Anybody Can Paint - Shortest Painting Course for Beginners (Acrylics) | Sameer Nagi | Skillshare

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Anybody Can Paint - Shortest Painting Course for Beginners (Acrylics)

teacher avatar Sameer Nagi, Art Enabler & Coach

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

9 Lessons (2h 6m)
    • 1. Welcome!

      1:25
    • 2. Material Required

      10:44
    • 3. Setting Up Workspace

      4:04
    • 4. Acrylic Paints & Color Mixing

      24:30
    • 5. Introduction To The Step-By-Step Demonstration Project

      1:02
    • 6. Demo Part 1 - Painting the Sky & Mountains

      24:53
    • 7. Demo Part 2 - Painting the Trees

      28:07
    • 8. Demo Part 3 - Painting the Flowers & Adding Highlights

      30:11
    • 9. Closing Thoughts

      0:37
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About This Class

The Shortest & Fastest Introduction to Acrylic Painting for Beginners

This course is a fast and short introductory course for beginners in Acrylic Painting. We believe that anybody can paint. Having helped more than ten thousand people over the last 5 years in completing their maiden masterpiece, I believe I understand what exactly one needs to get started with the art of painting. Even if you have never held a brush in your hand, you can create stunning paintings in a matter of minutes. In this course I demonstrate exactly that!

You will learn about:

- the material needed to get started with painting

- how to set up painting workspace at home

- what are acrylic paints and how to mix colors

- learn how to complete a beautiful landscape painting through step-by-step detailed demonstration

- some tips on framing your artwork

This course has just the right set of information, tips and demonstration for you to get started with acrylic painting. Even if you dabble with paints once in a while, this course would be valuable to you with the information provided above and the experience shared by an experienced art facilitator.

Hope you like this experience.

Happy Painting!

