How to Paint Outdoors With Confidence | Malcolm Dewey | Skillshare

How to Paint Outdoors With Confidence

Malcolm Dewey, Artist and Author

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16 Lessons (1h 53m)
    • 1. Welcome to Outdoor Painting

      2:41
    • 2. What is Outdoor Painting Exactly?

      7:32
    • 3. Basic Materials Required

      10:41
    • 4. Composition Essentials

      12:00
    • 5. How to Compose Your Painting

      6:50
    • 6. Plein Air Color Mixing Tips

      7:36
    • 7. Color Mixing: Grays

      5:05
    • 8. Plein Air Confidence Tips

      3:42
    • 9. Your First Outdoor Painting

      8:06
    • 10. Part 2: Your First Outdoor Painting

      6:04
    • 11. Beach Scene: Part One

      4:27
    • 12. Beach Scene: Part Two

      9:16
    • 13. Plein Air References

      4:53
    • 14. Bonus: Go on an Adventure

      13:10
    • 15. Bonus: Painting Adventure Part 2

      8:47
    • 16. Conclusion

      2:06

About This Class

Try an outdoor painting adventure! Outdoor painting is growing in popularity. What was made famous by the Impressionists is now a must do activity for all painters.

Why is outdoor painting so popular? Does the idea scare you?

For many beginners painting outdoors seems risky. So much to go wrong. But the truth is outdoor painting will make you a better painter much quicker.

This course is an introduction to outdoor painting techniques and approach. Even first time painters can enjoy the experience.

Learn about:

  1. The essential painting basics;
  2. The materials you need;
  3. How to prepare for painting both physically and mentally;
  4. How to use what you paint for bigger and more exciting studio work.

Outdoor painting will change your life and painting. Not sure?

You will never know until you try and this course will give you the motivation to start.

Ready?

Plus a fun assignment and a workbook to help you along.

Let's start outdoor painting now.

