Easy Acrylic Landscape Paintings | Robert Joyner | Skillshare

Easy Acrylic Landscape Paintings

Robert Joyner, Making Art Fun

Easy Acrylic Landscape Paintings

Robert Joyner, Making Art Fun

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20 Lessons (2h 20m)
    • 1. Introduction

      1:12
    • 2. Materials

      2:12
    • 3. Countryside

      10:52
    • 4. Countryside - Continued

      8:13
    • 5. What Makes This Work; Countryside

      4:16
    • 6. Yellow Field

      9:48
    • 7. Yellow Field Continued

      6:54
    • 8. What Makes This Work; Yellow Field

      4:38
    • 9. Gray Sky

      10:27
    • 10. Gray Sky Continued

      7:48
    • 11. What Makes This Work: Gray Sky

      5:18
    • 12. Demo Three - Two Color Canal

      9:08
    • 13. Demo Three - Two Canal Continued

      9:52
    • 14. What Makes This Work; Canal

      5:52
    • 15. Demo Four - Cloudy Day

      12:41
    • 16. What Makes This Work; Cloudy Day

      4:24
    • 17. Demo Six - Country Road

      8:04
    • 18. Demo Six - Continued

      13:30
    • 19. What Makes This Work; Country Road

      4:38
    • 20. Recap & Assinments

      0:35
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About This Class

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Welcome To Easy Acrylic Landscape Paintings by Robert Joyner.

In this class I will share many landscape demonstrations and teach you step-by-step how to paint awesome, expressive landscape artwork. It's a fun, relaxing and educational! It's suited for all levels, not just beginners. If you have experience but find yourself stuck this is a perfect class to dive into!

The class has several key features;

  • I will first go over my materials just in case you have questions about specific hues, brands, brush sizes, etc.
  • Then we will start painting. Each demo is uncut and in real time! So you won't be scratching your head wondering why the demo jumped ahead and nothing was explained. Videos are narrated with very useful tips and ideas.
  • At the end of each demo be sure to watch the 'why does this work' lesson. Here is where I will go into detail and explain the composition & design along with other technical aspects of the piece. A great addition that will help unlock some of the mysteries of painting.

I hope you enjoy the course and thanks for your interest and support.

Recommended Courses Mentioned In This Class

Acrylic Painting For Beginners

Landscape Painting Fundamentals Part 1

Landscape Painting Fundamentals Part 2

Need Acrylic Supplies?