Meet Your Teacher

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Sameer Nagi

Art Enabler & Coach

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Transcripts

1. Welcome!: hello and welcome to the shortest and the fastest introductory course in acrylic paintings for beginners. My name is Samir and I have worked with tens and thousands of people in the past five years in helping them creating their murder and masterpiece Andi, especially for those people who have never delved into painting in their lives. Even if you've never had a brush in your life, this is the right course for you to get started with. In this course, I'll be working with you in exploring the various tips and techniques required for a beginner in acrylic painting. I we're talking about acrylic paint, the color mixing techniques, all the material on. I'll also be helping you show how to set up a workspace, a painting workspace in the comforts off your home. On that short, all the most exciting part of the scores. I'm going to help you step by step in completing this beautiful masterpiece in your first attempt ever. Yes, you heard it right in your first attempt itself. In a matter of a few minutes off this guided pending experience, you will be completing this masterpiece as I help you unlock all its techniques for you. Andi, make you feel successful. So without further ado, let's jump in 2. Material Required: Let's look at the materials that we will need to do our painting. In this video, I'm going to share a list off materials that we often eat and also talk about which of them are must haves. And which of them are optionals off course. To begin with, we definitely need a steady table on which we can keep our material and supplies in the process of painting. So let's explore. Next. Let's talk about the surface on which we're going to make up a painting. The most preference surface my artists worldwide for painting. His canvas canvas is a piece of court and fabric on which people paint on. This comes in various forms and chips. This is a canvas bad in this bad. Once you open, you see lots and lots of shoots off canvas lad's, which you can use when can complete the painting, dear it out and get it framed. We also get canvas panels or canvas boards in which the canvas clot is pasted on top off a wooden board. These are also very commonly available and very easily to manage. We also get canvases in this shape. This is a wooden frame on which the canvas cloth has bean put together. This is popularly known as a stretched canvas. This is also one of the good options. If you don't want to invest or don't have access to any of these, one could also use paper. One could also use take quality paper, preferably paper, which is meant for watercolors. That's also a good option to begin with whatever suits you and whatever suits your budget on a business availability. You can stick up to get started if you select canvas as your preferred surface for painting , which I would definitely recommend you to have. If you're using the can was bored or the stretched canvas of you could also invest in a diesel stand. I'm gonna call it out that this is optional because you are just beginning. You could always buy it later in new journey as an artist, but if you haven't access to an easel stand, if you already have it or you don't mind investing in it, then you could go off. Go for an easel stand. These are nice tents. They come in various shapes and forms. There is one wooden easel stand. You also get a tripod. A metallic easel stands. You could select anything which you prefer based on your budget and availability. Will. We are going to talk more about all these equipments in the next video. Now let's talk about the brush is one of the most important tool in the art off painting. When it comes down to the brushes, there's a whole variety of brushes available out there. We are going to discover more about these brushes later in the scores. But at this point of time, let's talk about the essential ones that we definitely need and which I would highly recommend us toe get started with in flat brushes. We have lord off sizes available, but I would say as beginners on number 10 to 12 1 Brush a number four or five and a number one or do these three brushes are good tohave amongst the rounded brushes. Even if one has a number one or two around embrace, that is fine. If you can manage a number 4 to 5 around the brush, that's also good toe. Have ah, fan brush, I would say optional, but if you have nothing like it, it's a good one to have, I would say we can skip the specialty brushes at this point of time. If you are able to get a back which has all these brushes, that's fine. But if even if you want to just be, can choose few of these pressures to begin with, this is the set that I would recommend you don't go with. Okay, now let's talk about the paint's one of the exciting part off the pending. When it comes down to pains and acrylic pains to be precise, we get them from various brands on. We also get them in various consistencies and price points. For starters, even a smallest starter pack off 6 to 8 colors. Eyes good to begin with. Andi. These starter kits are also available in more number of colors as well. Bigger package. You can go and pick up anything any back, which you feel is most suitable to your budget on and for your preference and report of crime. You could go with these. There are also, you know, artist quality acrylic paints that are available in bigger tubes. These comments slightly smaller tubes as well and again different brands would have different types off beans to offer. These are slightly soft body on day one, which I showed earlier are more fluid. Inconsistency doesn't matter at this stage. Off painting. Choose whichever suits you the best onda off in terms off which colors to buy. I would definitely suggest the primary colors red, the Jell O, the blue and vitamin black as the most important months by the four. These would be available in your starter packs. Eso that shouldn't get you started. Now let's talk about the pallet on which we're going to pull our pains and mix them. When it comes to pallet, we have a lot of choices. We could start with a basic disposable plate, so to say that should serve a purpose. And in this one, you also get the ones where you have some different bulls and sections on. And this is something which I prefer because for very different contrasting pains, I can pour them in different sections. You could also invest enough bigger plastic pallet or synthetic black palette with place to hold over here and lord off surface area to mix. This is optional, I would say, since you are beginning, but if you can lay your hands on on one of these big pallets. That's good for you, Onda. We also get these tear off paper pallets. I have started liking these a lot because in these ones you have these paper palates, which you can use to mix the paints. And after the process is done, you could hear them and threw them out. It avoids the process off cleaning on its need entirely to choose. This is also an option. One thing which I would advise against using is a very small pilot which are very commonly available in the market or online. I would suggest avoid these because they provide very little surface area to use it. These are more suitable for watercolor painting, but for acrylic, these may not help us so much. Next, we would need a bull for the water. You could take any bull that it's available for spare for your painting process. I would recommend you used to bulls one toe, keep the water and for dipping the brushes, one for putting all the EU's pressures during the process of the painting. Because acrylic paints try very fast, it would be best to put your brushes once they're used into another bowl of water to keep them safe. So I would suggest to balls. I would recommend you against using any of the bulls, which are available in the kitchen. Try tohave any of the old bulls or mugs that you can spare for your painting process. If you don't get these, you could even get these smaller paper cups if they're easily available at your home. Now let's talk about some other items, which may come in very handy during the process of painting an old piece off rag or a lot which you can spare for. Your painting process can come in very handy often while cleaning the brushes, some ordered when the pain gets onto our hands, just cleaning our hand and fingers during the people painting process. This comes in very handy. You could also use some paper towels, paper tissues during the process to keep your process clean. I would also suggest if you haven't capering, which you can put onto your outfits to keep them safe and clean. That's good toe have. But if you don't, you know, ensure that you don't have the best off. Your dress is violent your painting because being stains can become very troublesome, toe clean out and a few more items, like a piece of sponge. If you can manage one that is good. These are some of the tools that can be used to create certain effects, and you can cut it into smaller pieces and use it on and a masking tape. Few year birds and a pencil are also some of the tools that I would recommend that you get before you begin with your painting process. 