bit from the center of focus at a little pop . A light there on the truck at a little pop, a light coming down the side and, you know, just kind of make that a little more interesting. There's my changes I would have made, but really good job there and look forward to seeing what you do with in the next workshop . All right, Next up is this one. I thought this was a pretty good things that would help. You was just simplifying. I mean, just, you know, like, over here where you have a bunch of umbrellas. I mean, you could do two or 34 Maybe it's a few figures and all this little energy over here in the shadows. Me, all of that stuff could have been downplaying things. Aaron Shadow. We don't wanna put too much detail in that. Anyway, um, you wanna push that away from the viewers, Focus. So over here, shadow and over in this area, I just felt like it was too busy. There's really light value on the white sheets There. Could have been pushed back a little bit, too, by just turning it down, some with some grays. But I made some changes, so you can kind of see hopefully, um, how just getting away from all the too many details, little things and just focusing on making things bigger. Make your shapes bigger, more bold. That I think would go a long way for you if you bring yours back in, you'll see, like all the little brush strokes and the things you did. You want to try to think a little bit bigger and bolder with your strokes and try not to feel like just because you have empty space, like in these buildings here and here that something has to be there because it doesn't. It really doesn't mean the light source. It was coming hitting these boats, and that's kind of pulling your I in. Then you can start to kind of go up into the square and see what's going on. You see, I push those values back a little bit on the clothes line and then just took away details the same thing on the left hand side to you. I just push that building back by using a little bit darker value, and that made the light source pop. Okay, so I take that away. You can see how that's distracting now on the left hand side, and then just by turning that down and put in a few grey splotches there, that could be windows. Then you get something that that would work. But, um, anyway, just simplify your shadows. Don't feel like you have to add details and every square interview painting. I'll be better off to consolidate your details on and make them as few as as you can. They basically, if you can paint a painting and 100 strokes, you're better off to do that than to do 1000. Okay, so you're trying to capture it, and it's few strokes as possible. Okay, are last but not least, you threw me off a little bit here. Just cause your composition changed quite a bit. Let me see if I can find the cake. So this is what you gave me last week. I wanted you to work on the light source. So where is it coming from? So it's coming from the top right over here on the right. So your background buildings were in shadow, and the thing that was throwing me off was his V shaped here. I wasn't quite sure where this shadow would be coming from. And then, of course, we gave this to me through the office. I just wasn't sure why you changed that much. But I know I mentioned it to work on that. Some your light source. So maybe that's why you completely changed it. But anyway, I work with this buffer future. If you can try to kind of keep things consistent throughout our workshop. But they're big, big changes like that. Then then it kind of takes the lessons we have learned previously and kind of cancels them out so we can't get any follow through. But for the most part of this one is just near. The people look way too small. Okay, so if you just look at the size of your doorway here, a person of average size person, let's say we'll walk through here with Oh, no, maybe two feet. So we're so clearance or whatever, where your figures are very, very small. You can see they're only maybe half the space of that doorway. They should have been a lot bigger than Brother should have been a lot taller. Figure should have been, I think, because the umbrella was so sure that through your figures off and maybe put your umbrella and first. But let's go back and look in your source image here. I think why this happened is your source image over here on the left hand side basically has. This structure of the building has a foundation. So you can see this dark brown that starts way down here and it goes up. And then where that foundation ends up, here is where the door actually starts, cause there's steps going up into the doorway. And you didn't include that in yours, so you can see you have a step or two. But there's no foundation there. And then when you look at this umbrella in proportion or just just look at where the top goes, it goes right in here on the doorway. Okay, so we look at yours. This is roughly the same height. Maybe you know, yours a little bit taller and you know, comparison. But for the most part, it's about the same. And I think maybe you're kind of gauging that are making that comparison. But because you didn't have a foundation, he didn't include that. It's squished. Everything Okay? So whenever I don't mind you leaving out the foundation and things like that, I could care less. But proportion wise, you have to remember, if these air your figures and looks like they're standing up, then they need to be relative to everything else, is there? Okay, so always try to look, understand scale. If you have a building in a doorway that look at that doorway Sick A what? The person should be about this height or whatever and try to work it that way. Okay, so I didn't, um, a little quick mock up here. It may be hard to see, but, um, you know, trying to make this later here in the foreground, much taller, you know? And then the figure sitting down and with the umbrella and the doorway really is hidden behind the umbrella, the top of it. So this would all be a lot darker. So if I just may be scribbling on this just for a second, So it would be something like this in the doorway, I can run the doorway over and here. That's fine. And so the bottom of the building would run along here. Okay, so your figure standing up it was about this tall, OK? And maybe the top of the doorway would be the same here. Okay. Right in there. Okay. So that figure is proportionate is pretty close to the correct scale. And these people sitting down, of course, would be, you know, wouldn't be that big because they're sitting down. They're not standing up. Okay, so for the most part, those are the things you know you want to think about when you're when you're working with your art. Welcome in your drawing. Some. You know, a Z best you can get your drawings are are going to help your paintings immensely. Eso Anyway, you had had a thing question here or common, So don't get the concept of linking shapes and shadows. And the idea is, if you had shapes like this, let's see Have a building, a shadow. I have a car. I have a figure here walking with a shadow I had over here. I have an umbrella with some figure sitting in another figure standing. Okay, so these are all these all maybe elements or shapes within Ah, photograph that you're working with, as you can see is a unit. They're all separate. There's nothing connected here. So in terms of a composition and connecting shapes and shadows and stuff, nothing is connecting. Okay, so now if I were to take the same elements of the building so I'm over here now and that say, had the building over here on the right. I can kind of shade that a little bit more, and that's running a shadow across the ground over here. OK, so that's our light source is over here so that shadows running running across. And now I've got my car right here. So now the car, the shape of the car, all right is connecting with. The building over here is completely disconnected, so I'm basically taking it and sliding it over this way. And now they're connecting when the figures are walking in front of the car, so they're kind of connected to the car now, added another building back here, and that's the shape of that building. Let's just say it's a rectangle is connecting to the figures because this figure is included within the shape of that rectangle, and it's moving over so that building is doing, and this justice a shape, really. I don't even like to think about it is a building. Think about it as a rectangle is connecting with the umbrella. Okay, so that's helping these shapes connect with these shapes. So if I were to just get rid of that, say, the built or the building here. You can see now how that umbrellas over there by itself. Okay, if I bring the building back then now that building would have an opportunity toe help connect of our to add a little value to that building. You'll start to see how now it becomes more of a solid shape. And now that building is in the background is playing a role. It is a shape that is helping me connect with these figures and what's going on on the right hand side with what's going on on the left manner. That's the idea of using shapes and shadows to connect different elements and shapes of a composition. All right, I know you're in the next workshop, and we're gonna discuss things like alone this line as well. Anyway, that concludes the feedback for this week a hope the critiques helps you out a little bit, adds another layer of knowledge to your creative journey. All right, all right, we'll see. You guys are good job, and I'll see you in a few weeks in the next one