Here's the list of materials used in this course and purchase links

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: Welcome to easy acrylic landscape paintings. Hi, I'm Robert joiner and I created this class for those of you that want to paint some font, acrylic artwork that will help you build confidence for your creative journey. And as a bonus, I even added a how does this work section for each painting here I will break down the design and composition, the value structure, and some of what makes the painting work this way at the end of the course, you're not just painting by numbers and copying what I'm doing. So they can begin to understand how to paint your own original landscapes. Included with the amazing video demonstrations in this course are the templates that I use for each demo. So you can easily transfer the drawing to your own surface. Plus you will get high-def images of all of the drawings and paintings that I have completed for each lesson. So if this sounds interesting to you, then we will kick things off with materials and then dive into the first project. I will see you on the inside. Thanks for watching. 2. Materials: Let's look at some materials here for my paints, I'm using golden heavy body Matt acrylics. The colors I'm using will be titanium white, cad yellow, lemon, dairy lied yellow cad Red, medium yellow, ochre, Jenkins green, cobalt blue, and bone black. So let's go to brushes. These are my go-to acrylic brushes, Royal and LNG nickel. This is the Zen series. This is a number eight flat. This is a smaller one, a number for flat. This is also a royal and link Nicole is in series, a small pointed around for details. I have a liner brush, just a generic signature type of brushes. Fine. Even though Who makes that, but I'll will use at once in a while. And you'll see me break out my palette knife to put it in a few specks here and there. I don't really use that a whole lot, but I use it. So there it is. For the drawings. I'm using a 4B graphite and then a kneaded eraser just to take off some marks and some terrible drawing. And then the paper is student grade paper, 24 by 15, I believe, for my paint paper, I'm using cancel and this is a acrylic and mixed media paper. I believe it's about a hundred and eight and eighty five pound paper. Again, the links are in the description so you can check that out. Very durable. I have a water reservoir. This is the one court plastic reservoir. Some masking tape that I will use to adhere my paintings to a piece of foam core that's cut slightly bigger than the paper itself. The paper, the paintings, I'm Donna, roughly 13 by ten, but any sort of backing Madu cardboard masonite wherever you have. My mixing palette is a piece of foam core. You can use wherever palette you have, of course. And then paper towel there is handy to have around as well. And that's all for materials. 3. Countryside: Countryside. This one's got a little bit of land here, so a little bit of focus on the sky, but mainly the land. The abstract patterns throughout that. Here is the template. I will be using this available in your resources. So this get Rock and here the paints I'll be using R, heavy body Matt acrylics. I will go over my colors here. I've got titanium white, cad yellow, lemon, dairy live, yellow, kinda the daisy sort of yellow, sunflower, yellow cad Red, medium, yellow ochre, Jenkins green, cobalt blue, and then bone black. My palette is just a piece of scrap foam core. Also have foam core down on for my backing on the painting. And then the paper itself again is Strathmore mixed media paper, 13 by ten. So using the red, a little bit of the Jenkins green, yellow, ochre, and then a little bit of white. The white is going to help you see the biased other color. So sometimes when you're mixing grays and other colors, you don't really know what it was, more blue or more red. So putting a little white into that will tell you the biased others. I'll add white here, you'll see that's kinda of a creamy brown. I want that to be a little warmer. So I'll add a little bit. The dairy lied yellow, little more the red to it. And then maybe a little yellow just to smooth that out a little bit. So I'm looking for a brick red sort of color, maybe just a little bit less red in it. But I'm going to tone the entire paper with that color. So you'll probably be starting with a blank piece of paper, white, and that's fine. You don't have to use rejects, you don't have to use demo paper like I'm doing here. But I just happen to have a ton of that paper around. I got tons or rejects. I've got tons of demos. So I'm recycling that stuff in this course, I hope you don't mind. Alright, so using up that, all that paint here, I'll just go over some areas that are a little bit thin. And once I get everything evenly coated here, I'll let it ride. I am leaving little specks here in there of the white of the paper. And obviously there's some transparent quality to acrylics. So you'll see some of that. Some of the original marks there as well showing through. So bone black, gritty and green, little bit of red, little bit of white. And I'll start to get into my layout. So again with my layout, so I'm not drawing details here. I'm only. I'm putting in the big shapes. Like a big shape would be an example of that would be making sure I get the horizon place correctly. Making sure I get some of the important shapes of the foreground in. And even if I don't get it right, basically what I mean by that is if I don't get my lines perfect at the layout drawing is imperfect. That's okay. Could because if I know in my mind something is off, then whenever I go back and I start painting, I can say, okay, I remember that was a little bit too low or that was a little bit too high. And then I'll just kinda block everything in accordingly. So they'll just give me something to work with. I don't put a lot of details into my layout drawings because then I'll start to get really rigid. So if you add every single window, every single cloud, every single nuance of your subject in a. And the layout drawing. Then the tendency is to paint by numbers. So we can think of a coloring book. So I don't want that in my art at all. So I'll just kinda put it in the bulk of it or the just of it, I should say. And then that's it. So again, I've got that paper. I got cape on the back of my paper. And that's going to keep it on the foam core. Now I've got a little pencil box there. And so that that's a little bit of an angle. And I do that because I have I'll often get a glare from my film lights. So I'm trying to set that up in a way where there'll be a little bit skewed to you, but you won't have as much glare. Okay, so I'm going to start with the sky here. And I'm using bone black, little bit of jenkins green, a little bit of yellow, ochre, a little bit of red, and a little bit of quite a bit of white into that as well. And I want this sort of warm gray sky. So the reds really helped to bring that warmth out from. And that's going to look nice with the, with the blues that I'll we eventually put around us. So this, this painting will have these lovely cool Blue's going around those shapes, so on that's going to contrast again really nicely. You'll have a little bit of warm gray, a little bit of cool blues. So that looks pretty good at this point, I think I will let that rest and then we can move into the next phase. That of course is the good old cobalt blue. I'll use a little bit of green into that as well. Some titanium white. I like a little bit of that green into the skies. I just think it really just tones that blew down just a little bit. And it just makes it this kinda creamy blue color. I love it. But any time I can see the opportunity to put a little bit of that rich, creamy white bluish color in the sky, you better believe I would be adding a little bit of failover green, or in this case Jenkins green to it. Anyway. There it is. So look how abstract that is. I mean, that is so much fun to load the brush up and just go for like that. Just kind of had this vision kinda knew were these shapes are going to where they are. And then you just slap it down with no care in the world. And look how wound back into it. I'll use a napkin to soften up some edges, scribe into it while it's wet with the end of my brush. And just create a little bit of extra movement and excitement into it. And of course, using the napkin or paper towel, I should say, will help to soften some edges. And here I'm using some warmer blues. So I'm putting a little bit of dairy lied yellow, a little touch of the red into those clouds. And again, that's all about variety. So the dominant HW There is a cool white, a blue white, but having a little bit of that warmth around that is going to actually pop the blue, so long as the blue white is dominant, that, that warm white is just going to help bring it out. And it's going to add a little bit of color vibration to the piece so that it doesn't look so stiff. Because it's one color, one hue. So it's all about variety may well, it's not all about variety, but variety is a big part of creating interesting art. And for now, just know kinda my, what's going on in my head. And now that that's an area of the painting is looking pretty good, we can start to move into some yellows. So I'll will use cantilever light dairy lie a little yellow ochre and a little bit of the titanium white. So I'll get a little bit mixed up here. That brush holds a lot. That is my large flat. So I can load that thing up and cover a lot of ground. And since I'm only doing a 13 by 10-inch painting, I don't you know, you don't need a lot. And plus there's only maybe a third of the painting is actually land. And so anyway, just make sure, I guess what I'm alluding to there is whenever you're mixing paint, Make sure you mix enough to cover whatever it is you're Dawn. And now I'm putting a little bit of yellow ochre into it. And guess what? That's done. Varieties for the raise your hand if you got that right. So a set of it all being one q of yellow, it's adding the ochre too. It is going to give it subtle variation. It's such a repetitive thing I'm saying, but it's, it's important you always have to remember to know if you're working with areas that are a yellow, that's say like the land, you find yourself using the same color for too long, then the alarm should go off and say, oh, let me add a little more the grade to it and let me add a little more intensity yellow. Let me just create these subtle changes and shifts so that it doesn't look flat as a small, small thing. But it goes a long way and makes a huge impact on the final piece. And I do find a lot of beginners end up with flat art. And they'll say, oh, well it's not colorful. Like, well, it's not colorful because everything's too, too much the same. So you've got too much, so too much color, even an intense color with no variety, sometimes doesn't even look colorful. So we need things color needs other colors to kinda compare itself to somebody. It can look colourful against this color type of thing. So leaving some of that brown poking through the original tone. And I think that'll wrap it up for this part. And I will see you in part two. 4. Countryside - Continued: Important to note that everything is dry at this point. So 100% dry, bone black mixed with the greens, adding a little bit of the cat red and a little more the Jenkins green and blue. So just a little bit of everything there in terms of a dark value anyway. And just coming up with a nice neutral black to use for some of the trees. Now that's going to be a little bit too dark. And I'm going to back off that a little bit by adding some of the yellows and graze. And that's again going to knock that tone back just a little bit, I should say the value. So it's not pitch black. So just a few shapes here to indicate some trees. The illusion of some tree. That's all we're doing is artists were we're not painting trees. The only way you can paint a tree is if you grab a paintbrush, a bucket of paint and you go out in your yard and paint the oak tree in your front yard or something that is literally painting a tree. But in terms of an artist, we're only creating the illusion of things. So we are painting symbols. So I am painting symbols of a trees and symbols of trees and bushes, eyes really. And, and getting nice and loose with it. You can see the color has switched more to a green as it moved over towards the right. And guess what that is thinking being if you raise your hand and he said variety, you got it right. We don't want all the darks to be the same. So some can be leaning blue, some can be leaning neutral gray, some can be leaning green. Greenish dark. Here I'm dong more red, so I added more red to that dark. And there's subtle, subtle shifts, but shifts nevertheless. And I don't want it to the trees using that idea in the sky, the clouds, the land. It's, it's a common theme. And as a whole, when you do it to each area, is going to make a big impact. So there you go. Repeat myself again, but I'm gonna keep pounding at home. And that's just the way it is. And you know, stick with some of you even still it won't with others. So that's why, you know, as a teacher I was keeps reminding me and that's the best I can do. Okay. So, uh, moving through with the darks here, just adding little specs here and there. And all that's looking good now I can take some darker greens and just move some streaks, some kind of broken brushstrokes, if you will. Dry brush strokes. Those of you that paint color, you know, it probably dry brush means and that does kinda gives it is broken brushstroke leaves the texture of the paper more visible. And I know it adds interest, adds just, you know, something there. That breaks up the green and a very subtle way. I'll want that green mass to hold together. But we can't have that green mass to be, a green mass by itself has to be variation within that. And now I'm getting a nice buttery yellow. And I want that distant hill there to be lighter in value and a little more yellow. Again, that kind of goes against probably what you would see in nature a little bit. Typically as colors fade away from you and they get less yellow, more gray or violet. But in this case I'm going to add to punchy yellow back there. And then I'm going to counter that now look how I'm using that dairy light yellow with the other yellows. And I'm adding that little Papa yellow in the foreground, and that's going to trump the yellow. I put back towards the trees. So even though I added a lighter yellow back there, that more saturated yellow in the foreground says, nope, the king now because I'm more yellow on more saturated. So there's subtle ways, clever ways I guess, to not color is backed by using other colors, like I did there. Hopefully that's not too much information for you. Alright, so moving in, just kinda smoothing areas out, making sure things aren't Over painted. I felt like there's too many dots over