Transcripts

1. Welcome to Outdoor Painting: hello and welcome to this introduction to play in a painting our Malcolm Dewey, Andi. I'm going to be showing you a few techniques that have been useful for me to get into outdoor painting. This is an exciting way to paint, and it is also very challenging. But I guarantee you that if you persist and try out some outdoor painting, maybe once a week or even twice a moment, that's going to strengthen your painting and your confidence and your ability to translate a scene into painting so much better. The important things about painting in general are sort of boiled down and super concentrated. When you're standing outside and looking at a scene, it can really fire you up on get energy flowing. That might also scare you. But if you keep a few of these techniques in mind and remember what's most important, you'll be able to paint our doors with confidence. And I also want to show you that it's not a case of having to get art into some sort of special. Once in a lifetime place, you don't have to visit the Grand Canyon every time you want to do an art or a painting. You conceive from examples in this course that your complaint very nicely from your backyard, standing on the balcony or any local place close by. Remember the impressionists? Some of them painted amazing paintings from the hotel window. Just on idea. You can stand behind a window and look outside when the weather is bad and stop paint. What? This would be technically an art or painting. And that's important to remember, because what is the sort of Bard? It's something about getting your information directly from nature in full scale and not from a photograph. So I hope you enjoy the course. Find it useful and please promise me that you will trust some outdoor painting as soon as possible. Enjoy it. 2. What is Outdoor Painting Exactly?: at In this introduction, I'm going to talk to a little bit more about the importance off plane, a painting and exactly what it's all about. As the name suggests in French, it means painting the M paneer. Or, as we like to simply say, well, I outdoor painting and the importance off art or painting is that it hopes he gets your input directly from nature. Most artists these days are painting from photographs, and the problem with that is that cameras don't show you everything that's there. The camera has to compensate for lights and darks and the extremes, and the camera simply cannot see what the human eye can perceive. So you may end up with skies that look washed out and over exposed darks that are under exposed. And the result is you missing a lot. And these things like distortion created with the lenses and for it cameras thing to compress things. For example, a mountain in the distance in the photograph appears quite small, but when you facing it in real life, the mantle's would be huge and looming above you. So you get a completely different, uh, perception off nature and without getting that from time to time going outdoors and getting that direct input, you actually weaken as a painter and as artist. So we want to free ourselves from photographs. Yes, photographs are still important, but they're not everything. And we want to expand the influences, expand how we paint and what we learn from nature. You can start off with using outdoor painting simply as a reference. So do a a sketch in whatever medium you trees. Take it back to the studio and with your whole sensory experience together with, um, what you perceived the lats, the dogs, the colors is your true, um, input from nature. And you can put that into your studio painting with confidence. And the Impressionists made art or painting famous and the very popular activity thanks to the invention of things like the paint tube which made art or painting portable and possible. And, ah, the Impressionists really coined the fundamental term off. Um, let nature be your guide and I think that is one fundamental thing that we need to remember is if you painting landscapes and so forth lit mater show you how to do that. Her You don't have to complete a painting or carry the pressure of going outdoors and forcing yourself to finish a painting. I think most outdoor painters finished their paintings it back in the studio, but at that point it's refining it to conclusion. What you get from the optimal situation is no me lively and spontaneous and very energetic painting, and if you spend too much time in the studio working on it, you're gonna lose that. But certainly some studio time to refine the painting is just fine as well. You can also use some art or painting for journals, whether you traveling or just in your daily business, taken opportunity to record something that you see if you got some time. Um, and many artists produced fantastic journals from working from life a swell. So use your journals and make that a habit. Okay, the medium. You don't have to stick to anyone or mediums that you can use. Really, they're there. So many pistols, water color, oil's even. You can painting oils on ah prepared um, card or watercolor paper. Just go over it with an acrylic medium, and you can paint on it with oils as well. The main thing is be prepared if you carry a little sketch book with you and your preferred . Okay, Uh, items. Pencil. Kranz, Watercolor pencils. Filter, Marcus. Whatever it is, if you have those handy, you can spot an opportunity and get a quick note, maybe something a little more, and that can help you back in the studio. And your plane equipment can be very simple. Most plenty artists foot everything in a backpack. Um, you may carry your portable easel around as well, or one of those nice little suitcases with the wheels on, and you can just pull it around and gets two on our spot for painting. But we're getting to the materials and little bit more detail, so keep it simple and practical and remain in the moment. Enjoy the atmosphere. Trying sec Oppa's much of that experience. Um, the whole emotional experiences. Well, you can take back to the studio, so start off with the small projects. Don't. If you intimidated by art or painting, don't jump in the deep end and sit up your usual in the middle of the town market. Um, work in your backyard or from the balcony, even looking through the window at the street scene, for instance, like, um, unaided and many other Impressionists, so there's nothing wrong with that. It's about working directly from nature and then take it further on your travels. See the world. Once you look at the surroundings and look at place, you visit through the eyes of an artist. You will see your surroundings for better than anyone else is just walking around taking snaps with a camera. Once you are painting or sketching, taking close note off your surroundings, you'll get so much more out of it and enrich your life as Wilma's you'll painting experience. 3. Basic Materials Required: welcome to our studio, but we're not going to stay in the studio long because today we're going on a close outing . I'm going to take you plenty of painting and we're gonna have a look around the seaside town of Port Alfred and maybe do a bit of art or painting on the beach. But before we leave the studio and hit the road, let's just show you briefly what I do for painting kits. When I go and find our doors, try to keep things very simple. And this is probably my simplest set up that I can manage. First item Tripod. This is not to hold the camera, but I probably will need another one to do that if I'm going to show you some video. But this is in fact, to carry my paint books. This little camera screw can fit onto a bracket under my painting bucks, and I'll show you that in a moment. I have a basic piece of luggage like this. This is just a regular suitcase with the shoulder straps. If you have a bit more money to spend, get one with wheels on. This one doesn't have wheels, so this Conversely, carry everything I need and more. There's space ful a few luxuries as well. But first, the most important is the paint box it. So this is a paint box that are converted. It's basically not a made up playing a paint box. I took an ordinary pain. Books took up the compartments, put a hinge. So the lives in place a couple of little brackets done years ago from the hardware store at the painting panel fits in. What? And I use the bottom off the box as the pellet. It's quite cheap to do on Daz, probably the painting box I use the most. The main trick to this box is aluminium bracket. With the camera, uh, facility up to screw in. The trap would screw over there. Now you can have this made. You can order them online as well. Um, you can buy camera screw attachments from photo shops. You can probably find it online as well, and you can get on. You can make these up yourself might seem like a lot of trouble, but actually buying a paint books like this already made up for you, um can sit. You book a lot of money, and I like the challenge on and always said, or to spend money on some good paints and brushes. One other thing I did waas add a thick plywood base just cleared it on to the bottom of the paint box because the normal based off the paint box is very thin. So I needed a thicker one to screen this base plate and etcetera, and it gives it a little strength. So I glued on. I'm a thick piece upload sent me to think on just sanded the edges, give it a coat of varnish and ivory lifting a little pain points. So the next thing you need is