Impressionism - Paint this Autumn painting in oil or acrylic | Christopher Clark | Skillshare

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Impressionism - Paint this Autumn painting in oil or acrylic

teacher avatar Christopher Clark, Professional fine artist and instructor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (58m)
    • 1. Introduction - Who I am, and what is Impressionism

    • 2. Preliminary Drawing Study - Why It’s So Important

    • 3. Preliminary Drawing Study in Action

    • 4. What An Underpainting Is, and Why It Is So Important

    • 5. Underpainting in Action

    • 6. Cleaning Your Palette and Brushes

    • 7. Opaque Painting Part 1: Light Source

    • 8. Opaque Painting Part 2: Continuing with Foliage

    • 9. Opaque Painting Part 3: Finishing with the grass and foreground shade

    • 10. Wrapping Up

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About This Class

Learn Impressionism techniques creating this Autumn landscape painting. For total beginner through advanced painters.

Impressionist painting with a focus on light. Bring a luminous quality to your paintings you’ve never thought possible. Learn how to build a painting in one sitting, “alla prima”, and how to savor interesting brushwork. You will also learn the invaluable concepts of drawing, value, color, and edges. Use these methods and knowledge to start your painting off right if you're a total beginner, or to take your painting style to the next level if you're more experienced. You’ve never painted like this before.
  You can paint along with me during this entire course. I even have a camera angle that shows my palette as I'm mixing colors. You will learn crucial painting techniques in the process of creating a beautiful painting. Or feel free to just sit back and enjoy the show as I create a painting from scratch.
  The reference photo I'm using is provided, as well as a materials list. You're free to use your own style of materials of course, but I'll list every single thing I use. I also provide a PDF flipbook showing each stage of the painting, so you can flip through quickly and see how the painting builds with each stage.
  This course is partial toward using oil paint, and I highly recommend it, however you can use acrylics also. Many of the concepts I discuss in this course apply to all mediums of art.
  So take this course if you're ready to improve your painting with methods you've probably never seen before, and will have you thinking about painting in a new way. For all levels of painters. 

Meet Your Teacher

Teacher Profile Image

Christopher Clark

Professional fine artist and instructor


I've been passionate about telling stories through art since I was a kid. In my home in Orange County, California, I used to watch Bob Ross (the afro-wearing painter of "happy little trees" on public access TV) and I would mimic his paintings using crayons. I grew up knowing that creating art would always be my life's endeavor. I was never fortunate enough to pursue a formal art education, but I've more than compensated by private study with accomplished instructors, collaborating with highly-esteemed local artists, and devouring countless art books and videos.

The art instructor who had the most profound impact on my technique was impressionist master Vadim Zanginian. Private study with Vadim in Los Angeles, California completely reinvented everything I knew about painting, and ... See full profile