there on the left-hand side, dark dot, so kinda blended that out. Now I want some of that really earth tone. And some of these fields solution probably should just be some dirt feels. Maybe an old cornfield that was plowed down there with a little path maybe leading into it. Synonymous details you would see in a scene like this. And just kind of let it rip. And now getting into a lighter green, notice how I mixed the green first and then I am adding that dairy light yellow. The light yellow has quite a bit of red in it, which makes it really warm, but also will red mixed with green because it says compliment, will tone it down a little bit so it's not so bright. So now just trying to add some variation in the foreground. So not in a landscape, you're going to have more details in the foreground, more variation. So that's all I'm Dawn. At this stage, everything is dried. And I'm going to kind of add the finishing touches here. And I will start by getting a nice cool blue saw felt like those clouds. And I added that pop of warm white to it. I thought the warm was starting through dominate it. So I'm going to go back and ask some punches, a blue add that kinda light fluffy feeling of clouds touching some of those blues into the landscape as well into the foreground. To tie that color in. Important to do that, you know, you want a little bit of the foreground and the middle ground, a little bit of the middle ground and a background and so on. You know, it's good to kinda tie colors in two different areas. So that little bit of white in the foreground and the Middleground helps tie in the clouds, you know. So anyway, moving through this with some yellows here. So getting into a little bit lighter and more saturated colors, maybe a little bit thicker too. And I want to make sure that area, the landscape back there is pop-in. So I want to just all too much, even though I changed that colour earlier, I felt it was still a little bit too dull. So that's going to help just pull your eye back into the landscape a little bit so you don't get stuck in the foreground, the middle ground, too much, so few little fluffy clouds here in the background, clouds or near the horizon, I should say, carve out a few Goodhart edges around some of those distant trees. And I think we're just about got it. So really fun piece, very abstract, tons of fun to paint. But here it is, image taken a natural light. So hopefully you can appreciate the colors and details. So that's it. I'll see you in the next one. 5. What Makes This Work; Countryside: So this one is a little more complex, but we still have some design principles here that we can carry over from what we've learned. And then we can talk about some of the more difficult aspects of it. So Sky is more dominant. So we had a horizon line that is, has a little bit of a slope to it. So we have a hill back there and we have a band of yellow, kind of a yellowish Hill. And then obviously we have some green grass as well. But if we were to look at that, you would have basically a larger sky area like I mentioned before, that band of yellow, I haven't had the trees yet. We'll add that in a minute. And then that yellow is similar to these, this kinda dirt feel and pathway and the foreground. But this one is very much a play on like linear design. So linear design is basically where you're trying to break your subject down through understanding the, how the lines work. So this path is from the foreground as moving in at an angle. And then it's, you have this kind of semicircle or half oval that is moving off from the right kinda cutting into it. Then we have a horizon. And there's sort of a very interesting group of lines and shapes that kinda make up this foreground area. And that's basically how that works. But the path again brings you in. Then you have this little loop, the loop of the half oval on the right. And then we had the trees, which I will get into in a minute. But now notice how the clouds and the sky, how it contrasts against the gray, but also how it echoes this sort of design that we have in the foreground. So if I were to shade in this dark area of the sky so that we can see the positive and negative space. And there's enough contrast there where they're separate, the clouds in the sky or separate. But notice how we have this angle of the cloud moving up similar to the path. We had this cloud that's similar to this half oval above it. And then this other little clown off to the top left hand side. So there is very, very similar. If you really look at study though, what's happening in the foreground, to what's happening in the sky. Now the cloud masses are bigger. So that little kinda oval that's in the foreground, the half oval, if you compare that to the cloud in the sky, and that cloud in the sky is bigger. And then from there it's about breaking up all this horizontal energy. Everything right now is moving left to right. So we had these small verticals, these clusters of trees that's starting to break all that stuff up k because right now without the little cluster of trees, then things get to left to right. So you put these small verticals in there to connect the lane with the sky to contrast as well. And then also to give it some layer. So you have some trees in the very back, yet even have some dots and trees on the Hill that separate the cloud and the hill. And then you had this cluster of trees and the middle right-hand side that are in front of the trees in the back. So that again, it's a little more of a complex design, but that's what's happening in this piece. 6. Yellow Field: Welcome to demo one. This one is titled yellow field for obvious reasons. Let's get started with the design. I'll give you a look at the template and then we'll get started with the actual painting. So the template, as you can see is here, I've included this in your resources so we can download that for the painting. This one is 13 by ten inches, and again, I'm using my Strathmore mixed media paper. I'm going to start with using some gray and my number for a flat brush to layout the design. Now I have a lot of reject paintings. Some of these paintings are from demonstration, some of them are from projects gone bad. And I'm going to be using a lot of these rejects for this class. But you can simply use a blank piece of paper or whatever works for you. Now, but I'm finished with Lane and my design. You all have a clue as to what that's supposed to look like. But no, that is basically the template that I shared with you. I'm only doing the main contours so that I can block in the painting. Now for those of you that may be new to acrylic painting, block, and n is basically where you take the main shapes. In this case, we can say it's the field or the foreground. Middle ground with some trees and a Hill and then a background with a sky. So in the block and you're simply just trying to get some local color down. So as you can see, I've got some yellow on the field. I will include the colors and all of that and the material sections. So if you're curious about colors, be sure to watch the video on materials. And you will know about my palette. I now I'm going into the middle ground, which will be the hills. And again, not trying to get the color is perfect at this point. I just want to get something that's in the ballpark. Typically when I do a block and I'm not trying to get it perfect. So if there's really no such thing as perfection, that's probably a terrible way to even say it. But I'm not trying to get the color. That is going to be the end color. Some Chinese, you really get something that's either too dark or too light in relation to where the color will be when I'm done. And what that's going to do is create a little more depth in the painting. So if I get the exact yellow that I want in the field on the first go, then on the second round, when I do the second layer, then it looks flat. So if I have a color on the initial block and that is imperfect, then when I put a color that's more intense or saturated, or probably closer to what I'm after. And leave bits and pieces of the block and color showing. Then that gives the painting a little more depth and dimension. So you have layers that are starting to stack on top of each other. So as you can see, I've got the foreground block in, I've got the middle ground, which is basically the clump of trees on the right, the distant hill. And now I'm adding a few clouds to the sky. So for my colors, I used white and cobalt blue in the sky. A little touch a gray that's probably on my palette. For my greens. I'm using Jenkins green mixed with some cad yellow light. And that gives me a lot of the main colors that I need. And then for the yellow field, I'm using diary lied and some titanium late. So for the clouds, just a little bit of the blue that's on the palate. Some titanium white out always sprinkle in a little bit of, you know, some grays are proud, probably even some breads just to kinda greyed out a little bit. So now that I've got the painting work in here, I've got the block in stage finished. Things are pretty dry at this point. I can start to now focus on the second layer. So when I get this second layer, I'll know, start paying the second layer, I should say, focused on getting the paint down a little bit thicker. So I'm wants less water in the mix. And then of course I'm leaving a little bits and pieces of that original blue. And that's going to again do what I mentioned before. And that's give the painting a little bit of depth. So now moving into some Brown's, I'm going to use a little bit of yellow ochre. Here. I've got some cad Red medium putting down on the pallet. So I will mix a little bit of the cad Red with some of the yellows, even some of the light blues and the light blues are used to reduce the saturation of the color. I talked about that a lot in the acrylic painting for beginners class. Also talked a lot about it with my color theory course. If you want to check those out, I'll have links in the description. So you can see the recommended classes and the mentioned classes in that particular list. At this point, I'm getting in the field, you know, could be an old Corn field or just something that's probably been plowed down by one and break up that yellow a little bit. And then, you know, the best way to do that is just to now use something that you would typically see in a scene like this. And that's just some good old dirt rows and sum, an old brown field where again, maybe the crop is gone and, and their weight known planets and soybeans or something. So now I'm moving him some with some darker values and again much thicker. So again, less water, more pigment. I'm using more of the Jenkins green. And that is, and mixed with a little bit of the blues and the reds that are on the palette. Again, the blues and the reds are just there to knock that green down a little bit. I typically don't use paint out of the palette. I like to always knock it back a little bit, gray it out so that it doesn't come across to saturated and chromatic. I think chromatic paintings are good and saturated colors are good too, but I use them very sparingly and typically like for more of an accent. Now in that green, I just mixed in a little bit of the cad yellow lemon. And then I'll also used some of the dairy lied yellow as well. And that's just going to make it a little bit lighter and give it a little more contrast to the darker greens. So here you can see some layering going on. So we got the group of trees that's closest to us. We got the distant trees that are little more, a little bit duller. They're not quite as intense. They're not quite as dark. And there's a few little trees or a row shrubs or something in front of the Mountains or the hill, the green hill in the back. So that gives it a little more depth and layers. So you're seeing, again, things kinda overlap each other. And overlapping is a good way to get things depth as well. So I got a nice juicy mixture here of light blue, a little bit of titanium white. And I'm going to move in to the clouds now and dial in the value. So the value of the sky, and I meant to say sky earlier or the value of the sky just needs to be a little bit lighter. Right now is just so, so a little bit too dark. Now want to give the feeling of a scene that has more color so it's a little more saturated. And typically, you would find a scene like this when the sun is behind you. And notice there's no cash shadows in the scene. You're going to get cash shadows when the sun is probably in front of you or off to the right of you, or left to view when the sun is behind you. Unless you have some sort of vertical, you typically do not get a lot of shadows. All right, that will do it for part one of this demo. I will see you guys and part two. 7. Yellow Field Continued: At this stage, I've let everything dry. Very important to note because once you have everything dry like this, you can blend things as much, but you really get control of your color. So no longer are things blending. So whatever colors and strokes out put down now it's over dry paint. Unless of course I paint over what I'm painting right now. And again, that's going to put control back in my, in my corner. And I'm going to be able to put some nice clean brushstrokes down. And so on. Node two, that acrylics, If you are new to acrylic painting, they tend to dry a little bit darker. So as you can see here, the cornfield, the dirt, and the area in the cornfield. That color looks a little bit dull. This point. Solve law salon that saturation at that initial pop that I got when I put the paint down. And that's typical. Sometimes I don't know the entire science behind it, but I know some of that color and pigment will kinda get sponge by the paper. And then of course, there's that idea and theory that acrylics nor are water-soluble. So they're going to just get a little more diluted as they dry. And so that's going to announce they become a little more transparent. So it is a transparent medium for the most part. But that's why we paint layers. So when I'm coming back on this layer here, things are nice and thick. The paint is very buttery. And here you can see I'm using the cad yellow lemon mixed with the dairy light. Yellow with some titanium white. And I'm putting down some nice thick strokes of the yellow and really be fun it up. And notice how I'm leaving little gaps, little bits and pieces of the original layer. And that's going to create unity is going to create depth. And you know, it's so important to do that because if not, then if you paint an entire area and you do it all one color, then it's going to look very flat, stiffened, boring. So it's important to always kinda break large areas up with different colors. So that can be subtle changes, subtle shifts. You can do what I do, which is like leave a little bit of the underlayer showing through. I'm also using here a little bit of the cad Red mixed with some of the oranges