something the paint on on. And I use a couple off MDF panels that I have cut at a timber shop. On these are the panels two panels like us, you concede us India. A couple coats suggest so on the front acrylic Jessa, and that's it, really to go on go. Very simple. I just pop them into the paint box. I can get my hands on one of them, as you'll see when I do, the demonstration just pops into the paint. Looks like this with a little brackets of the bottom hold it in place and it was sense, strong winds, anything like that. It's actually quite secure in its little in the lid compartment they on Take it out and you can put it in a witch panel carrier if you have one, or just lay it very carefully in your car. But they always to carry with panels quite cheaply, even if you don't have a, um, fancy with Penhall carrier books and I'll show you that little took right now. So if you got a couple of panels you painted on and you need to transport them easily and effectively, you can simply use the old matchstick method. Put a matchstick at the corner on the wet side off the panel. You can take another one and put it on top. Now on the those matches actor spaces and then just taken elastic band and put it around Onda uh, all thumbs on model works on, and then you carefully take them apart. Back in the studio, you might have to do a little bit of touch up here and there, but you're going to do that at the studio anyway, that sold them. That plan a work is perfectly complete. Straight off at the scene. This a few little things you're gonna touch up anyway. So that's how you can do that very inexpensively. I've got my panels on God's some latex gloves for keeping painting solvents off my hands and also at the end of it. Make sure you have keen ends. If you're going to get back into a car, you don't have to fuss about cleaning your hands and getting paint on things. Brushes. Take a few brushes along basically, these full. I think it's a number eight to number six is on. Da little rigor type of brush comes in handy for a few things in the final stages. My role off pencils and felt markers for sketching and composing the scenes in a little sketchbook tissue paper. In one form or another, you constantly have any keen your brushes with tissue paper. I sold him clean them with the Terps or anything like that on location. Having said that, I do take along some odorless white spirits. If I need a medium and in the early stages of the paintings with the paints, just take a bunch off paints alone. Standard colors, all the primary colors, As you may know, by now titanium white as well and a few convenience colors like Burnt Sienna. Andi kept me, um, orange, sometimes handy, to have it in a tube and not have to mix it. Firstly, it to blues cool blue like surreal Ian and a warm one lacked on offense should say woman like Ultra Marine Blue. Two reds Woman Cool again Cad red lattes and Eliza in crimson for a cool dealers woman. Cool cared Lemon is cool and deep yellow of any variety will take care of a warm yellow on CNN and yellow car. A nice to have convenience as well. Hell it enough. Very important. Take a couple if you can. You gotta keep cleaning your palate off as well, to make space to mix paint. Also, to obviously actual, do some painting with the palette knife. So that is very handy plastic packets to throw a tissue paper and any other mess you make. Leave the scene clean and no littering, obviously. Ah, a little sketchbook. Andi. Something to help with composition. Anything. I'm a square cut up. He's a cardboard help you compose. If you have nothing to help our sledge consistent. Just using your fingers will help as well, and that is about it. A straightforward is that I like to try and get a small penny like 10 by 12 done in about 40 minutes from start to finish, and then I find tune it back in the studio. So that's it. But have you? Obviously you're so fun with you. Take a few pictures, three of them on social Media on Also record your progress that can be helpful to see what you did at the time as well. So simple. Set up. Now Let's get out the studio, get outdoors and see if there's something worthwhile to paint. 4. Composition Essentials: can. It's ever look at a few composition essentials. First of all, always be aware off the corners and edges off your painting surface. You want to avoid taking the air into the corners and towards the edges off the painting. What we want is to remain in the focal area. So the primary objective is to take the viewer's eye into the painting and lead it to the focal area and then maybe on to a secondary focal area, but always coming back to the focal point. That is really the primary objective of every good composition, so free paint objects that attract I to the edge. We're going to confuse the viewer, so you want to avoid things like people in the wrong place or objects that attract I like a building right. Using lines lines have a strong attraction factor. In every composition, you can use lines to advantage or disadvantage, like in this instance, the lines take the I to the corner and the edge off the painting panel in a very strong and dynamic fashion. Instead, we'd rather take that to a focal point. Using lines now diagnose lines extremely powerful composition element, and you can use diagonals effectively, but once again, if you put them in the wrong place or draw someone's eye to the wrong place, you're in trouble. Use verticals to break diagonals or other diagnosed lines, perhaps more gentle diagonal line, and that will help to slow down the force of the diagonal. So overall, let's try and use a diagnosed, but use it correctly. So balance it out with other, more gentle diagonal lines and take the eye to a focal point. You can also use thieve verticals, for example, a tree or telephone poles. Things like that to help create more balance. Mawr comma composition as well. It's the number five. Be aware off. What recall these it effect. This is, Ah, quite a classic compositional device, especially used in sort of sweeping landscapes, and you'll see diagonals receding into the distance. And it's quite a pleasing device because I just naturally moves along these contours because we see this in nature all the time. So why not use that ability in your paintings as well? Excessive repetition using the same shape, we want to avoid that sort of, um, sta Carter effect off the same shape, land up like fence posts. And it is a distracting element because it catches the eye and creates a aesthetic composition instead. Very the shapes, very how they look. So if you're doing fence posts, imagine ones in some district pay, pointing in different directions and having the effect of the lines, but with some variety. So we want variety off shapes. For example, in the trees again have a tree. Have a small tree big tree. Break it up with some bushes, shrubs, different shape trees. Nature is pretty chaotic, and we don't want to paint a formal garden. Um, when we're doing a landscape, it's very easy to paint diesel lollipop trees or down the side of the road all the same shape and size we want to avoid that. Use overlapping shapes, a great way to increase depth in your landscape and also variety. So the moment you notice overlapping shapes, you're going to immediately think off three dimensions on returning out two dimensional painting into something more diamond dynamic with three dimensions. So whoever left those trees and shrubs, the hills rocks. Whatever appears in your landscape, trying overlap a few things to suggest depth. Buildings as well the classic example of the street scene. Lots of overlapping shapes there that's quite easy. Try and build that into your landscapes at all possible. Maybe a big shape right in the foreground adds drama and a sort of window into the painting . So vertical lines are something that helps us to get balance in our landscape and something we can anchor the landscape around. Most landscapes made up of lots of horizontal on and it can get monotonous. You need to look at ways, try and break up that horizontal monotony with a vertical or two. For in this sort of example year. We've got the idea off, maybe telephone poles or electric poles and, um, and not drawn perfectly. But see how it immediately adds some interest and a bit of a variety. So balance is an idea that is frequently raised with compositions. Um, unlike in laugh paintings, I should not be balanced, Um, by the idea off 50 50. That's ah, we keeping a variety of shape, but that's still achieves balance. So if you imagine the seesaw or a set off scales, um, what we trying to achieve is not having 50% on one side, 50% on the other. With a painting, we can have a small object balancing a large object. But if you got one side off, your, um, painting has a dominant shape, and other side has nothing. It's gonna be out of balance. But just a small shape can balance a large hope. It is the concept off asymmetry, and for some reason we humans really love a symmetry in a painting. So keep that in mind. You can achieve balance, but not in a scientific fashion. Off scales the rule of thirds well known concept with pretty much all heard of this and various terms for it. Golden section as well. Basically, divide your surface up into thirds. And if you put your focal point in any of the intersecting lands as off pointed out here, you pretty much gonna have a strong asymmetrical composition. Avoid putting a focal point directly in