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1. Introduction - Who I am, and what is Impressionism: e there. I'm Christopher Clark and welcome to my painting course Impressionism Painting with Light. I've been an artist most of my life, and I've been a professional artist for many years. So I'm happy that joining me for this really fun painting class one of that, you know that you can paint really great painting in one sitting with oil or acrylic. I encourage oils, but you can use acrylic also so that we'll get right to it. I call us course Impressionism because the style of art that we're doing is focused on interesting brushwork, fewer details and light effects created with fund brushstrokes and things like that. That's what ah, a lot of the early Impressionists and late 18 hundreds were concerned with was mawr fun, interesting brushwork. Rather than painstakingly hiding your brush strokes and making every detail perfect and exact the way you saw it, it was more about light effects on things like that. Eso. Another thing to think about is your painting what light does to an object and what shadow does to an object, not the object itself. So we're painting what you see, not what you know. If that makes innocent and we'll explain that more as we get into it. Um, so let's see. That we can do is jump right into the four main concepts of painting that applied to any kind of painting medium you're working with. The first would be drawing. The concept of drawing is the way something is constructed and the, you know, we think about drawing as like, lines with pencil and paper and things like that. And that's sort of like the basic. You know, this drawing is foundational. You know anything within a painting there is a drawing inside of it. It's how some things constructed has to do with linear perspective, proportions and sizing. If you're doing people and animals has to with anatomy and and I think drawing is one of the most important elements in painting because it can very quickly make your painting look professional and riel or absurd and amateur. I'll get example. You're painting a person, and the head is slightly too big and the arms air off to the side and one arm is longer than the other. And, you know, the house looks bigger, you know, than the mountain. And then things like that Those are drawing problems that will make your your painting look amateur very quickly, so those things need to be right on on with that. You could do clever brushwork around really precise drawing, and it will still work. The next concept is value, and value refers to a scale of light to dark light. How lighter color is, how dark color is anything like that. I think a really simple range of values, a light, a medium and a dark on some proportion of those is the key to making your painting really strong. Um, and making the message read really well. You can have. You can have almost no color and have a really strong on simple value range, and it will be a powerful painting. Um, see another concept would be color. Color's easy On the surface. We know reds and blues and greens. Those are the hues of color, but there's also things about color, temperature, warm colors and cool colors and how they interact with each other because color temperature is relative. One color is warmer than this color, and it's cooler than this, and light it can be warm and then shadows or cool and that kind of stuff. So those concepts really important on the last concept in painting is edges and edges are how different colors shapes meet up together. Eso, for example, like you know the side of my head is this dark, you know, sort of color. And then the wall behind me is this beige, and there's an edge right there. That's where the puzzle pieces fit together. And sometimes that the nice, hard, crisp edge and sometimes the edges soft and blurred. And there's any range in between. There's something called Lost and found edges where there's hard edges, and then it blends in with the background that it's hard again and all those things helped direct the and have had some really good dynamics into your painting so that we'll get into the first stage of our painting, which is actually not painting. It's a drawing. We're going to be a preliminary charcoal sketch to get started with our peace 2. Preliminary Drawing Study - Why It’s So Important: Okay, This video is just a quick note on why a preliminary drawing of any kind is very important and why you should never skip it. For one, it helps you practice the drawing. Once you get toe, really establish how big and relative size things are, you can place them on your page. You can practice what you know. Angles need work on what Things are strange. You know, you really get that worked out ahead of time so that you're not figuring that out when you're have wet paint everywhere, cause that's when you you need to have those problems already solved. Also, it can help you figure out what details you want to remove and what really aren't important and which ones are really important. You want to nail those, you wanna have just a handful of details that are important and the rest are just gonna be not that important. You figure that out now also, and another thing is, you figure out your value scale. It's drawing, so it's only pencil or charcoal. So it's black and white. There's no color yet to distract. Uses, just values, so you can simplify your painting into your three simple values up front, and you figure those out, Um, and then so you don't to be figured that out when you're painting. The point is, solves many problems now, while it's just a quick little 10 minute or even