and the browns too. Go over some of those areas just to add a little popup color. And just to make sure that that area of the painting looks nice and thick and Rich. At this point. That is looking pretty good. I'm going to use a little bit of failover green with titanium white. Now I'm going to also mix a little bit of the cobalt blue. And with that, and that's going to give me a really good color to use for the sky. I like using a little bit of that green. And with my Blues for the sky, I think it really tones that blew down and kind of smooth out a little bit. If you don't have failed blue or green rather, you can use he could premix agreeing and just put a little touch in there. And I think that looks pretty good. So at this point I'm going to clean up some edges. I'm gonna make a few sky holes in the trees that are to the right, that kind of cluster of trees as closest to us. If you're not familiar with Sky holes again, go back and check out my landscape. Funny, fundamental course. Go into that and pretty good detail. I'll go over law that here. But again, you can, you can learn a lot about that. I'll landscapes in general in that course. I do use acrylics In that course as well. So if you're an acrylic painter, you'll be able to relate to that. Pretty good. So a little bit of change now, maybe a little bit lighter as the, or less saturated as a color comes towards me. And here I'm using a palette knife to scribe and to the paint. The palette knife is a good way to add a little bit of a linear interest. If you scribe into the wet paint, then it's going to leave a line as it did in the cloud. I'll probably go back to that in a minute. But here I want to, I'll get some Jenkins green, a little bit of the greys and all my palette. And just strengthen some of those distant trees just to give them a little more definition. And it's important that the painting has areas that are less defined and then areas that are more defined. So we get that balance, you know, we get a balance of soft than hard edges. Things that are kind of nondescript things or have detail, two ohm or sense of detail, the illusion of detail. And that's kinda what I'm doing here. And now I'll go back to my palette knife and just scratch around some of the clouds into it a little bit. And then you see that this adds a little bit of movement, a little bit of energy. It's easy to go too far. So just do it a little bit here, just to break it up and give it a nice loose look. So I think that's going to pretty much do it. A few more marks here in the foreground. And here is the piece. This was taken in natural light, so no Photoshop or any changes to my color. And this gives you a better indication of what that looks like. So that's it for this demo. I'll see you in the next one. 8. What Makes This Work; Yellow Field: So you're scratching your head, you're thinking What makes this painting work. So glad you asked, let's go ahead and break it down. For this one, you have a low horizon and also you have dominant light and less dark values. I'll go over that in just a second. I'm going to just go over the low horizon and point out that you again, you have more sky and less land. Now, when you look at the distant trees, you basically have a band of dark values and tones. And on the right-hand side had that cluster of trees as closer to us, slightly darker in value. And collectively, they make up this lovely little stripe going across the middle of the painting, again as not equal. So it's not just one band of dark value that is kind of the same shape. We have a thin to a VIN, a very thick. So again, we have light values in the sky and fairly light values in the fields because it's like that light yellow and as light brown. Now let's look at the three shapes that are going on here. You have a large mass for the sky, and you have a medium-size mass for the land. And then you have a smaller mass for the trees. So again, large, medium, small. And when you're designing, in composing your art, you want to think about these sort of things. Symmetry is something we avoid in painting, and we are also trying to look at shapes. Shapes are very important. You want a nice large shape, so the sky and then a medium shade and some small shapes. So by looking at the clouds, that's kind of interesting. When we look at the value of the sky, which is a very, very light blue. And then we have clouds. So there's clouds aren't pure white. They have a lot of grays and even pinks in them. And there's very little contrast between the blue of the sky and the white and pink of the clouds. Now the little sketch, I'm Dawn now is what would, this is what would happen if you went with a darker blue sky. If you went with a darker blue sky and then you kept the clouds fairly light. Look how it breaks up that mass. So now you're dealing with a large area that is broken up with a bunch of smaller clouds. Now, would that work in a composition? Well, I don't know. I would have to see it as a whole, but know that I use a very light blue in the sky so that I didn't have a bunch of these small little shapes of clouds and running through it. My decision was to keep them a very similar value. And that way that mass of the sky was one. And then I have a course that dark trees and then a lighter value, light to medium value for the ground. Also note the brown fields. So we have a kind of a horizontal going across the landscape. And then we had these verticals that have perspective. So they're gone in at an angle from the foreground, the bottom of the painting, up into the focal point, which is basically the cluster of trees and the fields and, and that sort of thing. But those perspective lines are very, very important that I'm drawing now because they do have a subtle impact and weigh about leading you into the painting. And plus they kinda break up that mass a little bit. But there's very little contrast like the clouds and the sky, the fields and the path here. They're very similar values, so they kinda hold together as one and they're only separated by color. 9. Gray Sky: Welcome to demo to this one is called gray sky for obvious reasons, but we get that nice sliver of light down by the horizon. So here is the template again that's included in the resources. This piece measures 13 by ten as well. It is again, the acrylic mixed media paper, nice and sturdy. Again, a reject or really a demo piece, and it was a large sheet of paper. I get them in a full sheet and that is cut them down. But I'm going to start with a little bit of the cad, Orange, a little bit of the yellow ochre, and then a little bit of the titanium white. Be careful not to put too much white into the mixture. If you want a nice punch of orange, white will desaturate colors. So we mix white into it is going to make him more opaque, but it's also going to reduce the chroma of the color. So you have to use only a little bit of it. A little bit of wine is good because it will actually bring out the bias of the colour, but too much will, oftentimes make it a little bit too weak and a little bit like a pastel sort of color. And I want this to be chromatic by don't want it to be fresh out of the tube. Chromatic. So I'm not looking for a 100% chromatic HW there. So what I will do is coat everything with this orange obviously. And once I do that, I will allow it to dry. And what this is doing is basically Tony, the paper. And when you turn the paper one color like this, it gives a, the painting harmony so long as you leave little specks of that orange and the final painting. So as I move forward in this piece, I know that some of that original orange will, specks of it are going to show through. So I have a little bit of raw number there. And now we'll use that to put my design in. What the design, I'm going to kinda squared out or just draw the rectangle that helps me see the edges of the paper a little bit. And then I'll start with my longest line, which is typically the horizon for most landscapes. So once in this horizon is low, so obviously when a horizon is low, you have more sky. Unless you have some sort of huge group of trees that's completely covering the cup, the sky. Love for this one. You know, the goal would be to have this nice big open sky. So I'm going to pull that horizon line down to accentuate that part of the landscape. So the type of layout on dawn here is just really contours. I don't recommend using a lot of detail for layouts, especially if you're painting loose. Typically when I do my layout, I kinda does hidden miss on the main contours. And that gives me enough information I can move forward with the painting. Colors, cad yellow, lemon on the right, yellow ochre cad Orange, titanium, white. I've got a little bit of jenkins green, cobalt blue. And on the bottom left I've got a little bit of bone black. I will start with the blue and a little bit of titanium white. I want a blue that's pretty light and value. And that's because the majority of the sky will be a slightly darker gray. I want something that's going to contrast. If you've painted with acrylics long enough, you know, they're going to dry a little bit darker than what you're seeing when you put the paint down. So always go a little bit lighter than what you think you need. For the clouds on the right, the two bands, I added a little bit of the bone black just to make those a little bit darker. I don't want those two clouds to compete with the larger cloud coming from the left hand side. So again, a little bit darker in value. Now. So what we're going to use titanium white, a little bit of cat orange, and a little bit of yellow. And I want a very, very light value. Typically the sky will always have the lightest value. And for this one, we have this very large gray mass in the bulk of the cloud area. But there's going to be a band of very light sky as it meets the horizon. So that will be the last of the the sky that's showing that actually that is sunlit. Everything else is clouds. From here, I'm going to go into the greens. So for that, I will use the yellow, a little bit of the green and then some of the titanium weight. Again, I'm going to encourage you not to use too much white here because I have a very light and bright yellow and I'm mixing with that green that should help give me a light value. If you use too much white into that is going to. Make that color really washed out solid, wants some saturation here. So just to touch a white is really pretty much all you need. Now i'm going with a little bit darker green. So more Jenkins on this one, less yellow. And I apologize for that little bump there, but we're back to a stable environment. So the darker greens will be used along the foreground. So we've got that nice patch of lime green towards the back of the middle ground. And then we have some darker, more rich and saturated greens there in the foreground. So again, this would be considered more of a block end. So if you want to learn more about that again, check out the acrylic painting for Beginners course. That link is in the recommended courses and the description. Now I'm going to move in to some earthy Brown's. So using some yellow ochre mixing in a little bit of the green just to push that color back a little bit. So I don't like using very high chromatic paintings or colors. I like to always desaturated him a little bit. And you can do that using graze any, any color really besides something that's in the same color family. To knock it back. And is adding some dots and really breaking up some of that green, adding a little path. And ultimately, that's going to just add some entrust to the foreground. You don't want to say flat, large area of the same color. Alright, now I'm going to go with a gray, so bone black, titanium white and mix them with those light blues should get me going. And I did a little swatch test on my palette there. It's good to have some swatch paper around to check your colors before they go down. Oftentimes when you're mixing colors on the palette. It looks good. But then once you do a swatch tests are when you start to apply it to your painting, you may find that it is too light or too dark. So having a little swatch there will help you. And that you can take that swatch and hold it over your painting to compare what that color would look like with everything else you have. So color and value and things like that are, are relevant. And they are relevant to the colors that are, that are surrounding it. So in this case, I'm looking for a dark black. I thought I had a dark enough, but as you can see, I'm having to add more bone black to it and more blue and to make that darker. So even though I thought I had a value that was correct, it's still not on point. So here I'm adding some cat orange, a little bit of the green little bit, a bit more bone black and blue. And all that is is just trying to push that value darker. There's really no formula. And to mixing the greens are the orange or anything like that. I'm just paying attention more to value. Is it dark enough to do the job that I wanted to do? So if I have red on my palette or any other color that I know would make a darker. I could easily use a touch of that two. Temperature is important. I want this to be more of a cooler color for now. So a cooler dark gray. And so I would say that probably know does the job and I think we have a pretty dark, cool grey for the bulk of that sky. So that's going to complete the block and I'll see you in part two. 10. Gray Sky Continued: So again, the block and is done, everything is dry. And to give you a little bit better view of the colors, I'm going to angle the board. When I'm using film lights, you get a lot of glare. And also it does tends to flatten the colors out a little bit. So having a little bit of an angle will help. Of course, at the end of the demos, I always give you a good image of the piece and, you know, I photograph these and natural light when I'm done. So you'll get a better take on the colors no matter how much time I try to dial in. Frame rates and and the camera itself to give you the best film possible, it's still is never accurate, but yeah, I'm doing my best here. Any experts out there that can give me some advice. Let's hear it. Alright, so getting some darks now, so the darks are going to anchor the Middleground. Typically, the darkest darks would go maybe somewhere closer to the viewer. But I'm painting this more for aesthetics. So I'm not going to be stuck with what nature would tell me. So again, if you took my landscape painting course, landscape painting fundamentals 12, I talk a lot about values, saturation and how values tend to get lighter as a move away from the viewer. And it's good to keep that sort of value hierarchy in mind. Then other times, we can simply just paint for aesthetic. So we're just trying to push values, tweak them in order to make the painting work. But once, as you look at those dark values that are on the paper now and you can see how they