the middle. It's not impossible that it could work, but preferable and more likely that you should avoid it. Also, things like even numbers, try and avoid them. If so, it could be with its people or dots off color. Three is better than two and five is better than form. So when you're doing your composition and looking at your plane, it's seen. For instance. Look out for mass ships you want to arrange mess ships, Large mess shapes. Your biggest mess shape, particularly a dark mass, is going to be more striking. It's gonna anchor the scene. And as you can work off that, so look for first thing you do with your composition is look for dominant mess shapes and ah, or shapes that also are different, that stick up that are going to attract the eye tips for perspective When you're doing your composition, keep in mind. Perspective applies to the sky as well. So if you got a cloudy scar, lots off clouds around, make sure it corresponds to the perspective off land as well. Division off space We've spoken about quite a bit already. What it comes down to is, um, we're looking for a cemetery, So don't divide your painting surface up into equal parts. Um, distracting elements that are quite common. Hard edges and high key color. Um, these are things that are gonna attract the eye on Dooley. If in the wrong place are so strong value contrast as well between light and dark. So if I put a bright color on the edge of the painting, it's going to take the eye away from the focal point, or at least be a distracting in a minute could actually be just a small blob off color, and that could distract you. So look out for those things and remove them too many details, putting in bits and pieces that are really not taking the painting any further, but all sorts off, distracting little details they're going to, you know, what's the purpose of it? Studying the monster paintings, Ask yourself why certain a master artist use certain techniques, compositions that you find pleasing. Ask yourself, what has the artist done to make this painting a pleasing composition? So above all right back where we started keeping, the viewers are in the picture plane taking it around and don't distract from the goal off . Keeping the I in the picture plan right. Simple and strong composition is always best 5. How to Compose Your Painting: right now, when you outdoors, you don't have a lot of time to think about the important things. You got a short space of time. You got the sun moving along the thymus well, and you need you act and start painting as fast as possible. This means knowing exactly what you need to do when you are confronted with a scene. Now, in one of my other courses called Harder Ed Howard to your painting, I go through the essential basics off preparing your painting and how do it translate? There's initial impressions off values and shapes into a simplistic, two dimensional droid. Using their technique is critical every time you go painting outdoors. So the first thing to have with you when you start outside is something to help you establish composition and two pieces of card like this. You'll see me use them. In some of the demonstrations. I find the most effective composition tool. It is cheap. You make it yourself. This is just some cardboard, and, uh, I've cut out these two l shaped pieces. By using them. I can move them around and credit all sorts off formats for a painting. That's number one number two. I can use it to crop the scene in front of me by holding the composition tool and on a Romer's landscape format square portrait format, all of that very simple to achieve, and you hold it out and look through it, and it'll tell you where the parts off the composition it into sick. Which sides of your painting panel obviously you will follow the same sort of format here as is your painting panels. If you're planning on a landscape circus, you also crop a landscape shape. You can use some paperclips to hold these pieces together just to get the right size. And as you doing your skitch, keep this handy. Raise it up. Just tick your shapes and positions again, and then you'll move on and record that in your little sketchbook. I like to keep a small a five book like this. It's easy to transport. You can put it in a pocket. Andi, that's you can use it when you have a moment, even that at any situation where you got some time on your hands, I find I'm either going to use the soft pencil or some sort of felt took marker. You can get felt markers like this with a sort of brush tip or the traditional, which shape which took a felt tip marker and like up showed you in the course or a few to at heart. You're painting. Simply do a small sum now skitch off the scene and getting those big, dark ships quickly. Don't be precious about it. Don't worry about drawing it outlines, etcetera. You don't have time for that. You want to block in the big dark shapes the shadows withers our recorders quickly because the sun's always changing and their shadows again to move. So you want all of that in very fast. See what the big dog ships are. Put those in and you can find tune that a little. You get other felt up shades of gray light grey, for instance. My just help you add another value to your scene. Okay, so if you're not sure what values on you're not sure about, how do you work with shapes? Encouraged you to have a look at at part to your painting. You'll find it with my other courses and use that technique. It is very, very important then, when I start my painting, I've got the sketch next to it and under all the refer to the sketch and block in the big shapes on my painting panel. Got a panel like this. You put your sketch next to it, and with your big brush on your dark pains, you basically are copying the sketch Monty of Panels, and they have a really established a composition and got all the big shapes in quickly. You can do this whole exercise within five minutes, and that is the way to work with established composition. Quickly outdoors on gets you going in no time at all. Other than that, there's really not much to it. There's not much else that you need. You need to get into the color mixing and color application pretty quickly. As off demonstrated year, you starting with the darks and shadows shapes do the same thing on your painting panel established the dark shapes established the shadow family, septal, those that fall within the cool, dark shadow range. Put those in first, if at all possible, and that's it that is making a quick start to your art or painting 6. Plein Air Color Mixing Tips: now, before hitting outdoors and starting to paint direct from nature and producing beautiful paintings like this one by Claude My name. We need to look at the basics off color mixing. No, no, that I do suggest that. And certainly there's no problem with taking a few convenience colors with you. And it makes life a lot simpler, adding some yellow Coben sienna, for instance. But I'm going to show you the essentials off kind of mixing only using the primary colors and some titanium white. And this is simply to illustrate an important fact. You do not need every tube color in the paint shop. Secondly, having too many colors is something gonna hinder you and add confusion to your palate. If you can mix the essential colors using the primaries they knew or well on your way to being a confident and quick painter, especially outdoors. Sometimes you may find you forgotten some burnt sienna back at the studio. What are you going to do then? Are you going to do with Arterburn Sienna? Sometimes you need that color, so to be able to mix that from your ultra marine blue, red and yellow is a great advantage. Things like that will help you work quickly and confidently with color. I'm also going to show you the basics off mixing graze, and this is not black and white, but gray's as in de saturated to ST colors, colors you don't really give a name to, except to say that it's a warm or cool or light or dark. And it's sort of leans towards something reddish or bluish or greenish or yellowish that top off description. You'll see these in paint swatches at your hardware store, hundreds of thousands of color variations. Well, that's what you see in nature as well as your job as the artist to simplify this scene into these few colors that you can mix on your planet. So we're going to show you the basics of mixing these greys that you will be using in the majority off your landscape. Painting at four are painting outdoors suggest starting off with a basic pellet off the prom breeze. Amusing kid memory lot Cambrian Yellow lemon, ultra marine, blue light and titanium white Right now, a quick look at the color wheel. We've got our primaries macular red, blue and then the complementary colors which really the opposites, the color wheel divided between the cool colors and the warm. Remember, always the relationship between one to the other will determine whether it's cool womb. Keep those things in mind. Relationship is all important between the colors as to whether it is, uh, warmer or cooler, so the one is common. Mixes in your landscape will be variations of green. And between Kidron, yellow, lemon and ultra Marine, I can mix almost any green that are required. In fact, you're pretty much will be sorted. And then, of course, rid green being complement of rid. You're in years read, too turned on a green. It's too vibrant And, uh, of course, adding what? Tencent further and cools it