3. Setting Up Workspace: OK, now let's look at the typical set up off your painting workspace. You can do it at any space in your home. Sometimes I'd like to paint indoors, maybe on the dining table or on the study table and sometime in the mood. And the weather is good and conducive. I like to set it up outdoors, so this is my typical outdoor set up. But imagine a very similar set up inside their home wherever the space allows. So first, definitely. We need a stable surface, a table. And then, like I mentioned in the previous video, I highly recommend that we cover the table with any sheet newspaper for any old linen that you may have four spare available at home because the pain stains can become a tough toe build with later on. So far, I put a predictive sheet on top of the surface, on which I'm going to put all my supplies. Next. I set up an easel stand I have for a couple off easel stands available with me. I like to use this small wouldn't stand that sells me very well. I put the canvass board on top off it. You can use different surfaces. If you are using a paper, you might just put it straight onto the surface off the table. Or if you don't have an easier stand, which I would say is optional right now, you could put your canvas right on top of the table. Whatever suits you. Since I have a needle stand, I shall put it on the table and put the canvass board on top of the easel stand. It'll stand helps in setting the right angle for the eye to look and for the hand to work upon. Next, I would start putting up all my supplies on my working space, for example, the palate. I'm using the disposable palette. I'll put it somewhere here. I I put the two bulls over there. Like I mentioned, I like to have to audibles at the same time, one for dipping the water while I'm painting the other one for putting all the Jews pressures once I've painted with them so that it's easy for them to be washed Later, I put me beans. I'm just gonna put my paints. Whatever beans, you have a small box off five or six colors. I like to use of our ideal paints, You know, the professional sort body quality that are available. I put it on there, put some brushes like here in the back and some other tools, like I had mentioned, if they are required, you know, I just put them out there, and an old piece of plot may be right on the side, off your canvas on a couple off paper tissues or kitchen paper towels that you might get easily in your country or in your place. You can just put them just nearer canvas so that your brushes can be cleaned very easily. Venable needed. Remember, acrylic panes can be a little tough to take them off from the cloth, so I would highly recommend that you keep your outfits protected. Acrylic paints are easy to wash from the skin on, but from the cloth it can be a little tough. So I always have an apron, which I used by painting or simply put were something which you don't mind getting spoiled in the process off painting. So I'm ready to get started 4. Acrylic Paints & Color Mixing: in this section. Let's talk about the very fundamental concept when it comes to painting. It's about colors. Colors is something that we have all experienced throughout our lives. We have seen them. We see them every now and then. Every waking are and proceed them in our own unique weise. But in this video, let me walk you through the concept off colors and see see them in a different light. Let's see them from the eye off. A painter when it comes to actually means different brands have different types off pains to offer, nor just different types off pains but also different consistency of pains. For example, we get these entry level pains, which are very fluid inconsistency, and also we get these artists called depends which are more soft body inconsistency little ticker but still soft and creamy. So we get different types off pains. We also get different grades off pains like student quality versus artist quality. Student quality typically has less concentration off pigments as compared to the binder, whereas the artist quality has typically more concentration off pigments. Hence they're generally more vivid and brighter. But at this point of time, as we are beginning any brand. Any type off quality off pain that we can get should be good enough to get started. It's recommended to begin with these basic primary colors and mix them to get all the various colors in the color real. That gives us a good practice in handling these pains off course. They are all the types off colors, more than what we can imagine which are available in the market. It just happens that if you're beginning with painting, and if you get a whole bunch off colors in our kitty, sometimes it may be a little difficult to get them harmonize with each other. So let's start with the basic activity off, creating all the colors in the color. Be using our primaries. Let's get started. As you can see, I have aboard the three primary colors, of course, which is yellow, red and blue and a little bit of white and I have laid out my color wheel out here, and I'm going to put the three primary colors to begin with, and then I'm going to mix them in various proportions to get the second re colors and talk a bit about them. then I'm also going toe. Add some white and mixed the fight with these primaries on and see what results we get in the strangles, which is also called tens. Well, they can keep that as a topic for some other time for a next level of proficiency. So let's begin. First, let me put the primary colors in the respective slots in the blue. Well, if you would have noticed, I'm using a canvas blood sheet straight out off my canvas. Bad for this exercise, and I'm using a tear off palette for mixing my colors. No, let's put lead. Acrylic paints are basically plastic emotion pains on, and they're made up off basically two things. One is the pigment, which is the powder, or the source from which the paint gets its color. Onda a binder, which is basically a chemical which holds the entire paint in this consistency. No. Once I have three primary colors in the respective sports, I'm going toe start mixing them toe at a time in various proportions to get the secondary ones. We may be aware that Jell O N dread, when mixed together, give us orange. But when we mix them in various proportions. We can get an orange, which may be slightly biased toward Jello. We used the storm toe basically denote that a mixture which has more Jell O Dandridge, would be more jellyfish. Orange onda mixture, which has more red and yellow, would be more shred ish orange and would sit on this square. And when both of them are mixed in equal proportion, we would get the most central orange, which will reside here. So let's start. I'm taking some yellow and a little touch off who made Now This is an orange, which has more proportion off yellow in it. Now, when I and Mood read to the mix, I get a nice bright orange, which we all. What? Severo, If I increase the proportion of red into the mix, I get a more brighter orange more towards the red side. Now let's start mixing blue and yellow, which gives us green. I'm picking up some yellow and I'll start with the smallest touch off blew into it, and I get this nice yellowish green, which I'm going toe put here. As I increase the proportion of blue into the mix, I get more unbiased green which I paint in the center. Now, if I increase the proportion of blue into the mix even more, I get something called a bluish green, which is more biased or you can say more tilted towards blue. So here we have three different variations off clean. All off them can be used in various situations based on what kind of color we want to put on the canvas. Now let's come to the third pair of blue 100. When mixed in various proportions, we get a host of colors, which have got lots off names we can get lilac, indigo, mauve, purple, magenta and so many other names for these colors. So let's start with blue and let's put a small touch off, relate to it, beget this dark color and let's put it out here. Since this mix is too dark to get a better understanding off what color it is, let me mix a bit off fight to it. Let me light and end up to see the actual shade. Such a nice, beautiful, brilliant purple. Let me continue toe, increase the proportion off red, tow the mixture and see what color I get here. I get the next central tone off purple again to get a better sense off what this color looks like. I'm going to add a little bit of ICT to it to easily differentiate the color from the previous one. Now let me add more red to the mix to see what do I get. And this is one of the purples, which is more bias towards red because we have more proportion of read into this mix again to get a better sense off what this color looks like. Let me add some bite to it and put it down here. There are different names when it comes to purples. This is called brilliant purple or indigo. This is called the actual purple, which we commonly associated discolored, and this is called magenta, or it could also have different names like lilac. This is a good depiction off the entire color wheel, where we have all the different shades available for all the colors. Next, let's also adds invite to the primary colors to see what they turn in tow. So let me add some right to Jell O and put it out here in technical terms when