really anchor and the painting. So even though that is like the gray and the sky looked really dark. But now we compare that to the darker trees and bushes I'm putting in. The sky just doesn't look as dark anymore because that's because we have something darker to compare it to. And in your relationships are so important. And paintings, and that's why I think, you know, as an artist I focus more on value and making values work versus trying to force colors, trying to match colors in nature, which is a battle you'll lose every time. Never match nature. That'll only frustrate you. However, if you just create a value plan that works in, you pay more attention to value and you get your colors and the ballpark, so to speak, than the pain. He's going to work fine. And you're not going to spend hours and hours trying to match colors. Which is again, a losing battle. So anyway, still working with my darks here, using some darks and not quite as dark as the first ones I played on, just to mix it up a little bit. We don't want all the dark trees to be the same value. We want some variation in there. So here I'm moving in with some really dark greens. And I will start to add that to the foreground. Now, it's important that as I paint this green foreground, I don't want to paint over everything. We want some color vibrations. Again, I talked about have a whole section in landscape painting fundamentals to about color vibrations. And you want to leave specs and pieces of the orange of the first layer because S going to break up that big mass of color. Without that, then the pain will start to look flat. You'll have these large areas of color and it'll just look boring. And that is when the painting starts. It had this very dull, lazy look about it. And then other paintings seem to kinda jump off the canvas or the paper. And they just have more energy. They have more movement to them. They're a little more exciting. And typically those, those paintings have good color vibration. So you have it these large masses. And if you just look at the sky, you can see that too. But they have large masses of color. But the artist has used these various subtle shifts and other Hughes and values. And it just makes the area much more interesting. So I should something you want to go back and study a little bit. You don't often see that. And unless you're really brought to your attention. But now you know. So again, it's always good to go back and don't want to continue to learn and research. And now that I'm getting a lot of these landscape courses available and in creating those fundamental courses early on so that I could use them as a resource. So without on then, you know, it's I could tell you what color vibration is about, you know, you would have to kinda put the pieces together versus, you know, having that resource there, we can go back and really dive deeper into these things. So anyway, here I'm getting a similar Gray and I want to go over that sky again. So I've got one layer on the sky. Again using choppy brushstrokes, short choppy and not over blending. Blending is a good way to flatten out color. So just getting those short, choppy strokes in there so that the sky area still has life in it. So it's I hadn't beaten to death with tons of brushstrokes. So I have a little palette knife here, and I'm just going to add dot someone to add also some sticks that are just maybe poking up through the landscape there. Just to give us some vertical entrust also to get variation. So we have kind of blobs of bushes and trees. So that kinda nice skinny stroke there will help. Break that up a little bit and just give it some interests. You don't wanna go too far. This painting is really about that nice grey sky and the streak of blue coming out of it from the left. And that nice bit of sun on, last bit of sun on the horizon there. Like barely peaking out. But for the most part this is done a little bit lighter, lighter, green value to the foreground, and I think we can call this a wrap. So here is the piece again, the photo taken and natural light. Hope you enjoyed it and I'll see you in the next one. 11. What Makes This Work: Gray Sky: Alright, why does this painting work? Again, starting out with the layout. So I have my four edges there and I'll do one more because I'm going to cover a few aspects of this design and composition. The first thing I will cover is the amount of dark values and light values. So if I put in the horizon line there, notice that there's a band of light right there where the sky meets the land. So you had this massive gray cloud dominating the sky area. But then there's a sliver of light on the horizon. Ok, so that is pretty much the only light value in the sky. And then you have another little sliver of light hitting the green field. So other than that, you're dealing with dominant dark values. So the overall design here is that you have more dark values then light. So as a dominant dark value painting. So I'll take an eraser here and clean up that band. So here hopefully you can see a little more clearly what that looks like. Now that band of light isn't exactly the way it's done in the painting, but overall, it gets the point across. So here I'm putting in the cloud. So you had this angled cloud coming up for the left-hand side. And then you had these two smaller bands on the right. So those color choices are dark enough that they actually blend into that gray sky. So it doesn't, it doesn't break it up too much. Self had put some big bright white clouds in there. It would still be a dominant dark value painting. But I think it would lessen the brilliance and the illuminated distant band of light. So I didn't want to take away from that. So again, dominant dark. Again, it's asymmetrical, so more darks and lights and that's what we're trying to do. So we're trying to avoid equality in design. And when we're, when we're putting together a landscape painting or still life or anything like that. So there I did an example where things are even split down the middle. You can see your divided. You don't know where to look here. I'll do where you have a sliver of dark and the rest is light. Now you, the eyes tend to appreciate that more. I can change that around. I can flip flop it, make it dominant dark with just a little bit of light. So that's a very abstract way of seeing things in a very crude way of seeing that. But again, that's the gist of how an artist breaks it down. So when you're doing landscape paintings or any sort of subject, you're always looking at things more abstractly, unless in a literal way. So let's look at now some of the linear perspective going on. So you had this path coming in, is not coming in through the middle, is coming in slightly offset. So off to the right and leads you towards that sliver of light happening, towards the middle of the horizon there. And that sliver of light, that light green back there, that Lamy green, not in the middle. It's offset, so it's favoring the left-hand side a little bit. And again, that's all gets away from not plopping things in the middle. You want them offset. And then he had this dark band of trees. That's probably the darkest value surrounding that line, that line green. And that's going to enhance the focal point. You have some little bushes in front of that lime green. And then you have some little dots of trees and bushes that are kinda making up the right-hand side. So again, very important to understand sort of area of the painting. If you were just to do the painting and go about your merry way. And I didn't explain this stuff to you. I think it would be a disservice because now would just be teaching you to copy. I want you to understand the nuts and bolts of how the painting works and why it works so that you can start to add a lot more clarity to your paintings. You can start to look at your subjects a little more differently and hopefully in this sort of light. Ok. So there you go. That covers this one. I'll see you in the next one. 12. Demo Three - Two Color Canal: Welcome to the demo and this one I will do a two-color canal image, as you can see, nice and loose and abstract. Here is the template that we'll be using. Again, these resources are downloadable, so be sure to check that out. Starting with a reject painting that is ten by 13 inches, I will begin by just blocking in without any sort of preliminary drawing the buildings on the right. This is a fairly simple composition. So I mean, I can just kinda block this in pretty easily. So just getting the main lines. And so I've got the buildings on the left, a little horizon and the back there. And then immediately it goes into a dome shaped structure and then into some buildings that will just trickle off to the right. It's important to know or note that the buildings on the right is, that is not a straight line that has sort of curving and archiving towards you. So you don't want to straighten that out. This sort of composition, which I will explain in the follow-up, when the demos done, has really subtle curve to it, to the left-hand side will have this kinda dominant straight, Rigid feeling to it. And the right side we'll kinda arc and then come back almost forming a D, capital D letter. And that's of course, if you are using the English alphabet there. Anyway, as you can see, just using different Greys, Blues, that is cobalt blue on my palette. Bone black is the darker gray just above it. Titanium white is on the palate as well and just getting different shades and they're, no, it's important that I created this sort of abstract carefree block. And so I don't want any of these buildings to be too descriptive. There'll be certain areas of the building that will have good edge quality. But the interior of the buildings. And I don't want to separate one from the other associates Going to be kinda one group of buildings just within that. Basically just adding different shades of gray. And again, it's just, this is very loose and abstract. It's intended to be that way on purpose by design. And the reason why is it's just as good to paint this way once in a while, just so we get away from painting things that are too literal. We don't want art to become an illustration. Silvia, it's easy to look at an imaging, kinda get sucked into all the details. And then the next thing you know, you're just basically a slave to your image and you end up with 0 creativity and you start matching everything you see. And you know, our, I think you lose a level of creativity. They're an opportunity maybe. So at this point, everything is dry. So put that first layer down, I let all of that gray completely dry. And the main reason I did that is I didn't want it to blend with the yellow. So because things are so loose and abstract. Oh, I want to make sure that this first layer, the yellows and the blues, are no separately. They don't mingle and blend too much. Now I didn't like the gray reflections on the right. So I just thought they were a little bit too dark. Acrylics dry, a little bit darker than when you put them down. It's just the way the medium works. And what I will do now is take a hairdryer and dry it off. But oftentimes that's going to happen with acrylics. So if you put a color down and then kinda walk away from your painting or something and then come back and see that the colors have changed. Typically is because they lose a little bit of the saturation and chroma. And they, but they also lose. We also change in values, so you're gonna get a little bit darker. So pretty dry here with the help of the hairdryer, which of course speeds things up. And now I have a really good sense for how dark that gray is on the right. And I'm going to use some of those grays that are pre-mixed and start moving into the sky. I'm putting just more of a clean grey down first. And eventually I'll come back and start to mix a little bit of a yellows. And with that, as I go around the structure here, here the don't, I want to bring a little bit of that, those edges back. And so I wanted to just start to carve out that main focal point. So that dome is going to be the focal point as I mentioned, but also it's going to be done through careful control of edge quality. And then also eventually saturation. So making sure I got the most intense blue in that area. And then also a few hard edges where everything else, there'll be a little more blurry and a little more abstract and a little bit duller in terms of color. Now as you can see, I'm using the cad yellow, lemon, also the dairy lied yellow and with those grays with a little bit of white. And keep in mind as I put this down towards the middle here so we can see where the building sort of merge. That's going to be the most saturated color. And then as I move over to the right, remember I put that those grazed down. So all of this yellow that I'm putting on now That's going to blend in with those graze on the right. So I'll will eventually fall back over there and work those grays and yellows into each other. And so that's going to soften the greys and also soften the yellows and on the right-hand side. So I've got those abstract strokes from the gray. I am just going around it. I mean, those could be boats or peers or whatever sticking out from the buildings on the left. And that those horizontal lines that are coming out from the building, that's all composition. So that's all understanding that we have a strong vertical like the building on the left. If you don't have anything to stop the momentum, you'll zoom right down off the bottom of the page. So having those peers and boats or whatever they are, they're poking off to the right. That's going to slow your eye down so you can't move off the page. So again, those are things you can do by design. Those are things that you look for when you're painting your subject. So that you're thinking more abstractly, you're thinking more like an artist and less like someone who is simply copying the image. So now moving back in with some yellows, moving back in with some grays. And I'll start to move or blend those colors off to the right. Notice how when I get to the focal point, that area towards the middle left here where my brushes, I want those colors to be a little more saturated, so, well, I will eventually add a much more pure color to that, but keeping those colors a little bit cleaner, less gray as well. Also note to how I'm leaving specs of the first layers. So I'm careful not to completely paint over the first layer that's going to give the painting some vibration. So I will pause right here and I will see you in part two. 13. Demo Three - Two Canal Continued: All right, welcome to part two. Everything is still the same. Nothing is dry. It's still wet. And I'm referring to the yellows. I'm here, I'm using some grays. And notice how I'm mixing a little bit of a yellow into that as well. And I will basically start to break up some of these darker areas of the building. That value is probably a little