down as well. So you get all of these nice variations simply using your ultra Marine Kevin Mueller, and you kept me read and, of course, using white to tented as required. But I was always say, leave the white art until the middle and letter stages first used the years without what and bit down those colors to start off with your dogs and refined and adding more color with his little white as possible until the end because what months white is in there? You committed very hard to change colors once white is in right. Other common mixes, of course, are the earth colors. Of course, you can bring in all of those yellow and read makes probably the best orange you can get on then variations. What's some clear to make? We're going into yellow joker and burned Sienna, depending on how much read is in there. So we've got NATPE earthy. Brown's coming in and with a what, and we start getting into neutrals as I mentioned to you before, the use off Gray is very important in a painting you'll notice on these paintings, for instance. Oh, the various colors, ALS types of grays never been mixed with elements off the primaries in them, some white added as well. But these blues, none of these come out of the tube. These Marlott lock move colors on the various sand colors have all been mixed. Two broken dawn to more authentic colors from the actual scene at so in the sky as well. So these aren't directly out of the tube. There are mixed graze, and the seen in front of you will be mostly made up off those sort of colors 7. Color Mixing: Grays: Let's have a look at some of those greys that I've been talking in bottom. The common mix that I used a lot is varlet and variations of other from warm and coo. So using the rid and blue, let's look at Violet Now I can use that has a transparent, dark and, uh, work that into foliage and so forth or in shadows. It's lovely, dark, transparent, purple. If I need to warm it up, obviously add a bit more red now. As soon as we bring in somewhat, I can see we're getting in us. Great. Violet had more read to it, warming it up, but more what we're getting. I womb gray can not sort using that, perhaps in the sky over cost scars and so forth. So there's all sorts of variations in that has of shown before greens. Any landscape painting or even Seascape green is gonna feature a lot warmer greens, more yellow sunlit greens. Notice no white involved in this yet break the green donna, but adding worid touch of red into sort of all of drab, all of green. Now for bringing the whites, we've got a cooler grace green. I can work on that Some more bringing Hiller bring in rids Almost going to the violet stage now as well. On the earth turns yeller, Hercus and, uh, hitting towards yellow polka. And I can vary that with Mensah's well, bit of white getting in us light, warm, coca going All of these are neutrals were all grays and there used a long time on And remember what tends to cool down. So if it's looking a little too cool woman up again, Okay, Heading towards almost a warm peach Nice gray for clouds is a bit of orange and some blue and you can find actually severely and blue works very well for that And, uh, getting in us great going and a bit more What? And so there we go And this is simply by doing on the palate. You can't worthies art in percentages accurately. You simply work them as you go. And this is what makes the stock of Impressionist painting so great responding to the colors art and mixing them as you go along. You won't find these colors in tubes, but you'll find them in nature, and that is while painting them quickly and responsibly. our doors is the best way to learn out of mix paint. So there you go. Try mixing your paint, um, out of those primaries and what and your invaluable lessons about color, value and color temperature. 8. Plein Air Confidence Tips: when Claude Monet painted the famous Impression Sunrise painting that we can see here. He obviously had a lot of experience behind him already, and he was already a confident young painter. Now, when you are looking at painting outdoors for the first time, maybe you are excited and looking forward to it, but also a bit nervous. It's natural to be nervous in the situation, and we all are, and the way to get over that is simply to practice and and start painting outdoors. Now, in this course, I want you to become a confident art or painter, so I'm not going to suggest that you head down to the beach or the local park in mid summer and stand in front of everyone and start painting. If you're comfortable doing that, then fantastic. But for most of us, we want to start in stages and build up our painting ability and the confidence that comes with that. So I'm going to start with a simple project where you can paint from your backyard or your balcony or portrait wherever it is convenient to do so in private but still get that outdoor experience. So the first demonstration will be painting from a balcony, and I encourage you to do this. And why not paint from your own home arts outdoors looking out, Maybe the sky, maybe a sunset? Many opportunities. Even painting some footprints outside in your garden is an opportunity to paint outdoors and get information direct from nature. Then we will move into more challenging environments outdoors, in public and during painting as well. If you're in a busy place and people are looking at your painting on, take it in your stride. If you want to stop and have a chat with someone and do so, I find it's a great way to meet new people, maybe discuss your art as well. And who knows? They may take note and by painting from you one day or simply the one that you busy on. People love to watch other people paints on, and especially on Arthur situation. But in most cases, people will leave your learn. So don't, um, first about it or think that they are criticizing you. Him almost every instance they're going to be it really impressed and inspired by you. So don't worry. Let them watch and they'll move on in the time and just take it in your stride. These various scenarios off showing you obviously not even scratching the surface of possible art or painting subjects and environments. You can paint him, but make a start and just enjoy it and go with it and see where it takes you. 9. Your First Outdoor Painting: right in this demonstration. I'm going to paint playing there on a balcony, using my basic travel kit, sitting up the personal bucks. And we're just going to show you how simple it is to paint from your backyard or balcony up chairs on the scene in the distance for its composition elements. And it's going to confirm the large light and dark shapes with her No. 10 skitch. It's Meyer palette that I'm using a couple of extra colors in their earth colors, in particular some white spirits. And I've turned the board with kidney and red light, and I'm going into blocking in the large dark shapes, using a mix of ultra Marine and a little bit of burnt sienna. This is very simple composition. Lourdes, um, that brought dark shapes from the trees, the road leading the eye into the focal point. And, of course, the largest light now is the sky. As we know, the Scots should always be, in most cases lighter than the land, because that's where the lights coming from. And then I've got the darkest dark in the light of slight shapes and are going to the middle value, starting with E um hills in the distance with the low value mid tone mid color, therefore the aero perspective. Or bring in a few scar holes through the trees a bit later and now into the gross areas. Also mid value. Getting full sun so quite a bit of light, but still not as light as the sky. And then the only remaining middle value shape is the road itself, and once that is enough, blocked in ALS, a major shapes, and then I can simply develop the remaining shapes with the smaller shapes. The important thing to get in is the Macheda area. Always like to bring in a shadow across the road, if possible, to at interest in lead. The I in and those shadows change as the sun moves. So get them in at the beginning, in your blocking in stage and stick to the position off those shadows. No, I'm mixing a bit of been sienna with some titanium art for those road colors and then going back into the darkest darks not to develop them and, um, still using ultra marine and buoyancy enough for those darkest areas. Ah, good to remember with ease tops of the trees is keeping on those ages. We went to soften those ages as the painting develops. Um, now, also, the direction of the sunlight is important. My son is clearly shining from the top right to lift, so the shadows we're going to follow that and the trees as well. So the docks on the left must be emphasized. Well, there's quite a lot of dark in this tree line, as we can see from the reference. So there's a lot of opportunity for light against dark, um, transition. And that is what adds a lot of impact. Two paintings adding a little bit of green to this. But as you notice it's all cool greens, we haven't got to the sunlit light areas. It so with those cool greens, are bringing a bit of surreal. Ian, um, some kept me a Mueller light and a touch off titanium white to start bringing those shapes forward. Painting quite loose paint store, Remember, were working from, um, Fetter over lean, so restored off with fairly washy paint using white spirits and the layers off fairly thin . Also, I like to keep shadow areas quite fun and then really