we had a fight toe a particular color. We call it a tent. Let's add some bite so the red we have a nice pink. Next, let's add some bite in the blue, and we have a nice sky color. We may also be wondering where does the brown fit in into the skull of ill? Well, when we mix all the three primary colors and moderate the proportion of the three, we start getting different shades of browns. So let's give it a try. Let's put some yellow, some bread and some blue and start mixing. Now let's put it here. Have a nice bone over here. Let's also add some white toe the secondary colors and see what happens when we had a fight toe orange. We get a peach color or a skin done, and we can keep adding some yellow and white to see what she and we get for. The purples were already added white and seen how these colors look like Let's add some white toe green as well to see How does it look like? See, now the V. This exercise helps in our painting process is that this Michels of a reference point toe create different paint colors and shades. The reason why I included adding white to all these colors is to show the difference between adding white versus adding a primary color to a particular mixture. Invite is important is that sometimes we might get confused between making a color brighter versus lighter. For example, if I'm painting a green leave and part off that leave is facing the source of the light, let's say it's receiving more sunlight and I might believe, as a nervous that it is lighter green and end up having right, which makes the green little pill. But the factors that that part off the leaf, which is receiving more sunlight, maybe actually more brighter, which means instead of hiding right I would rather had more shallow tomato to make it more richer to make it more brighter, vile. That part of the leaf, which is not receiving that much light and is more towards the shadow side. I would rather had more off blew into the green mixture to show that part of the girl leaf as the shadow side. So this is one of the examples when we get toe the demonstration part off the various paintings in the scores. I'm going to show you more such concepts. In practice, let's talk about another popular color, which is black. It is often used, and there are lots and lots of opinions about the usage off the color. Black, really black when mixed with fight off course we know gives great, and in various proportions we get different shades off gray. So here I have a dark, hungry and electrically when the question is, when do we use black? And how often do we use black will the moon? We observed nature. We would realize that the color black doesn't exist unless I'm making an object. I'm painting an object in still life where the object itself is black and color. I would use black, but whenever we see nature up and close, we would realise that black is not there. Black reduced is actually a very flat color. In fact, when we noticed the final and once is off any senility where we may be wanting to use black , it may be either a dark brown color or a very dark green color or a very dark purple color , so to say so rather than using black. I would like to see which color is the closest amongst these secondary colors, which I could use, and often I would be able to meet my need and match the color through any of these instead of black. But that doesn't mean that Black doesn't have its use. Sometimes to get a darker shared, even darker, we might use black, and I use a touch off black hair and their toe. Get a shade darker. Now let me also take the opportunity to talk about the difference between the artist quality pains that are generally available in the market. Visa be the standard entry level, aka Electing instead are available. One difference, of course, is that the artist quality pains are more expensive, as compared to the generally available actually colors. Second, in terms of consistency, what I have seen is that the artist quality acrylic panes are more soft. Body inconsistency on the cheaper versions are more available in liquid consistency. This doesn't mean that the artist quality pains don't come in different consistencies. In fact, there's a wide variety of brands available out there, which offer pains in all different consistencies. These are the ones which are most of commonly available. Let's compare the artist quality versus the cheaper versions in terms of mixing, let's to say blue and red. Even in blues, you would see that there are a lot off different variety of blues that are available. For example, ultra Marine blue is a good option to start with if you're going with artist quality. Otherwise, even cobalt blue is also a good choice to make in terms off Red Crimson is a good choice to start with in dreads. You also get Scarlet lake or cadmium red and so on, so forth in terms off yellow, you get cadmium yellow, medium, or you also get lemon yellow. These other popular ones. Let's pick up crimson, Andi, Ultra Marine blue and see what results we get. No, As I poor the ultra Marine blue, I see that it is more soft body as compared to the liquid blue that I got out off this box off. More economical pains on. And let's also poor event from the to again. This you can see for yourself. The consistency is clearly different, so I pick up some blue, had a touch off red to it and mix and put it out here in order to see the shade of the color a little better. That's had some right to this mix and show it up here right in comparison to the previous color that we had created. Now let's had some more red into the mix, and it's put it in the center again to get a better sense off. This color actually looks like let's add some right to it. Now let's continue to add some more red to the mix and see what happens again. Heading some right, see the color more clearly. As you can see, the results are quite comparable. While mixing the soft body, acrylics feel more buttery and soft and creamy as compared Toby Other quality acrylic panes . So I would suggest, since the results are comparable, we can go with any braid off pains that are available maybe in the next level off our journey in painting. Maybe once we progress out of the scores to the next level off acrylic painting, we could then look at investing in some expensive artist quality acrylic panes because they definitely do have a purpose for specific painting projects where we need that extra where we needed that capacity, which we get in them as compared to the cheaper versions. But for now, this is good enough. Let's also talk about the mediums. Mediums are those editors that we add to the pains in the process of painting. There are a lot of medium that are available, which help in getting some specific consistencies in the pains or add some specific features to the pains. Had this point of time since we're beginning in the journey, I would say water is by far the best medium to begin with. And let's stick with water in the later course or at a later time. We can consider trying out various mediums. It was right now, maybe a little challenging to use those mediums and get different consistencies for different purposes. Water is a very good medium. One golden rule When we mix water, tow acrylic panes. We don't makes it beyond 30% in actual composition. The paint that we use should be more than 70% on water as a medium should be less than 30% . If we add more water in the mix off paint and water, what happens is that the pigment in the pain starts getting separated and the pain starts getting lifted off the surface. That's not desirable. So remember to use water in a lesser quantity as compared. Toa paint by mixing porter should be added to the paint just to make it consistency little more liquid or fluid so that it spreads on the surface more evenly and smoothly. 5. Introduction To The Step-By-Step Demonstration Project: for this course, let me introduce you to the demonstration painting project that he will be attempting in the scores. So this particular painting that we grab it close to the camera This is the painting that we will be painting together in this particular course on why I selected the spending is because it has a beautiful contrast off colors, the blues and the bright yellows all in the same canvass. The contrast Really well it this is This includes all the concepts that a bigger artist must need to know in order to compose acrylic paintings, landscapes. So right from the sky, the clouds, the mountains, the tree line, the landscape and how to put a TD effect into a two dem instant surface. So in the next few videos, I'm going toe pain. This along with do step by step. So get your materials together and let's get started. 