less little charcoal sketch or pencil sketch so that you're not figured that out when you have wet paint everywhere, that's when you want to have all those problems soft already. That will save you a lot of time and will make your painting look much more spontaneous because you're not working over and painting over one section is very obvious when that happens in a painting. So you wanna have that out of your system and figured out on all those problems. You've made the mistakes and you've done those up and then you get to paint and it's like, Boom, you walk right through it cause you done it already. So with that, here we go 3. Preliminary Drawing Study in Action: Okay, we're ready to get started with our preliminary charcoal sketch. That's got to said online by 12 little sketch of paper, pad of paper here. Just regular old Nothing special. I like to use vine charcoal because it smears really nicely and last up and you'll see The reason I do this with this kind of charcoal is because it really mimics the painting process. The under painting the first age of painting is really similar to this charcoal sketch. So here's just a little area and, you know, you should have the picture of what we're doing. It's this lovely autumn tree. So first we take your charcoal and I'm holding it relatively flat. C has that a nice little you know, I think the camera will zoom in on that or no, probably not. But has this nice angle to it? So I'm just filling and this is real quick. This isn't anything special. If you do it with a point, you'll be there all day. We want a nice and smooth. This is our first value. This is our mid value. We're gonna have lights, mids and darks. So this is our middle value. I take my I have a little phone brush and I just smooth it over a little bit. And there we go. There's our middle value. Now we're gonna add in our dark values. First, we'll make a quick little sketch about what the drawing is. Little line joined. We're just gonna place everything. So here is like the tree. You know, um, the there's really not too much drawing here. It's not like the crazy city with architecture or, you know, person with lots of anatomy. And like that, it's a quick little sketch of big shapes here. So there's a few branches. Ah, lot of these are. It's gonna be tough to do this drawing, cause all these shapes are gonna really blend together. There's gonna be a branch there. I guess there's gonna be a branch here. Um, and then also I wanna make note of the horizon. There's the ground, and you see, I went right through that whole thing. There's the ground there, and there's gonna be some sort of we don't even need to indicate the trees too much. There's not really not much, not much of this drawing, but that's enough to get us started. um next, we're gonna really go for our dark values. We have our medium Midtown. We're gonna go dark. So what you want Teoh do was called the squint. Look at your picture. You're seeing your subject, your model, whatever and squint your eyes at it. And all the millions of little intricate bits and pieces should be reduced to, um, big blobs being large, dark blobs. So somebody right now make the big, large, dark blobs. There's one tree trunk comes up like this and then all these leaves here are gonna be this dark value. Don't be drawing individual twigs and leaves. We're doing everything as big pieces. Right now, it's the darkest at the trunk. This is by far the darkest part of our whole paying our whole scene. All of this stuff up here is all dark. It's not black. Don't push as hard as you possibly can. But if you squint your eyes at it, it all gets really dark. There's little bits and pieces in there, here and there. We can pick those out later. But, um, your grouping everything together into big pieces. There's a big piece. There were the branches come off And as it may be, a couple little pieces down here. Big pieces. Um, okay. And then as we get toward that, there's a light source, which is the son. This is right about there. We don't want it. We want it to get gradually lighter in value. So over mark over here and shade in. This is where this group of leaves are. Um, there's I don't want focused too much on these branches that can add those in a little bit later, because I'm trying to make everything one big piece. Squint your eyes at it and you'll see your big pieces sort of become apparent. There's a big piece here, and I'm pushing less hard as they get towards this sort of center. Maybe I'll just make a little slight note of where those branches are. There's one there and notice how I'm holding my charcoal. I'm holding it almost like you would a paintbrush. You don't hold your not like a pencil. That's how you write your name. This is how you hold on art material. So there we go. Um, now, if you notice this background, those trees air pretty dark, but we want to push them further toward the back, so I'm actually gonna leave them. Is that value? Right now you'll see what I mean. In the second year when I the next stage would be Take your kneaded eraser and we're gonna remove charcoal and make our light values. So the lightest one were sort of the lightest one. Lightest value is the sun, which is about here ish, Um, it looks like it's right up above this branch. So maybe maybe that branch a little too high, which is good. You can figure that stuff out now. So big pieces squint your eyes. Find the big piece. There's a piece. It comes down here. There's a piece. Um, there's a piece right here. Big pieces right now. Don't do individual leaves. We're just doing large pieces. Squint your eyes. Never stop squinting. You squint your eyes at your