too dark. I don't want the building sustained out too much. So if you have a value like the yellow, I'm using say a value scale one to 101 being very light, ten being very dark. And let's say the sky and the yellows moving down in the foreground are in between the two to three range. Then I want the building to be in the maybe five to seven range. So I want to avoid anything that's too dark, because if you do that, then it's going to be too loud. So subtle, being subtle as the key with art. You know, anyone can take paint and of a tube and just slap it on the canvas. And it doesn't always work. It just says, okay, I'm bright and colorful and loud. But the key to painting would be to be subtle. So use values, use saturated colors and wisely, sparingly. So that law should say Use Values strategically. But then to use your color wisely, we have to know when to downplay color and then when to accentuate it, when to really use those flex and bits of intense color to, to state what it is you're trying to do with the piece. So I'm going to think about color. I think about like a conversation. And if colours or to the same, then you're like talking with someone who has no joy or emotion. When it's too loud, then it's like, hey, I'm this or that. And then a navy gotten this kinda Wu energy going on like chill out do. So when we're talking, you know, we want to have a conversation. Maybe when things get fun, exciting, we can kind of bring the voice up and, but then we kinda know when to bring it back down and say, okay, Let's get it back together here. So that's kinda what I think about what the painting is, kind of an analogy obviously. But always think about, you know, where are the moments that I need to kinda come out with it? And there were the moments where I needed just kinda kick back and set the table right. Anyway. Moving on with this still going back and forth, you can see I'm using those nice bright yellows and creamy whites to ask some highlights to the boats. I didn't splash him everywhere, even the darks, the shadow under the boats. I use them just here in the air. I didn't go crazy with it. And now I'm just doing some reflections for the posts throughout the water and yeah, just don't give fussy with it. You know, painting like this, as I mentioned, it's very abstract. The play here is on color. The play here is on composition, shape, how things are, how colors are mingling, how one color is dominant. So if you're like scratching your head saying what is he talking about? Well, when the painting is done, you'll see the blues and the greys are dominant. And then the yellows take up maybe a third of the painting. So you have a dominant hue. And then you'll have a shape that's kind of interesting. We have these yellows and are moving across the top. And then interlocking and kinda moving down towards the viewer and the foregrounds, what someone's like a path that misleads you right up into the painting. And then of course all, I'm saving that nice punch of blue for the building, the Dome for last. So that all kind of have a nice focal point there towards the top of the painting. So it's, It's tricky. I know a lot of you may be new to painting. Some of you have been around for awhile. But painting is an illusion really. You're, you're kinda trying to trick the audience. So unlike a case like this, there's buildings on the left, there's buildings on the right. There's this reflection, there's these boats. But when you're painting, you're paying it as an artist. You're trying to do it in a way that's new, creative and subtle and very loosely done and kinda abstract like this. So you're kinda storytelling, but at the same time, you're playing tricks a little bit with the color and the brush work. I mean, if you were to take a small area, this painting and just kinda crop and just look at one little section at a time. Like for example, if we were to cut the painting and quadrants, the top left-hand side. And if you were to just look at that and then block out everything else, it would look really abstract, like what does this just like the bottom left-hand side. And if we looked at that quadrant there, and that will look very abstract, especially if you've blocked out everything else. So as a whole, individually, they actually say if we were to kinda break the paying down in sections and only look at bits and pieces of it. And it wouldn't make sense at all. It will look like a complete non objective abstract painting. But as a whole, we look at the thing. Then it holds together. It looks like a scene with buildings and a reflection is very simple. Palette, boats, he knows it's got atmosphere to it. And I don't know if you caught it. But whenever i tilted the painting up a little bit, we got away from some of the glare. He could really see that blue pop and out. So whenever I'm done with the painting, at the end of this video again, like I did with the other, as I will show you, the image rod, use a good camera and natural light, the sunlight. And that'll give you a better a visual of the color schemes and how things really look as I'm seeing it with cameras, it's just hard to pick up on all of that. So here I still have I still feel the buildings on the right are a little bit too dark. So I'm using some light greys. And now I'll take some darker greys here. And and kind of blend into that a little bit by just one knocked that back a little bit, you know, again, I don't want those buildings to be an eight or a nine on the value scale. If they are, then it's just going to look a little bit too forced. Again. Paintings about this kind of bright light in the background, kind of an invest the case, then those buildings will be illuminated a little bit, so they're not going to be pitch black. There are going to have a glow of that light that's kinda coming up and around the buildings and filtering that out atmosphere a little bit in front of the building. So that's going to DOE that color a little bit. So the mistake here would be to make the buildings too dark, to make them eight or nine or ten. And then you just looks like a silhouette. Looks kinda amateurish too. So you'll, you'll find that, you know, you'll find that throughout your painting career OR endeavors as you work with it. But anyway, that pretty much brings us to the end. So finally I get to show you the piece. So here it is taken a natural light as you can appreciate the colors as policy in them. And you can see the nice blue that was reserved for that don't Building. And look how those yellows trickle in from the horizon down into the foreground. Liquid that subtle like d format that's going on. So anyway, a fun piece. And again, this is really, It's an easy one, but you have to work your values correctly and understand where the focal point is. That's where you want to put your good edges, your hard edges, and let everything else to speed, nondescript and nice and loose. Okay, I hope you enjoyed it. See you in the next one. 14. What Makes This Work; Canal: Welcome to What makes this painting work. As with the others, we will go over some of the design and composition aspects of the painting. So that way you have more to grasp onto and you're not just left with a painting, you actually understand more about what goes on behind the scenes. So what I will do is start with a number two graphite pencil. And now we'll put a layout and for the edges. So what is happening here is you basically have a mass on the left hand side, which consists of just some buildings and peers and maybe a few pylons. And then you had the buildings on the right that curve over. Now, this would be considered an L shape composition. There are probably two or three, maybe four compositions that are kind of the go-to for most of the artwork I create. So an L-shaped works because, well, you're dealing with is a nice solid composition that creates an l. Now in this case, the L is flipped upside down them. So here you see me drawing it and I'll shade it in so you can see it a little more clearly. So the buildings going up on the left and then the structure moving off to the right. Obviously there are some subtle differences, is not rigid, it's not a stiff l. It arcs and curves a little bit. And yes, it's not a perfect outline of an L, but it gets the point across. It has enough of the L there that it works. Now the cast shadows or the reflections that come down the right-hand side of the design doesn't impact the L. And that's because the light enough value that it doesn't really connect. So that we're at that Gray of the reflections on the right or too dark, then it could easily throw off the composition and it would make the L less visible. And of course it would pretty much though it off. There are times as an artist we always manipulate things. We can play down a shadow, beacon, play up a reflection, and so on to create it. So here I'm going to draw it again. Hopefully you can see what's going on. But also this talk about the positive and negative space. So the positive space being the buildings and then the negative space being the water and the sky around it. And notice how there's more negative space than positive space. And that, again, is a design that is important to understand. So when you start to compose your art, you will. Eventually we want to make sure you avoid symmetry. Symmetry typically doesn't work. So again, the sky and the water Connor are one. And that's because they're connected through value. They're very similar values and also through color. Whereas the buildings, which is the positive space, are connected as well. But again, notice how the space there is asymmetrical. So again, more negative, less positive. There are cases where you may have more positive and less negative. But again, we're looking for asymmetry in a design. I'll talk about them more as we move forward. Now. In the reflections, that subtle gray that's coming down the right-hand side of the painting, gives it a pathway. So that value is light enough. It doesn't impact the l like I alluded to earlier. But as dark enough that it contrasts nicely with the yellow reflection coming down through the canal. That reflection of the yellow coming up from the bottom of the painting up into the focal point, which is probably don't shape of the building. That's a pathway. So that says, Okay, come on in to the, to the painting and explore. So it's like a path in the country or road, some sort of way to get into the painting. And then I just put some pylons and it's like a few horizontals, a few verticals. So there's some peers or boats that are coming out. There is a pilot's there, but they're not so heavy and thick and dense that it breaks up that pathway. It just kinda breaks it up just enough to where it's not stiff look in. But I think it's still allows you to come in as an invite, invitation to come in and check out. So then it leads you right up into the buildings. You got more of that nice rich blue that's used very sparingly in the buildings around that focal point of a dome. And, and that's pretty much it. So hopefully these kind of behind the scenes sort of thing will help you with your creative journey. I just didn't want to teach you how to do a paint by numbers. I wanted to give you more information so that you can use these ideas as you explore acrylic landscape painting. 15. Demo Four - Cloudy Day: Welcome to a cloudy day, but we got some nice blue sky. They're so everything's cool. A lot of abstract qualities in this one. This is a look at the template. And that again is available for you in the resources, 13 by ten inches. So everything is roughly the same size here. Again, this is acrylic mixed media paper. Bay by Strathmore. I've got links to my materials. So you can check that out. Maybe having questions is hit me up in the comments I'm here for you. Using my brush, I will go ahead and lay out the cloud structure. So these clouds, or let me back up. The clouds are really the key for this one. This painting is very much about clouds. So that's why, you know, four-fifths of the painting is dedicated to the sky. But the clouds is kinda start very big in the foreground or the top of the painting. And then they kind of move down and gets smaller and then they eventually flatten out. They'll, they'll kinda, you had these light fluffy clouds that are kinda moving down and towards the horizon. And look how I'm starting with that big blob of grey in the top left-hand corner. Then the next blob is a little bit smaller, and then it connects down to the streaks of gray. So that's very important. Those, those grays, how they move down into the horizon is very much a design. And it kinda think about it as a path. You know, it starts in the top left hand corner and then moves down smaller and they eventually flattens out into these horizontal strokes. And then he eventually will melt into the land. But that's by design. And of course there's a few clouds off to the right just to balance things out. But that's the basic movement we're dealing with in this piece. As I was breaking down a little bit of a design for you, I use cadmium yellow and Jenkins green mixed with a little bit of the yellow ochres reds, and then a little bit of white in there for the foreground, which isn't much as just a little sliver. And now I've got some red and orange mixed with the touch of the green to put in this kinda brown Hill area and the very background. And that would be, you know, that's going to help just give the green something to contrast against, but also, you know, give it a nice warm color. So this, This particular painting is a dominant cooled piece. So we've got a big blue sky. We got these kinda cool grays. We've got the coolness of the green. Green is generally speaking a cool color. So having that little punch of reddish brown in there. It's going to balance it out, ok? So you don't want it to be too cool. So you don't, maybe you do. Maybe I've seen paintings where they're done with all cool colors. I've seen paintings were all warm colors. But I think having a dominant cool with a little bit of warm and they're less good. So this is a cobalt blue. Putting a little bit on my palette there, you can barely see it, but it's there. And I will be using that for the sky. So the, the grays and the whites I've put down there still wet. And that's okay. This is kind of a block in. So with the block and I'm not going to be too fussy about everything. The goal was to get some local color down to get the basis of how things are going to mingle. How does this blue liquid that, and then that, that'll give me something later on to compare things too, but also to make better decisions on where I want the final colors to be in terms of hues and values and so on. So again, I'm a broken record here, I get it. But I think for artists, things sink in at different times. So I'm always aware and conscious about mentioning things and repeating myself. I know that may drive some of you crazy. And if it