6. Demo Part 1 - Painting the Sky & Mountains: I welcome you all now to this demonstration wherein we are going to paint this lovely landscape. And this particular landscape gives us a nice exposure to the painting off the sky, the mountains creating the depth in the mountains, some certain clouds. We learned how to make these trees and let the light shine on them. And we'll come toe the sunflower fields over here. This display piece which I painted I used a canvass board to paint all night. But for this one, I'm going to paint this particular masterpiece on gang this bad. So, like ahead Xun, in one of the previous videos, I'm using the canvas pad on, but the scandalous pad comes with shoots off canvas float. So I'm just taken one sheet off canvas clot. Andi, I have put it up on the board using the masking tape, this one. So once I paint, I'm going to remove the masking tapes on. Take this clot piece and I can get it framed. I can give it to a framing window to get it framed. All right, so let's get started for this painting. I'm going to use the flat brushes. Number 12 10 11 anything would do a number two or number one flat brush that will also do these two brushes, along with the fine brush number one number two should do on, which is also called around the brush. I'm going to use thes three brushes if I have these three. I'm good to go. This one fan brushes an optional one. A number 56 ever need. Anyone, which you can get is a good brush toe have for this painting for certain section. But even if you don't have this fan brush, we should be able to do this painting with these three brushes and for the paints. In addition, toe the standard box off paints, which I used in the previous painting, the starter level Kid Bigness level kit. In addition, look that this painting I'm going to introduce a few additional shades. Oh, our colors, um, like the civilian blue, which is also called Light Blue in certain brands. Andi cadmium yellow media from the artist Quality Onda. As we go ahead in the spending. I might also use green shade directly if I'm not able to mix and get the exact shared using yellow in blues, so that's going to be my strategy on duh. Let's begin to begin with in this painting, I'm going to start painting the sky first in the background. Onda. As you can see in this sample painting which I have created, I have used very light shade for the sky. So I'm going to use right and touch off the blue that I showed said well in blue or light blue and being the sky. And then the whole idea for making a painting is to create a three dimensional effect on a two dimensional surface. So for that I'm going to use different change of blue right from the lighter shade to the medium shared with the darker shade of blue in these three mountain ranges, which is one behind each another. Andi, I remember well up in these mountains so that we create the required depth in the painting . So let's get started. I'm beginning to build the big flat brush to start with, and over here you can see I have Ford the blue and the fight onto the pallet. I start with dipping the big flat brush in some water. I tap it on the side of the board drain off excess photo, so the bristles are moist. They're not fed. And since blue is a bit darker shade as compared to right, I'm going to take a little bit off blue and mix it in. Divide if we do the opposite support. If I picked a fight and start mixing into blue, then I would need a lot of white to make subtle change in the shade off blue toe. Make it later. It's better to take a darker shade and add it into the lighter shade. You get the results faster, so right from the top left corner using flat strokes, I'm going to start painting. The prisons have gone out off paint run out of paint, so I'm gonna pick up some more shade. And as I'm making the sky, I'm painting the sky. It's good to very the shade of the blue so that we have nice variation in this guy. So I again reload and make some more blue, really. The shade and continue. The strokes are pendulum strokes, but also do flat where his own does strokes. But like this, somehow I find the cheap off. This guy looks pretty attractive I'll continue, get some white and blue and continue with the mix. You knew. Even when we see the sky, it sometimes has. You know this very, very subtle, muted, misty clouds in the back. So when we very the shade off the blue of the sky, automatically begin this effect going on onto the canvas like this, this should be fine, because the trees and all are going to get being there on top off this section is this friend. Now, if you're painting with me at this point, I would take a short break. I'll wait for about 23 minutes for this section. Toe can try and once done, then I would come to the mantra and Rangers. As you can see, this section is is not quite dry, so dry enough for me to start painting the mountains. So I'm going to start with the mountain range, which is at the back on de. So the shade off that mountain range needs to be just a little bit darker, one shade darker than this guy. So I come back to the pallet where I have mixed the bite in the blue and I mixed them. But I tried to get them again. The shade one she and darker in the sky at the back and make the mountain range. I'm going to use Freehand. The good part is there is no specific template off mountain range. You all can make it in the way that you feel good about on. The only thing is that the mountain range the way I have designed this painting the mountain dreamed is high up dead and then papers down somewhere here. So, as you can see in the sample piece, the mountain range starts high up there in tape was known here. Even the tree line that we see starts high and then tabled on into this point. This is a point where I would like the viewers attention and even the feel, as you see you know, meets it comes from the top on the left goes down, and this is the point where it changes their direction. So I have tried to keep the attention off the viewer in this part. So that's what I'm going to do. Um picked up some darker shade one shade darker than the sky onto the brush and with a free hand somewhere here I'm going to make. I think this is still a bit dark filer. Just a shade. I'll add some more. Bite into the mix and anything Start, Yeah, let's have school And I make this far the mountain range the top part off the mountain drink and with the same pain I feeling the area under the go. So I've run out of paint. I reload, Reload the paint and get started. I beaned under the area, the girl in the body off the farthest mountain on And get this done some more paint when we're around and this is good. Okay, Now it's the time to paint the mountain dream, which is just in front off this last mountain cringe. So the technique is seem the only thing. That is when we differently that I'm going to make the shade a bit darker than the previous one. I'm going to add some more blue into the mix at all right here and then see how it shows up on the cameras. Maybe a bit more blue into the mix. No, let's see. Yeah, this isn't good. And a keep making this mountain dreams in some parts I will pull it even above the previous mountain range to make it interesting. Okay, Andi ended up there. No. Let's fill the pain in the body off this mountain. Ranges well, and as you can see as we complete the paint in the mountain change, the two mountains become very clear that one is in front of the other. So that's it's good to know they were the step by step back. Maybe I was just step back and see how the big picture is emerging. Do any find drinks if needed. Do any touch ups. It's a good practice toe. Keep taking some pause during the process of painting. Step back. Have a look at the big picture and come back to your painting and make any adjustments that you may want to do. Because otherwise what happened to sometimes the as artists, we get narrow in our vision. We call it a tunnel vision. When we were working on a very specific area, we are able to just see the recruitment and the bad parts of that area. We sometimes lose out the big picture so it's good. Often step back. Have a look in the big picture and make any tweaks. So yeah, the second mountain ranges also done. I'm really enjoying the process. I'm excited. And I will wait for another three or four minutes for this to dry. And then I'll come and paint the mountain range, which is even in front of this one. Okay, Now is the time to add the mountain dreams, which is right in front off this particular range. So for this, I'm do use the blue directly, which I have. And if I feel that the shape is not distinct from the Middle Mountain drinks, then I might had a touch off this darker blue, which came in with this back off pains. So let me first pick up blue directly and see how dark it is. I think this is dark enough and good to get me the radiation. Maybe I'm gonna push it up here and then feeling the body off the my own death. Nice. So I can easily see three distinctions off blue. And actually, if you consider the skies with four distinct shades of blue in the spending already Okay. I just threw some touch ups wherever I feel needed and none of this. This is the good part. Off painting with acrylics, we can go layer on layer and layer in their campaigning layers and are the requisite depth on and a Z you can see I didn't even need toe first draw with a pencil the shape. So I like toe paint directly and in very a few scenarios were needed where there's a specific ship that I have to create. Then only I use pencil to draw first and then fill in the paint's. Otherwise, one can just diarrhea campaign and get the pending done. Now is the time to add any clouds if you would like to add in this painting. When I painted, I wanted the attention to be on the sunflowers, the field hence I deliberately painted the clouds. Very subtle. They were pretty muted. There was not much action in the cloud of the ways, and through the clouds