subject and you look with normal eyes that you're painting. That's how you should practice seeing things. Squint your eyes at it and things will become apparent through this whole section. Here is really light and even the sun, almost like blurs over that branch a little bit, doesn't it? So down here big pieces. And as your eraser gets saturated with charcoal, you going to smash it over and find a new space, and you can smash it into any shape you want. This stuff is great. Um, but as it gets saturated in trouble and no longer erases because it just covered with charcoal just moving over, um, and you can use pencil if you want to. I prefer charcoal, cause it just it's moved around, and it erases really? Well, behaves a lot like paint. Um, as you'll see. Okay, there's a couple little bits, you know, little ones here, Um, there's one here, and then it starts to get really light under here and its lightest again right against this tree. And here's where I'm gonna start making those background trees. I'm gonna carve away the charcoal around that area. It goes down a little bit there, and it will suddenly look like a nice horizon. I don't do the other side on. And yes, I'm switching hands because a better angle from over here. And, you know, sometimes your hand gets tired. So practice using your other hand. I didn't make this little thicker. And this is gonna be like this. OK, so here's more carving away my hands in the way. Sorry about that. Carving away trees to make that horizon. It will push those further back. That is a couple little ones up here are not too many. Okay. Ah, And now the ground itself that the grass and stuff is pretty light value Office. Squint your eyes. You could see that. So we're gonna find where that is, and we're just gonna go right across, get aside. And that comes right up to the edge of the tree. That light value and seeing that looks like those trees. Aaron in the distance now because there they're lighter and value than the one that's really close to you that term. With that, that phenomenon is called aerial perspective because there's more air between you and those far trees than there is between you and this really close tree on more air between them, the lighter it gets, the more like the color of the sky, basically because it's getting closer to the sky. So I'm making this ground lighter and in the shadows when it comes around like this, this tree has a shadow being cast maybe we can put a few of those in, um, a lot of times, the shadows will go in the direction our son is here and lights coming down. So make, like, draw a line in your mind from this son from the light source to the shadow here to make the directions to the shadows. Kind of going toward the our light source there. In fact, the shadows are not nearly dark enough, so I didn't make this darker. Um, a lot of times you can even blend in your shadow with the object that's casting them. This is the object. This is called a cast shadow. So and sometimes your object and your cast shadow blend together. Um, okay, so that's a decent study. I might come in here and make these a little lighter because I really want this effect that this place where the sun is is where our lights coming from and having all the values gradually get lighter as you get to this point and maybe I'll come back and just hit this one more time. Real hard on a clean piece of eraser, because sometimes it needs to be emphasized again. Um, okay. and this doesn't need to be perfect. This study is just to help us establish a few things we practiced are drawing. Once you fix some problems, you figured out your your three main values the mids, the dark. So a lot of this part of the tree in the trunk and the shadow is the darks. The maids air like the background trees here. Some of these leaves air still mid, and then the lights, of course, or the sky poking through. And the horizon here. That's a good enough study to get us started on. We'll take these concepts that we've learned and now move toward using pain. 4. What An Underpainting Is, and Why It Is So Important: Okay, here is our finished preliminary charcoal sketch. This is the first stage of our painting. It taught us our value scale where our lights are mids and our darks are We practiced the drawing once and solve a few problems here and there. And now we're ready to do the under painting, which you will see, is remarkably similar to this charcoal sketch process. And again, the under painting is something that a lot of people don't do. But you really don't want to skip it because it helps you for one, solve all these problems again. You really gotta revisit them on Lee now with paint and a little bit of color instead of just black and white. And also, these underlying layers of paint are going to affect every subsequent layer penny put on, especially with oil paint, because oil paint is pigment suspended in linseed oil, which is? It refracts light through it like a prism. So whenever light hits your oil painting, it will pass through all your layers of paint, hit the white canvas and passed through them back to your eye. So it changes the color of light, almost like the gel over a camera like like a spotlight. You know that the different color gels that could put on a spotlight. That's what your oil paint does. Acrylic does it somewhat, not as much. It's a little more plastic, so light more bounces off it, then goes through it. But you still see little bits of color poking through everywhere. So that's another reason why an under painting is really important and will add a lot of color depth to your painting. So with that, let's throw some paint on there, get started. 