does, I'm sorry. But for those of you that are like me, things again will sink in the first time. Other things will take awhile. So I tried to be subtle about it, but I do want to just kinda say again, this is block in, so block and it's just all about getting things chunked and don't try to get the colors correct. The first time around is get them in the ballpark. The goal for me is to not have them be correct. So I want them to be a little bit off. They can be too late, they can be few dark. Sometimes I even use the wrong color, so something may ultimately be red. I may use blue or yellow, and no one that I'll come back over top of that. The right color and that'll give the right color something to sit on top of. And when I start to do the second layer, I always leave a little bit of that first layer shelling. And that gives that color vibration that gives a level of interest to the finished quality R. Now you can see I'm moving back in with some grays now. So some some of those grays when I originally put them down or to dark. Typically speaking. And I talked about this in my landscape painting Fundamentals course. Colors come closer to you. They're a little bit darker. They are a little more yellow, they're a little more warm. As a move away, they tend to get lighter, less yellow, more violently. So I wanted to make sure I pushed some of those grays and the clouds back a little bit. And to do that, I just use a little bit lighter gray. Now I'm getting some darks. So Jenkins green, a little bit of blue, little bit of red. I have a small brush here as well. So I typically will paint most of my art, especially landscapes with the flats, I have a large flat and medium flat. And then, you know, in a painting, fairly small 13, this is really a 13 or I'm sorry, ten by ten inches. That paper is 13 by ten. But this is a square format, so there's a good chunk of the paper on the right that it'll be cropped off. But I have a small pointed around here that I'll use for some of the details. And because his painting is so small, I can't really use my flat for the trees and these little dots on putting down. But I wanna make sure the landscape itself, excluding the sky. So basically where the sky meets the horizon and the land, I want there to be some little dots of trees and does some, some sort of interest in there. That breaks up just the land in the sky itself. Now I'm going into some more saturated blues. I know I'm off camera here, so I'm using cobol white. There's probably a little bit of gray on my brush as well. I'm going to add a little bit lighter blue. Because again, as colors move to the horizon like this, they're going to get lighter and value and then as it, and also get a little bit grayer. And then as, as blue of the sky and moves towards us. And it'll get more saturated and perhaps a little bit darker. Alright, so moving along here now going in with some of my whites. And that's not pure way that white has a little bit of blue, a little bit of those tans and reds and oranges that are all my palate kinda subtly mixed in there. Always tried to avoid using pure white and lessons, just like for a highlight or little speck of sun hidden someone's shoulders or something like that. But always trying to push that blue or the white back a little bit by adding a little bit of gray or another color. So we had this big area of sky and at the top of the painting, so as it meets the horizon and gets down towards the horizon, I want these bands of kinda clouds. So it start the clouds kinda start to break up into these smaller and medium-sized shapes. And again, that's just about creating entrust. Variety is very important. So we got big clouds, medium clouds, and then we have some small clouds, we guess some round fluffy cotton clouds. We've got some long more horizontal bands of clouds. So again, variety and just keeping an interesting is the key. All the while those grays I started with are kinda moving down from that top left hand corner, kinda down into the clouds and then it kind of dispersing as it meets the horizon. So it's kinda like taking you down into the landscape and then kind of break it apart so that you can enjoy that little sliver of green down there. Alright, so just taking my time here, observing what's there and adding a little punchier colour, making sure that the shapes are interesting. I'm not really trying to paint clouds at this point. I'm just trying to look at the overall cohesiveness of the strokes, of the colors, the patterns that are going on, making sure there's not too many similar shapes. We can sure the colors have variety and so on. This is a very, very abstract painting, even though we're dealing with the clouds and land and trees, we've got literal objects here. And the approach is very abstract. And this is a great when you can take a simple landscape like this and just have tons of fun creating these lovely little landscapes that just had this really abstract way about him being you just have a lot of fun Danone and, and getting engrossed into the loose brush work and stuff like that. So now I've got a really small detail brush here. That's actually a watercolor brush, a travel watercolour brush. But I just put a lot of water on it and then I'm dipping it into these kinda light value graze, creating a feeling of some rows and maybe a street. There's different details that you would possibly see if you are out in the country. But here, I'll use the same brush and accentuate some of those reds that are back there. But looking at that little red, a little pop of red in the middle off to the right. Ads. Such a nice contrast to the other cool colors. I mean, without it, it would be flat. It will be kind of boring in my opinion. So little things make a big difference sometimes in art, so little bit of smudging here to smooth out the edges, but here you go. This piece was again taking an natural light. Hopefully you can appreciate the abstract qualities. And again, this is a fun one to paint. I love paintings like this where we're, we're, we have dominant clouds and we can just have a lot of fun with the shapes and the stroke. So anyway, there it is. I'll see you guys in the next one. 16. What Makes This Work; Cloudy Day: This painting is really all about abstract shapes. So again, I know we're painting clouds and hills and a little bit of a land mass there, but actually the abstract masses that hold this piece together and make it interesting. So the ground plane is very thin. But then we had this very, very thin band of trees. So you have a land mass that's probably a medium size. And then you have a band of trees in the back there that are very, very small. So that thin band of trees is separated though. He had this long band of trees on the left, and then you had this kind of brownish red hill area. Then you have a very small mass of trees and the, you have a medium mass of trees. So again, if we just look at that little band or trees and hills, There's asymmetry there. So again, the long band on the left, the small little mass or cluster towards the middle right. And then the medium-size cluster towards the right hand side. Then you had these subtle gray perspective lines that lead as a path. Or to collectively they become this sort of path that takes you into the painting. That they could be rows of trees or dirt, or maybe even some streets or something going in there. It doesn't really matter. Without them. There would be, it would be more difficult to get into the painting. So anyway, that's that. Now let's get to the fun stuff here. You had this very abstract shape of the clouds moving in from the left hand corner. And it kinda takes you down into the horizon and the sort of horizontal bands of clouds. So you had this one kind of almost triangular looking shape of all these clouds moving in from the top left. And then it kinda breaks apart a little bit. Cue the small horizontal masses that eventually connect to the horizon and the trees. So they kind of melt together. And again, that shape needs to be, needs to be interesting. So the clouds moving in from the top left hand side. We, we want to think about them in the design aspect has like one mass. But those shapes, you know, need to be interesting edges and something that is fun to look at and not too boring. Now also have a little cluster of clouds off to the right, but that's only two. Keep your eye on the painting and to kind of balance it out. So the larger mass of clouds is clearly on the left. And then you have some immediate mass on the right. And then these small little clusters towards the horizon. But notice how those values of the clouds, there are some dark values of gray. But all that eventually kind of melts into the horizon. And then it kinda almost those dark grays and the clouds almost start to blend in with the darks of the trees. So they kind of, they start to mesh really well together and that creates a nice flow. So what would happen if that cluster of clouds was coming down the middle and wouldn't work what it. So here I'm doing a little sketch to show you how a design like that just simply wouldn't work. Because then you would have equal space. You would have symmetry. But then you would have equal space on the left and the right of the clouds. Whereas when the clouds come up from an angle, the top left-hand side like that, there is less space on the left and more on the right. So there you go. There's a breakdown on how this painting works. 17. Demo Six - Country Road: Catch grown. So pretty obvious what we're doing here. Nice little road taking you in with some trees, simple but nice and abstract. This will be your template for this project. Again, paper is 13 by ten. Another scrap piece. And I'm going to start very similar as they did with the previous demo. So yellow, some dairy light yellow CAD read into some of my graze on the palate. And then my palette is getting to be a little bit of a mess here. But I think it's usable. So this keep on rolling here. So a nice brick red. And for the tone. And as I put that down, changed his strokes. So sometimes, you know, gone up and down, left and right. Kinda you can even cross hat, she knows sort of thing. So that you end up with a tone and a color that is, has brushstrokes moving in different directions there, but now mixing a little bit of a warm yellow into it. So a little more dairy lied. And I'll finish. And that'll again, just kind of break up any sort of pattern where things are all the same color. So even in a under painting or a tone like this, I like to like to have variety. And that's just kinda how my brain is working there. That may not make a huge difference in the finished piece, but I think it's just a good habit to get into. So everything is dry obviously using the hairdryer on notice how flat that color is, hence, the mat acrylics that I'm using. So Matt basically means it's going to dry without the sheen and gloss that standard acrylics Have. You can think of gloss or something like that that has a similar finish. But if you don't have Matt and most of you probably do not, then by all means just use whatever acrylics you have. And he could do this course, the oils to it's not going to matter much. Alright, I'm using my thin liner brush. This is actually a signature or a script brush. Laying in my design, again, nice and loose, getting away from details, as I've mentioned before, and getting the big shapes in there, trying to do it as abstract as I possibly can. So even at this stage, I'm, I'm keeping a loose. And if I can find a better way to paint something with more freedom, with more character than that, then great. And I'll try to make note of it and preserve that sort of idea as I move forward. But again, just never really too careful about putting him on design and I'll try to stick to the plan. But I'm gonna put it in nice and nice and loose. So. Anyway, getting things marked off here and just making sure I've got things balanced out and accounted for. Think something like this will work fine. And now I can move into the next phase, which is guess what? Blocking in. So starting with a nice muddy, kinda bluish color, you can see I'm mixing that in, right with those grays. So I'm not cautious at this point about trying to put things down, a color down. That is a no, I want the final painting again, keeping it loose. I felt like that little tree on the left-hand side was kind of a hinderance, so painted over it because I know I can come back later and easily add that little tree. So it's not going to hurt me but will bring that back later on. But for now, just to block in that cloud, it will be easier just to paint over it versus China paint around it. So that's it. So again, that color is nowhere remotely close to the vibrance that I want in the final peace, nor is it. The re value is probably much darker than what I will need. So I don't care. But it is down. That's all I'll want. A dal using some greens. So the lemon yellows mixed with the Jenkins little bit of titanium white. And I even left some of that balloon from the sky. All my brushed as blues will kinda mix them with those greens a little bit. And kind of make it a little bit choppy kinda. So as not to, to green, broken up a little bit. And now going right into the reds, into those graze on the bottom right-hand corner. I'll start to add the road, but I felt the road was a little bit too cool. So it was little bit those leaning more towards the blue side. And because I have a big blue sky here, want that road to a warm hue. So I wanted to lean more towards a red or orange gray, then I do a cool gray. And it's pretty dark. And ultimately I want the road to be light value. So adding some lighter values. Now, knowing that those hues I'm adding are going to dark, dry, quite a bit darker. And so that allows me to say, okay, this is kind of, I'm going to go lighter, but I know later on that's going to draw a darker, so I'll have room to go eat in lighter later on. See you can't really control acrylics and that way you have to just plan for it. So if you're in a final stage of a painting and you want to color to be a certain value, then you have to go a little bit lighter. Always, just like watercolor, watercolor dries lighter. So you almost have to go a little bit darker. Sometimes with watercolor known as fun and dry. Lighter. Alright, so going with my darks now, so viridian green, little red, little blues and some of my grades that are already on the palette. And mixing in a little bit of the dark grey now as well. On the right, I'm going to crop off some of that bush there on the right that was probably gone up a little bit too high. I want that section of Bush's to be lower so that the, the trees and the bushes in the back have more height to him. I'm so you have different levels. So it kinda low, medium, high type of thing. That's going to, that's a design element, which is very important. I've got this little tree off on its own there. Kinda sticking