in the field would start vying for the danger of the viewer. So she would like. We can add some clouds, so I'm liking the texture on the sky. But nevertheless, for so for the clouds, I'm going to get the lightest blue, almost like right and I'm going to get very little paint on the brush, more like a dry brush and with little paint I'm goingto scribbled in into the canvas with some indication off loud like that, I'm barely scribbling the brush onto the ken was I continued the process. Pick up some paint and maybe let's have some cloud here. So I'm using. The find embraced the smallest brush and very little paint, and Onda scribbling it in the shed off the blue is very late. It is even later than the shade of the sky. So I did a good amount of right into the mix, and I take very little paint. If I feel that there's too much paint, I dab it onto the pallet so that some of the paint comes out of the brush and and we're making clouds. There's a lot of ways to make clouds and also various types of clouds that we can see in nature. And, uh, when the basic thing is that they're fluffy, they are transparent and they replaced the collaterals guy and they're not white. They're not right. So in maybe future stage, maybe other intermediate or maybe advanced level. If we can introduce many different colors in the cloud itself to make them even more interesting. But for this level, this is really good enough. So I'll continue adding a few more clouds. And as you can see, amount of aiding the Shane off the blue and right in each of the cloud. So I blend the blowed in with this guy so that it is he brings her to So the type of cloud and I'm making has, you know, girls up on the upper side. But from the lower side, it is mortal, flat in strict. That's the shape of the cloud, which I'm making So in dipping a brush in water picking up again very light shade off blue on and en joyfully making clouds Okay, but maybe a little prominent cloud over here. Look up from a distance. Maybe this scope to make one more cloud Some, let's say here on and maybe hit. Yeah, if you want some highlighting, we can get an even lighter shade and added on some of the countries off the cloud some of the edges on the cloud I didn't give it some contrast. Yeah, I think this is good enough you know, As I look back, I realized that the horizon line would come from here, taper down and then some from somewhere where it will go up a little bit here. So I need to add some more paint off the mountain in this area. So I'm coming back with the small flat brush and picking up the blue, as is I just extended further down further down. Well, whatever you know, now is the time do you on the baseline, off the trees, the baseline of the trees. And that will also be the horizon line from where we will start painting the sunflowers underneath that line. So let's start painting that horizon line for that. I'm gonna pick up the small finding brush. And for this one, like I mentioned, I'm going to use one of the artist quarter de pains. This is cadmium yellow medium. Why I'm choosing this one is because it's shade is pretty bright and slightly towards orange, not orange. But yes, it has a bias towards or in it's pretty dark and vibrant. Use this. First, let me start by mixing this dark blue color, which came out off the standard box and some yellow because I want a very dark green color for this based on the treating. Let me mix. Mix them both and see Yeah, I think this is good. First, let's try with this one. Um, let's start from somewhere hair. So, as you can see, this is half midway between the height off the canvas on this site and start painting like this and then we continue. I have a good dog, green color made. And then I just couldn't do little flat and push it a bit up on this side. Yeah, so the horizon nine IHS said from you now. So if you have been painting with me, I would call this state at the completion of the first face where in the background is being painted. So I'm pretty happy with that. Andi, I'll take a quick, short break. I like to keep taking few breaks in the painting process. Let the canvas dry, and when I come back, I look at the same painting with fresh eyes. So I'm going out grabbing a cup of coffee and I'll be back 7. Demo Part 2 - Painting the Trees: Okay, so I'm back now. I'm going to start painting the trees. First time windowpane the base of the trees and then I'm gonna paint the leaves off the trees on. Duh. First, I have to get this green color made. So for that, I have the dark blue and the jello already on my palette. I'm create some more off that paint on. Let's see how dark I get with this island. This blue as well. Move off proof. No, I feel that, uh, this is good enough, but it can be a bit darker. So for that, in this particular situation, I'm going to add a little bit of black. I generally don't like to use black because black is a very flat color, but sometimes to get through a shared it is not possible with the darkest ingredient. Then I add some black, maybe a little bit more of black. As you can see, we get a nice dark green. So I'm gonna do being right above this tree line, pick up some more paint, continue with the process, and I'm using the small flat brush. My hand is off on my hand is upside down. So that I get nice clean street line reload. And there you go. Don't worry about this line if it is not so neat because when we start painting the sunflower fields will get an opportunity to again make this line even more clearer and crisper with the yellow that we have. So yeah, so I have a ticker line being did right now. And it's time to start painting the background off the trees, the first good off the piece off the trees. So now is the time to start adding the trees. As I add the trees, I'm going to make them stay little longer here and then make them shorter and and them in a very short height here. But under seemed I'm gonna very the height off these trees so that it looks fairly realistic. Otherwise it would look very too perfect to be true. Similarly, on this side, I'm going to start the tree line a little shorter than this one so that this bye bye bye itself appears to be farther than this one. The father, the things are from us. They appear shorter and the closer they are to us, they appear dollar. So that's the whole idea. So let me start with the trees on this site on. I'm continuing to use this for the small flat brush rather than painting it flat. I'm going to hold it like this. So I get narrower lanes. Let's start from hair Right now, I am only being think the trunks and like that were very the hide off all these trees and continue all the way until this point. That's a this point in the short destry. So even the distance between these trees can order them. Very it continue. This looks good. Maybe I'm going to add a few smaller trees in this piece is left, but not too much because I want the background to be seen as well. That's fine. And I'm gonna do do the same process on the left side. Continue with that dark green mix that I have using the dog blue, the yellow on a slight touch off black, no trees on the left side. I'm purposely going to make them dollar as they move out. Do the same like that. I'll continue. So by doing this, I basically create of one point perspective. There's a whole concept of perspective and drawing 1.2 point for now. I think one point is good to know whenever we look at any scene in Europe, ending supposed, there's a road going. You would see that the road towards the viewers is very, very vied and broad. And when it goes further from us, it starts becoming narrow, narrow and narrow and ends up sometimes into one single point. And that's called a one point perspective. And using perspective 1.2 point or various perspectives we are able to create, you know, depth in our paintings and make them look very really. Maybe I'm going to make one tall tree out there and continue smaller one a shorter one right next to it and continue. There we go, the tallest one on the left. See? It's asked all eyes, almost a tinder the help of the pending. Just fine. Maybe a short of it right next to it towards the end. And now I'm going to use the same same thing like I did in the sky. I'm going to step back, look at the lines of the tree and just maybe I will make these these couple of treason. Little dollar? Yeah. Who had a small tree? Shorter tree here. Here it is final. And here is red. This is good. So the base off the trees is done. Now is the time to add the first layer off leaves on these tree trunks. So I'm going to use the same Ah, flat brush, small flat brush. And you the same dark green paint. As you can see, it has dried a bit. I'm gonna create some off it again. So some blue dog blue, your law and a touch of black. Yeah, this is good. I'm going to continue. No. When we make these trees, uh, we start from the top. And when I say start from the top, I just touched the corner Tip off this brush because it's just very narrow at the top. And my hand moment is like a pendulum. Cubs cover and keep going down. Keep coming down. And as I come down, I'm going to make the body of the tree Vaida. So let's start from this winner. The sample you can see like that, like that. So I'll continue and completed for all the trees. But I'm trying toe you know, let some of the background