5. Underpainting in Action: Okay, we've got our blank canvas here, ready to paint on just using an 818 by 24 size canvas. And then our palette. I ever use a glass palette because it's easy to clean and scrape and things like that. And plus it's, I don't know, you know, a neutral white color. Easy to see what you're doing. As you can see, I've only got three colors because to start with us underpinning, we're going to use a very limited color palette. I have yellow ochre here in the top right. I have black in the bottom right, and I have Alizarin crimson on this side. And they're arranged in a certain order. They'll make more sense when I have more colors on here, it basically goes from warm to cool, that kinda thing. So here we go. We have three colors. Nice big brush. Oh, you know what to start with? I should say, if you have a piece of sandpaper, sometimes your canvas is a little rough. Real quick. Very light brush over it. It will smooth over some of those roughness and n we are playing with the pain of easier. So here's our nice big giant brush because it's a bigger hand us. You don't want to use a tiny brush for this park is we're going to cover the whole thing. Dip a little bit of mineral spirits. I'm using terpenoids, but you can use odorless mineral spirits, whatever you want. I'm going to get some nice wash of yellow ochre here. So I'll get some, you know, make it soupy, but a little bit liquid. And to come up here and we're going to want to start where my light sources, because this is a nice light, warm color. See that big strokes. We're going to cover the whole thing pretty quick. I to do a general wash over the whole painting. Because like I said, it'll affect the colors of everything else you're putting on. Their yellow ochre is nice. First, the color. Even if you're doing cool subjects, cool temperature of water and sky and things. But I was even having a warm color underneath can add a nice depth color on there. So just do a real quick slather it on there. Try not to fling any on the walls or the floor or whatever. And I pay anywhere if I go outward, it might flame paints. I try to go in like this when I get to the edges. Ok, so a quick, that's easy. Now, we're going to add some other colors and some temperatures to suggest to our light, or light here where the sun is. So we're going to have it get darker and cooler as it radiates out from that spot. So what I can do is take a little bit of the laser in crimson. Maybe you just don't whisper or just a knock at the neutralize the color a tiny bit. And I'm going to start coming in or around c. I'm sorry. There's my light is right about there. So I'm going to come around their surrounding a little more color. This isn't a very large canvas, so there's showed you take too long. And if you're using a nice big brush, you feel to get to the edges pretty quickly. And so I really have these three colors right now because we're really concerned with temperature and value. And during our draw him, remember our charcoal drawing, we did, the first thing we did was set our middle tone value by doing that field. There's just the gray over the whole thing. Well, that's what we're doing now. We're doing that again. Only now writing a little bit of color temperature coming in from the corners here. Maybe. I am bringing it in to the center here. So that's going to get darker and lighter. I'm sorry. Sometimes it's hard to paint and speak. It's gonna get darker and cooler on the edges and wider toward the center. Toward the light source, I should say, sorry, not the center necessarily. Come in and here again on the edges bringing that in. And as it gets somehow paint lighter, I'll rush lighter as they get toward the center. Okay, that's looking good. So I'm going to really get to exaggerate that. I'm going to hit. Rarely going to go for some black and some Alizarin crimson and make a nice dark purple. And I'm gonna come in here and hit this. And don't go too far to get a really dark purple on here. Don't go too far towards the center. Settled really. There'll be too much coming in here again, you get this. Okay, that's looking good now. Now I have a little more yellow ochre to this, sort of an orangey brown. Come in here and go a little further. Namely, we have a little too high with my that's okay. That's close. Okay. Maybe we don't want it's so light. I'm gonna take my paper towel, squeeze out a little bit of the pain. Can come in here and get a little more and maybe lightly go over this. So it's not that like okay. That's looking pretty good. I might even go further. We'll do it again. I like to exaggerate value really, really hard. If it's dark, make it darker and it's light and make it lighter. And I prefer to go darker than necessary and lighten it later than the other way around. I like to darken the whole area and enlighten us a little bit here and there as I need to and that is sufficient. I don't know why that works better, but it really does. So I'm really going to exaggerate this goal or this entered undoes, rarely brushing the center just to get it a tiny bit darker but not too much. And the brush strokes don't worry about that. Now, we're just thinking about value and our light source. So there, there light sources, the Sound is about there somewhere. Okay, that's nice. So our next stage would be to do a little simple drawing to suggest where some of the pieces are. So just get little tiny skinny brush, get some, you know, whatever color, dark purple, brown, whatever you got on there. And say where's our tree? Trees about what they're looking at my picture. Maybe it's a little lower. Now that was OK. That's