out, looks like a little stunned, you know, but that's sticking up there. And notice I went straight to the darks. So all of those verticals so far are very dark. And I'll come back later and add some lighter values to that. But for now, I'll just keep them dark. So will stop here and then I'll see you in part two. 18. Demo Six - Continued: At this stage, everything is dry. So again, you can look at that paint and see how flat or mat that is. And you don't see any of that glossing that you normally would. But because of my lights and the way this is angled, it's going to look a little bit flatter. And eventually we'll fill that up for you so you can get a better feel for how those colors are looking. Now, remember that little tree on the left-hand side that I painted over. I'm going to start to add some darker green and lighter greens to these areas. Now the greens I'm adding to the verticals are going to be darker. So the goal here with a design is to get these dark vertical masses in place and then kinda surround it with these lighter values. But, you know, I'm not trying to paint leaves, china pain branches. I'm just trying to take this sort of mass of dark on the right and make it look interesting. You already know it's a tree, you already know it's a bush or whatever. So I don't have to tell you that silent had to paint leaves and sparkles and all that stuff to get the point across. As an artist, I just have to make it look interesting. And you do that through variety. You do that through, you know, you can do that through expressive brush strokes. And now you don't always have to do it through details. So a lot of artists would do that. Notice a oddest paint, more leaves and more details and all at all, they just all have shapes. They don't have they don't have variety, and they're lacking, you know, things that they typically don't see because they haven't been taught or they're just not focused on that and they're focused on the wrong thing. But for me, it's taking shapes like that and making them interesting through brushstrokes and through the handling of colors and value. And even being stingy with colors sometimes is a good way to entice the viewer, you know, to say I'm in, I mean, look, look at those subtle greens and all of a sudden he had this big papa green over here. But that big pop and green is exciting because there's no other green in the painting like it. So that's all about being stingy and working your colors and don't let the color as work whew. Alright, so now just again, Greene's putting reds into those greens to make it nice and dark. Breaking up that little bit of green in the goin around those trees. Again, again, just trying to make it look interesting. And that's a tough thing to teach sometimes because decisions on making they aren't strategic. I can't. Fully explain exactly why this aesthetics, you know, looking at what's in front of me. And I'm trying to make decisions and puts strokes down that ultimately make the piece fun to look at. And that's kinda what I'm after. And sometimes that there's no formula to that, you just kinda have to go with it. And then if it doesn't look right, then you keep working it back and forth. You can do strokes up and down. You can do strokes left to right. You can do things diagonally. You can do a series of short choppy strokes. You can do one long curved stroke. So we just kinda keep mix and match and a little bit until you feel no, it's work and all the while, I'm making subtle changes to the color, so I'm not sticking with one color. Adding a little bit of a yellow, adding a little bit of dark, adding a little bit of blue, all the while to those greens. And that's going to help create variety. Alright, so let's get back to the sky. Remember that blew up, put down originally was money. It wasn't clean, it wasn't the right value. And I will set in the table. Okay, you're, you're basically painting for the future. When you do that, you're saying, hey, I'm going to do this this way now. I know it's incorrect. I know it's not what I'm after ultimately, but that's setting the table for what I'm going to do later on. So now as I go over that blue, Notice how how much more vibrant enlightened value the blue on put down is. But I'm also leaving little specks of that original blue. So that creates interest. It creates variety. And and you know, it's important to have that. I'm going to make this blue in the sky, the quiet space that I don't want it to be as choppy as the trees. So if I did, then it would compete with the tree. So I won't interest in the sky, but not as much variety in terms of strokes and colors as I did in the trees. Because again, if I did that and you can look at it now, especially since I haven't an angle, you can get a better feel for the colors. You would see how they would compete with each other. You wouldn't know where to look. The sky would be distracting me. The trees are distracting, but having a quiet sky allows the trees to jump out at you. So again, another play with brushwork and other little technique of painting that you have to learn. So a lot, lot to learn. But all in all, you know, this course is designed to, to, not to take some of the thinking off the table for you. But I'm explaining things to you. But, you know, this course is intended for you to take some of these templates. And some of these paintings and create something similar off of it. So that you go through the motions. And you don't have to deal with design and composition. You don't have to think so much about trying to create this, these interesting shapes and variety. But by Dawn it is sort of paint by numbers. And I don't know, I guess you could even say, maybe you're cheating a little bit because you're not only yourself, but as an artist, you know, getting started. And you know, it's important to build confidence is important to understand things. And I think the best way to understand things sometimes is to do it. That's why school and painting school. They'll have you recreate things the masters have done. And they don't do that for you to paint like them. They do that so that you can understand some of their techniques, some of the things they're thinking and maybe about composition and maybe about color. And they'd be about style. And maybe about handling values, whatever the case may be. Learning, copying isn't really a bad thing. I encourage artists to actually, to do it. Because if you take an artist you really like and you start to kind of copy what they do a little bit. Now you're learning from them. You're able to sort of get inside their head a little bit and break down some of the wise that they have in their art. And of course with me talking you through this stuff. So, you know, copying and reproducing some of these works is important. But I'm giving you those whys and why things are a certain way. And I'm not just saying, alright, grab the red, grabbed the green, mix it and we're gonna put it here. That will be paint like numbers. And that's not really teaching was much. So what I'm trying to do is kind of balance it out, you know, give you the do some of the heavy lifting for you so you don't have to do it. So this course was about design and composition. Then I'll be talking about designing composition. I'll be handling it differently, but this one's about easy landscape paintings. And for that, Dawn, the values I'm Dawn the templates. I'm doing the designs for you. If you want to learn about design and composition and take a design and composition class on this one is all about building confidence and putting paint down. And all the while understanding why things are the way they are. And these little lessons are important for you because they're all, they're all part of the journey. They're all part of the learning process and building that confidence and that knowledge base. So anyway, as I'm doing this, I'm just working colors back and forth, adding lighter values here, darker values there, and trying to bring the painting together as a whole. So here using some kinda yellowish greens. Adding some grace to that. So there's grades are going to knock that green back a little bit. Adding a little bit lighter value to it to break up that dark mass right there. So that dark mass was a little too similar to the dark mass that's on the right. So you can see the dark mass moving up the right-hand side. So if you looked at the a bunch of the trees on the right, I don't want those dark masses to be the same size. So adding that little bit of broken green there wouldn't made that big mass smaller. So that's, that's all about variety. With, with painting. I look for asymmetry. I'll look for things that are balanced but not the same. Shapes. You will want to have interesting shapes. You won't shapes that are big and small, medium. You want to avoid shapes are too much alike. You want to watch out for rhythms that are too much alike. And, and that's, that's what this area of the painting, the stage of the painting is all about, are now coming back in with some blues. I will get a nice creamy blue here. I'm going to shorten the height of the tree there on the, on the right. I'll work with some of those edges and kinda make that were there road comes in there towards the middle. I want to make that color nice and creamy and and saturated I guess. And then just kinda controlling those edges around the trees. But that road that takes you into that area of the painting. And then from there you can kinda branch, left, branch, right whenever, whenever you wanna do. So there you go. Moving along pretty good here. Just clean up some of the edges. Looking for abstract qualities. And going around the tree on the left here. This, again, trying to balance it out, find the right shapes that work. And you know, once I'm happy with it, here, I'm using some light greens, some of those kinda earthy yellow greens. And I'll probably add a little bit of that around the tree on the left. But then again, maybe not. So i'm going with more of a creamy green, kind of a lime green now I'm putting that dairy line yellow into it, a little more white. So I went to a value that's lighter. And so I just want you were that sun is kinda kissing that hill there, that bank as it moves up. I want that to be a little more vibrant. And I can add a few dots and spec so that green and different areas. And that's just kind of bring in the ground to life a little bit. Typically in a landscape, the ground plane will be the lightest and value. Second, lightest and value to the sky. Skies are usually a lighter value unless of course you're dealing with some atmospheric conditions like cloudy days and stuff like that. So now just sprinkling in a few medium darks, adding that across the shadow of the road and, and here it is. So that brings us to the end of this demo. Hopefully you enjoyed it. Hopefully you were able to take some lessons with you. And hopefully you're painting, turns out, well, if you have any questions, always reach out here to help you along the way. 19. What Makes This Work; Country Road: So this piece is very simplistic. All relies on abstract shapes. The shapes have to be interesting. So at this one we add a horizon line that is higher, so there's more spaced whereas the bottom of the painting and less towards the top. Clearly the road is our pathway and the painting. So that says come on in, check it out. And from there, it's really about the design of the shapes. So we have a mass of bushes or trees on the right hand side and slightly smaller. Then the mass on the left, very, very almost the same, but there is, I would say that well, on the right is a little bit different or smaller and now notice them while on the right is kind of a roundish sort of shape. And then we had this kind of triangular looking shape of the one on the left. So important to keep those masses different. So they're not similar in shape. And then the angles are very important too. Look how that mass of trees on the left has interesting angles. It connects to the top of the painting and then kinda comes down. And then we have this sort of interesting shape moving off towards the left hand side, that left-hand corner. And there's a few blobs that are kind of make up a tree that's kind of isolated by itself on the top left hand side two. So again, abstract masses that, that is key. So we have again the large on the left, the medium on the right, and the one on the right at all kinda the way it stage. So the road is closer to you as kinda in the foreground. The trees and cluster of trees on the right is closer to you than the one on the left. So they're, they're offset in terms of distance. Now Q connect them. We have shadows, so the light sources coming from the right hand side. So we have some shadows ring here running across the road. And they sort of connect to the trees on the left-hand side. So almost you could think of this as these two masses are separate, but they're also joined through the shadows, so they almost become one mass. But again, look at the edge quality and look how those, those edges are just moving in different angles all the time. So is there, there is very little similarities between those edges. Now to make the foreground more interesting, there's just some dots basically that break up that land mass. There are some subtle changes and color. You don't have all one green, you don't have all one yellow. And even the dots that are there, some are darker than the others, and so on. So there's also that little Tan mass on the left hand side. It could be just some dirt that's on the side of the road or something. But again, it just breaks it up, but they're very similar in value. So doesn't break it up so much that becomes two masses is really still just L_1. And again, repeating myself here, but this is all about interesting shapes is again, a very, very simple composition. But, you know, the shapes we want to be, you know, they have to be fun to look at. You don't want them all to be the same. So if I did a bunch of trees and shapes are all similar like I'm doing now. It would be very boring and the piece just simply wouldn't work. Now this is not a very complicated painting, but it's very subtle. And just because it's very subtle and it looks easy, doesn't necessarily mean that it is. And I certainly encourage you to give it a shot so that you can start to work on creating these interesting shapes because that's a huge part of painting. So there it is. I hope you enjoyed it and I'll see you in the next one. 20. Recap & Assinments: Congratulations on finishing the lessons. I hope that you enjoyed the course as much as I did creating it. Know too that if you have questions, no matter how silly it may sound, ask them. That's why I'm here. I will respond as soon as possible, I promise. So again, thank you for your time and support and interest in the courses I create. I appreciate it. You guys take care, stay safe, and I'll see you in the next one.