bringing the thick juicy paint in the sunlit areas that always works well, and it does emphasize the light. Um, the temperatures off the paint is very important. So see where you want cool temperature and make sure the paint relative two other areas is cooling those areas. So more blue, less yellow. And, ah, because there's also quite a lot of foliage layering over other for Lige, we want trying to sting wish the shapes as well. So we'll do that with varying light and dark shapes in those trees and bushes, and also variation off the temperature between warm and cool paint. So now, bringing in some of the sun touched him trees and bushes. And, uh, just simply reworking the Lord shapes with smaller shapes dragged the paintbrush in the shape of the Trias well, or the bushes, and that hopes to define them now, working into those cool shadows member cool shadows when the is warm light and generally, if he's cool light, the centers get warmer. In this case, let's abroad Son coming up in this early morning scene, So shadows are going to be nice and cool and bring in a bit of definition, the suggestion off tree trunks, Um, also and not bring in warm bronze, but keeping them cool as well. So we're getting some definition in those trees now. We're going to go back into the sky on bring in some warm sky at the closer to the horizon , and the skull get cooler as it dries up. So we almost finished are blocking in, and we're going to port to for developing and finalizing this painting. 10. Part 2: Your First Outdoor Painting: in part two of this demonstration would continue with working on the sky area. See, I'm bringing in some surreal ian blue just to graduate that sky upwards into the darker blue. Try and keep the sky lively. I find that's always even in if there's no clouds, keep it lovely with nice brushwork and variation to show some movement in the sky. I'm just breaking down those hard edges off the tops of the trees by reducing the value and going over the edge with the brush to brake. That's why did bringing in some of the scar holes but keeping the paint darker than the bright sky. Just so those scar holes don't jump out at us too much and that this is, ah, process off developing shapes off as I've mentioned, I'm doing a quick study for this demonstration, so I don't want to go to four with the shapes. I just want to define what's there and get a sense off the composition. Maybe I'll do another painting based on this in the studio or Lords of Vision next time. It's at this point in. In all plan eight paintings were, ah, find have to look carefully at the subject again because it's very easy to and just wonder off in your mind and start painting shapes and and you you kind of lose track of the actual reference out there in front of you. So I really look at the scene and see where our martyred drifted off. And, uh, try and reestablish really, what I'm trying to achieve. And that is just a on a nicer, juicy paintwork, um, lots of thick layers and a sense of light. So the aerial perspective that I have worked in in those hills ever slide Bluish violet quality, which I feel works nicely with the yellows in the foreground. Middle ground values of those two complementary colors always work well in a landscape. So thanks time to working. There's yellow cross areas and get some thicker painting there and, uh, get that nice, um, warm, cool counter change in light door counter change going as well in the shadow areas. The nice thing about using a small format board like this is a simple composition like this can look quite effective. And if you let up, the paint kind of do a lot of the work for you, so be generous with the paint. I keep the shapes relatively simple and strong, and, ah, you get an our sense off off the scene. There's no need to go into a lot of fine detail. I find that if you step back quite often, look at the painting and squint is, well, a little edit. And if you get that feeling off of, um on the scene in its simplest shapes, then I think you've done enough. I'm bringing in a figure in the distance just to lay in the sense of scale and some interest in the focal area just to define that a little more. And there's not much else to be done to this painting, I think, to go much further with developing shapes, Um, would be letting myself be sidetracked by details, so bring a few marks on darker marks into the grass areas for interest. I'm some direction lies in the road, maybe, and then I'm pretty much done, and this little study on the balcony is a complete him. We can see how easy it is to get some plain air subjects in your own backyard. 11. Beach Scene: Part One: I'm on the beach in the put Alfred getting ready for some plain aid painting. My basic set up for short books, a little panel to paint on. And, uh, yeah, this is what it's all about. Just a peaceful morning on. We'll see what happens. No pressure. Tried a few things, and hopefully there's a nice painting at the end. Got a basic set up. 10 year mark. Ultra marine blue, cerulean blue. A bit of Eliza in crimson Cared Raid lot yellow yellow boots. See, You know, using somewhat spirits on the three brushes ranging from size four to size 10. Start off with some basic blocking in the dogs. Try and get my composition worked up. I'm using my usual mix off ultra marine blue and burnt sienna with the white spirits to thin it out. And, ah, use this very loose mix for putting in the the dark shapes, and I'm working it in. The thing was painting play. Nader is one always is looking for something to let onto and to use as a starting point, and this process off using large brush putting in the docks helps to settle one Don, I'm going into the sand part on DA not going directly into the sky, but sometimes one just is motivated to go into amid value area on focusing on the beach Onda. It's obviously getting most of my attention. I'm getting in very loose, sudden color and are getting into the sky area. The main thing is that he skies the lightest light and, ah, that reads correctly because the sand below it is darker but will be the second relight area as it will be reflecting a lot of the light coming from the sky and then another mid value area. Stonework those in I can see some mash shadows on sunlight breaking through on the beach. So try and get the mark 10 Rock Now don't forget working in but the I said, I'm just noticed the lot coming through, and I'm waiting for that to breakthrough again in the over cost sky and and I'm picking that light up and getting in some white and yellow polka. When you see these light effects happening, it's best to try and get them going as quickly as possible, because they tend to disappear just as quickly and one tends to forget in the moment Just what it is that you're so good in the the lot breaking through onto the section off the beach, bringing in some of the lights now that have been highlighted in the dune grass and, ah, working quite quickly just getting a feel for this painting as it develops and unfolds before me. 12. Beach Scene: Part Two: in port to off the demonstration. I'm working on the development off the painting, all the darks and lights that have put down in the first part. No need to be developed for them. So the symbols Siri's off brushstrokes always say, this is when I start putting in the smaller brush strokes. And then I finished off with the smallest at the end. What I'm trying to work on at the moment is to define the Lord shapes. I'm also trying to get colors right looking at the sea. Uh, on this particular day, it looks more great. Greatest blue, and even some lot bluish purple's coming into it. Violets rather very sold him that find The sea is perfectly blue and in the wet sand areas which really involved experimental mixing but of your lurkers, some cerulean blue on, uh, a few details suggested for the breaking waves using a large brush, titanium whiten and a touch of your local for highlights, which set off court nicely against the more complementary colors off violets and and gray violets in the sea, and then back into the wet sand areas as a mentioned yellow oka, some cerulean blue bit of violet gray it down a bit and that it's sufficient to give the impression off the wet sand while working in the bush is on the top of a sand dune. I'm showing off some of the highlight areas, but I'll have to rework some darks into that just to define them and also make sure that I'm not forgetting aerial perspective. So in the distance, the greens will be blue Donna. But I don't want to lose this impression off the light coming through, but also my mind on the the edge between the sunlit sand and the the gross. And I don't have to keep that in mind and develop that towards the end of the painting are getting in some of those dark greens all right, and a few suggested details. The thing that I'm painting playing there in this situation, I can't actually tell you what I'm thinking off. I'm looking at the scene looking at the board, and that's almost an intuitive process, perhaps that something comes with experience and develops of a time. But if you stayed too long at the scene and you tend to almost freeze up, so I try to keep the brush moving Young working in the foreground. Details. Getting in a lot, doc Variation off shadows and lot. So what's so important in these groceries to show some of the sand between the crosses? So that's what I'm doing now is just bring in some of the cool sand color, and this