still visible through the leaves off the tree. I'm not going toe. Cover it up completely. Otherwise been losing opportunity. Teoh toe, hand depth. So continue. This should take maybe 4 to 5 minutes to complete it. And right now I'm not going to be worried about making the tree so detailed because there's a there's a practice off making the base little more, um, 100 held, so to say. And then when we add the highlights on double the Tree and that's the time when people had in more detail strokes. Andi all off, it will come together pretty vin. So, yeah, just continue going with process. Somebody's on the left. Some things with the right, Keep going down. Pendulum motion. Dark green color. Keep going. So this one is there. Now, as we're coming close to this part, I'm goingto make the green color slightly brightest. We're going to add some more. You're going to the mix and just really the shared of the green. Otherwise, it will start looking very monotonous on start containing the process on a tip off it because I think it's a nice kind of just few touch ups on these bonds. Ours? Yeah, this is good. And continue with these cheese, the futures of their very short trees. And then we continue the process or the trees on the left for short treat. If you feel that you know the small flat brushes giving you a very, very flat strokes, you could shift over to the smallest kind of brush for narrow strokes. Um, I'll continue with the small flight fresh. Okay, reload and just continue with the process. Acrylic painting is all over painting in layers. Uh, that's fair. The fun lays and go on, adding nearly there. That's my staying, that you have to make a painting look more real into your every time. A few more trees to go. A little bit of imperfection helps. Honest leaving were painting nature because otherwise, if we try to paint it so perfectly, then you know nature is not too perfect or geometrically to precise. So if you want our paintings to look, really, it's best to keep burying the strokes, the length, the shape, the shades off various elements so as to make them look more believable. And Maria, sometimes what happens is that you know we try to make things look so perfect that they start looking Andrea. So keep raiding the shape. Not all leaves are she seems size seem shoud make that last two trees left. Let me first make the shorter tree on the left and then I'll come to this big tree because I would want to show the street as the one in the front. Yeah, I look back. Maybe I'm Woodward little light paint that I already have on my bristles. I use the same beamed to ourselves extra earlier on these ones. Okay, I just took a quick three minute break. I'm back now. It's the time to add certain highlights on the trees, so add another layer to it. And for this I'm going to shift to this small find brush and I'm assuming that the source of the light is on the left. So obviously the lefts part off all these trees would be more brighter on blighter. So for the same green in the same green, I'm going toe ad more shallow, okay? And make the shared much brighter in later as you can see and trade out. So let's say over here maybe a bit more brighter. So I lied more off yellow into the mix and then tried out. It's safe for industry. Yeah, So I'm painting this lighter green shade with us. Find time pressure that I get more sharper. Crisper strokes only on the left part off these trees. So that's kept going. As you can see automatically with a few strokes. Some nice depth starts appearing on the trees only on the left. So highlights for each of the trees. This may take another five or 10 minutes to complete and keep beating a shade off the green so that we have nice, But I d and radiation stop about this tree. Yes. Few random strokes on the left part of the tree. If you need me in the end will come. Come back to this trees with one more court off. Very, very bright green. Very, very pretty. Loosely for now. This is good. Okay, There you go. Continue in the process and go Astri on the right. How he continued the process for the trees on the left again. The left part of these trees will be highlighted. Let me start from this treatise time We have to make the paint more practice towards the same time. We're add some more here. Going to the mix. Okay. See you from a distance. Okay. Looks fine. Yeah. - These are certain parts of the painting which help me and get into my own zone. It's fun to just keep repeating the same patent for some time. I feel relaxed. I enjoy the process. Andi, I feel I'm in my own zone. So that's going to new with street. They come go that in closer. Okay. And now, like I mentioned, I will get an even brighter shade off green, filing lot more yellow and then try it out with some very few highlights here and there. So I'm gonna on a more shallow into the mix, make it really brighter and try adding to just few areas. Maybe some more yellow, more brighter and see. Yeah. No, it's nice. Only in very few limited areas I'm going to use otherwise. Um yeah, so I start from here. Remember, in this tree, my just receive a lord of lighting a few parts here in there. Women Justo and those dining few handful of touches and nice like this will continue the process may be on the top part off the streets, receiving more light. I seem for this fund. Continue with the process. We're here, re Lord. Yeah, I will do it for the trees on the right side. As fed. Yes. Few gentle touching, as you can see again. Step back. Have a look at the big picture. Maybe I learned a little bit more highlighting it in there. And finally, fewer lights in practice from the ones towards the top part of these trees here. Yeah. Before I move on to the third part of this painting off hiding the sunflower fields, I'm going to add some more density. I'm going to make this part more dense. As I looked at this painting from a distance, that's what I feel like doing. So I'm going to add leaves in this part in particular. Yeah. Okay. So if you have been painting with me, Congratulations. 2/3 of the pending is complete. And it's time to move to the third stage or fighting the sun for feels 8. Demo Part 3 - Painting the Flowers & Adding Highlights: So it's the time to add the sunflower fields in this section down below. For this, I'm gonna first paint the background with various shades of green, right from the lightest in the brightest greens in this farthest area talk lost area and then to the millstone green and to a very dark green in the section. Because this line is gonna be pretty straight on a clear line. I'm going to use the small flat brush to begin with. And I have mixed some, uh, blue the light of one with yellow to get a bride green to begin with and off course, we are goingto pained the bright yellow sunflowers on top off it later. So that's first be in the background. So thank you in the paint. Yeah, as you can see, the base. Some strokes of blue were visible. Now, once I paint on top off it, the background gets, Hyland doesn't. That's a beauty off actually means there quite take. You can go live over a year over there and something. What happens is when I paint. And if I don't like the painting sometimes just painted completely right on, let it dry and then it's the blank and was back again for me. Now I'm going to shift toe the bigger, flat Bryce so that I'm able to fill in this section much faster. Dip it in with a little bit of water on and let's get started. You can see a different shade of green is coming, which is fine because it's good. The more the number of shares off green we have that will look nice. So see with a big flat brush. The task it's accomplished so quickly. No, over here, I'm going to bring in some darker green chair. So I added some more blue into the mix, and right now I'm simply blocking in the paint on. But I don't you worry too much at this point of time about the blending of the color off or it not looking you need. That's okay, because right now we're just blocking Eric towards the Lewis part of the painting. I'm goingto make it even more darker, and I have picked up the dark pain that was already there on the palate. I just grab it on the bristles and spread it out so you know it make another shoot of green , very dark green with some yellow. I'm not mixing black this time and added to the border most layer off the pending. - Okay , now, as I let the canvas try for some time now, as I'm seeing this particular area looks quite transparent. If I would like to give one more court off dark green color. So I have that dog green color mixed, um, on the palate. Smallest that spec off black onto it. And I will make this section entered darker and all tomorrow pink. Yeah, Now is the time to start adding the son Claus over here. But before I do that, what I'll do is I'll make few lines over here which represent the stems off the sunflowers which are closest to us. So that's one of either darkest green with a smallest stuff. Find him brush. So I'm just going to make so lines some stamps like this. Many of these may get hidden months. The sunflowers get painted nevertheless, Yeah, these will look good and more realistic. Worse, The end. Okay, now let's start adding the yellow bright sun players. Now you could use this small find a brush or ah, fan brush don't get started. No, as you can see in the sample painting, in fact, the sunflowers and the back are more concentrated on there, almost as close as just yellow. And when they start appearing closer to look us, they start looking more defined, more bigger in size. And that's the whole idea. In order to create depth in this painting, rather than making also implies of the same side. We're going to make very small dots off yellow as closers, you know, almost as if mainly a pending this year, low towards the father section on this field and then slightly more strippers. The playing is what we say, you know, door technique, some more. Your words are bigger dots over here bigger settles overhead for the flowers because apple And when we come to the full ground, the closest was the flowers over here, the sand brother going to be pretty big in size. So I have taken the yellow and let me start by this fan brush without um having really water to the prisons have loaded some jello onto the bristles. As you can see, the bristles spread up to give nice yellow dots, and I was starting so far the stadium d field. So this will quickly covered the field faster for me. And then I come back to the field and using the smallest brush I will keep pounding. Son Glover's okay. Very Lord, drag more paint. Thank you. Continue with the process. Okay. No one. Switch over to the small, find the brush get started. And Morgan of Strokes. Leon, top off the pain that have already being applied. Okay, So I'll continue with the process with the small. Find the brush, this part Maybe a big time. Then do me for definitely worth it. You may alternate and become the fan. Brush Dragsholm bean under the bristles and go over the area quickly. Okay. Okay. Now, when we look at the sunflowers, the center of the sunflowers has brown in the centre light brown, orange ish color in the center. So I'm picking up a yellow card yellow ocher paint, which is a nice light brown color. So we're going to also start adding some of the dots for this yellow ochre because these will also start, uh, being visible from the center point onwards. I'm going to keep fighting. Oh, grown north on the field and I couldn't do you not towards the end, but as well done nearer to the viewers he learned. And these ground lords are also going to be bigger and bigger as they get closer to us. Now, when they get really close to us, they're slightly distant from each other. They're not that close to each other. And they started becoming bigger and bigger and they get closest to us. - This takes a bit of time, but that's worth it. More than detail ings we are to a painting more appealing. It becomes maybe a few more doors here. Okay, I think this is good enough. You can always come back and do some touch ups for the farthest part I'm going to do. Pick up the fan brush again, lorded well, bid here locally and added, Go straight on the rise in the night. You know, just a load of rising light. I am spreading it across. Now I'm going to take the small, find a brush, pick up some yellow paint as you can see, and I'm going to start adding yellow petals in the nearby Plus Now, as you can see that I have taken a good lord off yellow paint on the brush in the bristles on bond. I need to make these petals very defined. So, like you see over here, I'll go with the ones in the year. To me, we make nice, well defined petals because these are the flowers which are closest to the viewers. I reload the Bryce, take some nice take paint. Andi. Now, for example, this flower in the center is closest to me, the one next to it. So I'll keep taking my time to add produce. And since flowers are in all directions, I need not worry about making perfect looking son flaws. The really kind of see it. So, you know, let's very the shape and the size and the direction off each better on all these flowers so that they look quite realistic and believable. We'll just continue doing that a gross various bars and over here all time waiting the sizes, the ones which are even closer to me. I am making the letters bigger and larger insight and the ones lightly father of it. I'm making her smaller petals, so yeah, just continue the process. So likewise, I am going to continue making the petals. It's fun on. It's rejuvenating because once we get started one flood after another, it starts coming to life. Andi, I kind of feel like going toe my zone for the sake off this tutorial. Since I'm speaking to you, it's a different experience, but I hope you get the get the just off how to go about adding patterns to these flowers. So Onda, that's what acrylic painting is. We keep going layer by layer, step by step, and the entire big picture, you know, starts taking shape and starts emerging over repeated off time. So I am continuing the process, and what I'm going to do now is get some fresh, take paint toe, add on some of the pedals, only not all but some of the pedals. I'm going to add some more tick yellow paint so that there is some difference in the shade of the yellow pin. Those pedals are facing the sun Darragi, so they're receiving more light. So now I'm going toe. Continue painting the leaves of starting the petals for the flowers, which are in the central horizontal patch off the field. So I'm taking again yellow paint and using a fine brush, the better. They're going to be slightly smaller in shape, and I'm turning off course the patterns for each off the flower that I have created. Plus, I'm also adding some of the letters in the areas in between. Remember, not toe completely. Paint the area in totality. Lee. Let's leave some area from the background showing through and keep adding the petals of wherever possible. So I go over these flowers. Andi ensure wherever we have the brown core off the flower we had the pitons. The yellow color is sometimes a bit transparent. So for some of those areas where we really want the color toe pop, we may have to come back again and do one more layer off resembling these flowers. No, that there try. I'm giving one more less. No. As you can see this area as I'm assessing it, I feel I can add some more flowers on this side, so I'm going to add the yellow ocher O R. Any light brown color that one can get. I'm going to add a few more flowers in this section and let's keep baiting the size off these round circles so that we have a nice radiation over us. Yeah, also adding some darts back again, uh, in this area. But I already have some painting. I do it. They will pop a bit more. I think this should be enough. Now let's continue adding the sun are Petain's. I'm trying not to make perfect looking flowers. - Keep reloading the brush because I'm using the fine deprives the smallest brush and the Brazil's run out of pain very quickly. No, as a complete this sparred. I'm going to know step back, Have a look at the big picture and see if I need to, uh, had some final touch ups, maybe few areas where I feel there's not much flood victims showing up. I just I had a couple of them without essentially trying to hide the background. A few pictures hit ended. Yeah, I am quite satisfied with the spending. Looks really nice to meet Andi. Let's go ahead and sign our paintings, so I'm going to use the same Find him brush. Andi, I'm going to use white paint. You can take any paint that you would want and I've been divide on. I've rinsed the brush latif nicely and big divide paint. And like in the previous being dating I signing, I talked about how we how we go about signing letter by letter, because the pain trends andare quickly from the bristles. And if we have a liner brush, that's even better. But at at the big name level, let's talk about, you know, doing more stuff using the standard equipment that we have, you know, always graduate to more specialized equipment in the journey. So let's beaned on this section because this part of the background is fairly dark. I've picked up a lighter color right. Luckily, I feel there's too much paint on the bracelet. Just in one go, I was able to paint. There was no loss of pain. That's fine. So they will go timeto open the tapes, and I will also cover one video later on on how toe protect these paintings for the long term. So generally we do have some chemical sprays, like the varnish, which we can apply onto the painting I talk of ordered in one of the last videos, Of course on, and it's very well deep for now, so as you can see if the cloth is coming out. I'll also talk about putting on the frames completed paintings. Generally I give it to one of the vendors who get it framed. I also have certain ready made frames with me. So for being thing which a complete on canvas boards. I'm ableto, uh, fremd them, But I did. So here's the final painting. I hope you like the demonstration would have bean create if you got a chance to paint along with me. So happy bending will come back with this third demonstration after this CIA. 9. Closing Thoughts: Congratulations on Thank you for joining me in this art adventure. I hope you like this short introductory tickles in acrylic painting on I hope you really enjoy holding your first masterpiece in hand. This is our never toe Bring the joy of painting toe everybody to make art accessible Toe Everybody hope you like this experience. Onda, look forward to connecting with you in many more courses as you take ur journey further. Happy painting. Thank you so much.