connects the foreground to the middle ground. We're still on the beach, and I can see saying, showing through the beach Gross. Bring that in and just carry through the colors So everything connects up and the painting becomes a whole rather than just jointed. But this is the final stretch off the painting demo, and this is my opportunity to put in finishing touches a bit of lots and docks in the distance on the beach Houses was being suggested with muted values. Graze a few spots of light, and that's really sufficient, as always, there any dogs that need adjusting to define shapes. I'm order at some contrast between lighter areas that do that. Just keep in mind the aerials perspective colors or reducing in intensity and temperature in the distance. Um, this ah, hardest edge between the Latin dark area and ah, I'm trying to, uh, put in a few lights in in the foreground. But as you see, this is something I will have just laid to run. And yes, you know, a bit of color here and there had some interest at some energy. But as always, the challenge is not to overdo it. And, um, the longer you paint more chance the result over doing these these marks a few touches in the scar to balance out the lights and in the landscape. So and we're almost done. We have the final painting on its being framed and we can never quick look it, What's being done? How Trixie painting back to the studio and had a look at it on which is a practice holiest do with plain a painting. And if they need touching up in the studio or after a few days reflection, then I have no problem with it. One of the things are changed straightaway. Waas. I was not too happy with the dork. Uh, well, they're straight edge between the shadow and the light here on the beach, so added in some large coming through just to break that in shop. Otherwise, there is not too much else that did, other than had in the suggestion figures in the distance, perhaps one or two other little touches off locked here and there. All in all, I enjoyed this painting experience on Port Alfred Beach, and I'm pretty happy with the outcome. I think it's a good impression off what I was experiencing. Lee. There's a good balance of light on dark for the color and some interest something that's broken get some interest with something that grabs the either. And I'm happy with that. And you can see that when painted in a loose and brisk fresh and like us, they're still the under painting showing through year on there. And, uh, I like that. I like that the under painting is also working. Yeah, you know, it's it's something that has some energy and the bubble. A great learning experience when you're painting and the pressure actors at always makes something different. I'm always a bit of a surprise when it turns out okay 13. Plein Air References : at all. Painting is not just about completing paintings from start to finish. In fact, a lot of my work art doors is in preparation for paintings back in the studio. So if you're a beautiful scene like this, you can in quite a limited amount of time, make perhaps a few sketches, some water color color studies use watercolor pencils as well and add color that way, which is a very, very easy way to make what is really some sort of watercolor painting very little trouble involved. So all you need is your A five sketchbook, or maybe an A For that final A five is very handy to have. You could take watercolor paper if you want a roll up off pencils and pencil crowns and um , maybe a watercolor brush as well. Basic little travel kit like that can accompany without any real problems, and you can take an opportunity to get fantastic studies from outdoors. Yes, you can still take photographs, but the experience and the time you take him and really looking at the subject very closely is something that's gonna add a lot more to your painting experience. So years, a shorter video clip as well off some of the rays that I go about getting references at a scene. So Don, it seemed like this. This is my basic kit, and I can even get a bit off local seawater as well. For water color. Just find a spot. Sit down here. I'm getting some water color paint onto travel Pellet making a few. You know, 10 sketches with fell, two markka, large felt a markup. I've divided up in a three page watercolor paper into smaller panels of different sizes so I could do different tops of studies. Vertical horizontal test a few things, get a few ideas on color as well as composition. And then you can take these back to the studio and create a painting. And the composition is already worked out. And then try out whatever painting medium you using back of the studio might also be water colors that might be oils and acrylics. Whatever you are using, you can follow these sketches. Um and it'll help you. It will help you take time to figure out maybe the shadow on the rocks where you want highlights. Onda, how you want to position your composition sometimes I find when I'm doing the sort of exercise art doors, I may not like what I'm actually doing, and that is one way for me to actually figure out that I'm not going to try that back at the studio. These little thumb now pen and wash studies are fun, immensely useful. I love the pen and wash concept and users, often as I can and do paintings, form a large part off my usual painting work for the you can see lots of ways to use the outdoors to benefit your painting overall, and I encourage you to usar tal references and immediate feedback from nature as a way to prepare for your painting and and help you to start seeing the subject like an artist. In other words, observing it closely for those lights and darks and woman coup color and how to train yourself to see composition a lot better 14. Bonus: Go on an Adventure: Let's go find out way. Do some painting. - Okay , let's get started with this painting. I've decided to set up on the sand like this. I'm just going to sit down and paint the subject, mainly because I've got the camera on the trumpet. I normally prefer to stand up and paint on, Get more movements and I can walk around. But this will do nicely, and it's a nice spot in the shade as well. Starting off with a bit of a lizard crimson, cadmium, orange, cadmium, yellow, lemon, titanium white, ultra marine blue. A bit of deep Euller never occur. Cerulean blue and a few brushes from size eight and six. Using little touch off white spirits here just to get the ball rolling, loosen up the paint for the really stage composition finder. Really essential tool. This according to without it when impacting plane A The little hole, they told me Spot color. I can squint through there and figure out what calories and try and mix it. So this is just homemade, costs nothing and hold it up like this, moving around and get the composition you want and I sort of started are just roughly drawing out the composition, holding the viewfinder up in my left hand and, uh, painting the basic lines. I'm getting straight into this quite quickly. So normally I would have this skits start on a notebook as well. But I didn't have the time this morning, so I'm just getting into it, laying out in rough sort of lines where the main shapes are going to be before I start the block in with a bigger brush. Kind of getting, ah, a sense off the emotion of the waves as well. So quite entirety. But it'll all come together as we progress on this full ground using this diagonal line, I kind of remember, relate everything shape wise to your HRH as, um so, um, Drew that in second line on the on the panel using a little I think this is eight, but in panel first, um, looking up, seeing with those waves are and now getting the sky in some using titanium white with a surreal ian blue touch of a lizard in but more white. And there's no real clouds in the sky. But I'm gonna have to create a bit of interest on movement in the sky using big brush. It really does help to do your scar with a big brush. Biggest brush you can get your hands on. It makes lots off nice shapes and happy accidents, but more surreal. Ian in the top layers of the sky get a bit of depth of suggestive it of depth, laying quite a bit of paint near the closer to the horizon. Scar is warmer, but a haze Art in the skies Well, but fairly clear day. Not too windy. Actually. Beautiful day. Great day to be art on the beach painting. So the sky has some things going on. You couldn't really describe a cloud clearly, but is there some interest? And that's what's important. I just need to make up that horizon line a bit. On, uh, was distant rocks. It was sort of suggest that with a bit of ultra marine little touch burnt Sienna border, but of birds, CNN at the last minute and then a bit of grays rooks before we get to the thin strip off sand distance, and it's quite like that sandal. The I have added just a little bit off surreally integrated donna, but to, um, bring in a bit of the aerial perspective, even if it looks very brightens warm, you know it is distant, so you may. I just have to cool it down a bit to make it read correctly to the viewer. So go to push it back just a little bit so soft. Agere's soft edges between the, um, sand dune in the sky that also helps to suggest distance. So just remember softer edges and cooler color for aerial perspective. A bit of ultra, some orange making a pretty dark green. For that, there's distant vegetation on the deer and Soft Ages store. Keep those itches nice and soft on getting those, but of June in no real details are not too worried about that. Now I block the vegetation in fairly thickly, even though it is far away. It's fairly thick, Andi, I'll come back later with some sand color and cut in, and just to break up those docks of it for now, just blocking it in Witsend at into like, bit of a lizard in but of blue Touch of Iloka. Nothing makes a fairly convincing with sand color. You can also try magenta in civil Ezrin. It has a similar effect and sometimes a bit more, Uh, brought, I think, but warmer magenta. But, uh, that's being my sort of staple. Makes for wet sand color a bit off surreal Ian White and touch a green. The moving water closer to me is showing up definite green turns to it, darker blue as it moves away into the distance. I've got to decided from good to try and makes that color very accurately, or am I gonna push it a little? And I generally like to push it just a bit to make those green colors in the sea of it more vibrant, just looking in those darker blues. So what I'm doing with the water is rocking in sort of passages off blue and green color. More concern about the value off those initial passages off color, the lower layer over them with darker paint or lights of paint and especially the, um, whites off the breaking waves so that will be layered over the passages of blues with thick white paint. I say what but very little off the breaking waves is what but you know what I mean. It's all layered on top of the blue. So get the base don first, and now come in with the thicker light valued colors. A lot of the breaking wave, depending on where the sun is shining, of course, is in shadow actually on. And it's just the top tips off the way that are giving direct lights. I remember that and apply it but off cool temperature. What to the indirect light on the breaking waves, suggesting but of the um firm on the sand as well. But a sparkle of the distant water against the Iraq's in the distance, Remember, or so with the aerial perspective, it's also size, so shapes gets smaller with distance, so you'll have little waves in the distance. I think that is pretty clear to most of us on a small painting panel like this one tends to compress the subject a little asses well, so you can get a lot of information into a small surface. But there's a row perspective. Cues become very important now, just filling in, looking at the subject, looking up a lot at the subject. These I want to bring in shadow in subtle foreground area. Andi, just very vague shapes. Two defined you. It's kind of working my way through the smart 100% sure where I'm going with these sort of foreground shapes, but that's more like sitting up a window. So you're looking. Pass this full ground into the distance so these cools in the foreground are acting more like a window and now, with the big brush again, just lumping in that thick paint, quickly developing at lots of texture. And that's going to introduce you to the smaller shapes in the distance, hopefully carrying that perspective through and the concept off a window to the scene in the distance. Nice, thick, juicy paint, titanium white, a little touch of blue, cerulean blue. And then, in Part three, we'll get into the completion off the painting. 15. Bonus: Painting Adventure Part 2: right. It's just move out the sun a bit on and having seen a few people on the beach, I'm gonna add a figure I usually trying out a figure to add a bit of scale and interest to the scene. So just very some poor, with some ultra marine blue and a little bit of been soonest or a dark shape. And then a little bit of raid touch of Eliza run on. They figure Onda very simple, just so that it reads correctly. Okay, a few more details in the foreground sand. These suggested shadows, which I have improvised. I don't normally do that, but I didn't want the foreground just to be too flat. So improvise those shadows and with the pellet not bringing in a few thicker passages off paint. When I do this with apparent off, sometimes I brush it again, just keeping an eye on that age, softening it up a bit. Andi, A few sticks. A few dark accents are also important. It's not just about highlights. It's also dark. X cents conduce similar sort of function and bring interest into sort of flat areas. So look around your scene, get inspired by What is there? Use what you want to use Big brush. Sometimes the poets life just a little, too, Um, how how to put it a little too hard in the shape. Um, so it is not up again with the big brush, that water's edge, the wet sand. Just bringing that around a bit. Of course, the curving beach on bond water's edge is also a nice compositional element to take the eye into the painting. Adjusting these ages and shapes a little. Just a subtle differences. Working into the waves touches off de saturated green, just a slightly darker in value. A wave is made up off different value shapes, from dark through to light, A few little touches. Sand does come in a bit, getting to the in stages of at least what I'm trying to achieve your and not small touches . Sometimes you can overdo it, so you do it sparingly on. You can always add in back at the studio if something really needs to be in there, then put it in suggestion off. Bit of June gross here and there, or so just to break up shapes. And as I mentioned in the beginning, I need to break up these large soaps on the sand. June as well at just age is to keep them soft, softening up this edge of it, right? Let's pack this away for safe travel, I thought. I demonstrate the matchstick spacer method, not something you should do without some caution. And as a last resort, if you don't have a wit Penhall carrier than this will have to do, because I certainly can't cycle back to the studio with a wit painting that's unprotected. So with spaces in our sandwich, the wit painting to the dry panel, the gap is there. So tape it'll up nice and tight and secure, and it should be okay, full a short trip back as last resort. This will have to do on finish up. Well, that's Bean are painting expedition today on the beaching foot offered can really ask for much more than this on. Hopefully that guarantee, um, turned out okay, have a close look at it in the studio, but when I'm Archa more this painting almost instinctively I'm not singer box. The painting. I just want to get a feel of the scene and experience it firsthand. That's completely different from being in the studio. So actually different. It can sometimes be a shock to the system because their comfort your comfort zone is completely missing. So you've got to you, you got guts it. Arts could be quite overwhelmed, not know what you're doing, but you just assist. Just persist. Just go for it. Just put down paint. Look for lights and darks. Put those dominant for the big shapes. I don't think about details. Do that back in the studio. This is this is getting in touch with your subject. If you reach a stage in your painting and you really don't know what else to do better than to just stop, just sit. Look at the scene. Fun Feather mart. Watch of the colors you looking at. Just absorb. Be like a sponge. Absorb the feeling. Absorb the colors and the smells a lot and enjoy it. Enjoy the moment. Maybe you can take those feelings are almost certain. You will be able to take those feelings the experience back to the studio, and it'll enrich your painting on. You'll feel a lot more freedom back there painting as well. But anyway, I think time Teoh hit the road to get on the back, take a ride back, have a cup of tea and they have a look at the painting. I hope you enjoy this little after experience with me and how free we can do a few more really do enjoy sharing these moments. Not always easy to capture it on camera, but it's been fun back to the studio and indeed, so let's have a look at this painting. Did it survive? Skittle the tape off, Open it up and, uh, I hope it's not too smudged, but my care looking all right. Few matches moved around. Easy to fix that up on. There it is done happy. 16. Conclusion: So now you've completed this introduction to art or painting, and I hope it's stimulated some ideas and maybe inspired you to try it out. Even if it is from the comfort off your back yard, it's is a way to speed up your learning process. As an artist, it will take your confidence and painting ability to a much higher level than if you just working in the studio. That's just the way it works. At first you may wonder about the results, your chief. That might be a bit spotty, and you may be a little bit of stress on your first few times. You paint outdoors, but you'll soon get over there. You can make it much easier on yourself by starting off slowly in more controlled environment like a try to demonstrate in the course, but have a go with it. Try it out as soon as you can. In any medium, you choose in any manner you choose and for whatever goals you want to achieve, whether it's just for taking references or doing a complete painting that's totally up to you. But bring their art doors into your painting world and you weren't regretted remember also that you can join me on my website for more painting lessons and tips and on my YouTube channel, this plenty off videos that are upload wrinkly as well. On day, maybe I get to meet you on instagram. But wherever we meet again, I hope you get lots off painting done and that you enjoy it and that this course has been helpful for year. Until then, chest for now.