pretty good because there's the other the shadows that had to come. And it's going to be I'm thinking big pieces. There's that branch that right there is a space where that's kinda be light. This branch comes out and it comes across. So this is simple lines right now, not going to get into every branch or every little leaf. I'll leave some of those branches out because it's right by where the light is going to be really light hairs. Okay. And that's all we need for right now. That's just placement. Everything's placed where it needs to be. So we'll set this aside and I'm going to use a smaller brush. This is a number 12. And I like bristle brushes because they're nice and stiff. So I'm gonna get some dark value. And I'm gonna come in here and lay down this dark value. C does one brushstroke, does it, just boom, it, I'm going to go right over all those details for right now. There's dark and here it's actually a lot of dark green in there, which we'll get to in a second. I'm going to pull out some of these shadows, cast shadows. And I'm pulling it right out of the tree. Because a lot of times that the object and it's cast shadow, you paint them as the same object. I'm just going to do a lot of this as just darker. Well, we'll pick out the light parts later so don't paint around everything too much. I'm going to make it a little darker o area. Okay. And I'm going to dip this in here and as wipe it off a little bit for the paper towel. Sorry, I should hold it up here so you can see I'm doing this, squeezing out all the paint. Now I'm going to make sort of a darkish green. Here's one thing you didn't know. Maybe I shouldn't assume that black is actually the darkest. And a lot of times the warmest blue that you have. Yes, black is considered a blue. It's considered a very cool color because it makes things cooler. I mix it with yellow ochre and I get green. So here's a nice dark green. Then I'm gonna come in here. It's ARE laying down all these dark parts. Undoing there on my separating them into every little leaf and every little branch. Now I'm just doing a dark value and it's this sort of greenish color. Squint your eyes and see the whole thing turned into one dark piece. And then it's gonna come in here. I'm gonna take this, I'm just going to add I'm just going to gradually change the color to more of an orangey color. I might need them. It's got a lot of dark in there, so I need to add a lot of yeah, it's got too much dark. So I'm going to squeeze so that dark out of there. Squeeze a little bit of that Outback. So it's got one more. Or sometimes you can gradually change your color underbrush and they had just had too much on their squint your eyes. See it's dark branches. Now I'm going to do some of these branches. There's branch there, there's this dark leaf miss happening here. It comes down a little bit. In my dark orange here. There's darkness up here. Squint your eyes. Look for dark. Look for it. You know, this is like not as dark as this, not as dark as this. This is the darkest for sure, but it's darker. Values are also relative. It's darker than this part. And this is the lightest part of the whole picture, you know, that kinda stuff. It's it's relative. And then there's a branch in there somewhere. This violated lately indicating those not too much. There's some dark in there. There's some dark leaves here. And a lot of this, It's going to be light values when I take those out. And again, we're going to leave those trees, those trees in the picture are really dark, but we're not going to make them nearly that dark in our painting because we wanted to push them back with aerial perspective to make it look further away as a lot of distance to your piece. Maybe I can make this darker. Okay, I think we're ready to do to remove the light values and how we do that with the charcoal. We took an eraser and we removed the charcoal from the paper. Now we're gonna take a paper towel. This is where oil differs from acrylic oil. The paint is still wet. We can wipe it off and remove the white and reveal the white of the canvas. Paper towel magic trick. But you're, wrap your finger in there and use your fingers like a little brush. So we're going to dip it in the mineral spirits. And we're gonna hit our lightest value first son in soil. And I'm just going to wipe away the pain comes right off. Now if you're using acrylic, you will now have to introduce white paints to your process. We're not doing that here because white is also a blue color, just like black. Very cool color, lightest though, of white paint is the lightest and coolest blue that you have. So if you start adding white, it'll change the colors of things. You can still do it and it'll be fine. But just giving you a heads up, that that's where it differs. So, and as it gets to saturate, just like the eraser, I get saturated with paint. You want to find the new clean spot on there we go. Dip it in. They're going from the Latin gonna paint around some of these branches. Some sort of like erasing the negative space around the branches. That's really light in here. And it's really light in here. As you can see, it's haven't. This is one of the painting really comes to life. This is my favorite part every time because you're really painting with light. Now. You're not adding white paint, you're removing paint and letting light do that work. So squint your eyes, look for the big pieces. There's a piece in here. Look for big chunks. I'm not doing leaves when you have going around in some a little branches and stuff. But I'm not I'm not doing too many details right now. I can add some details in a little bit because there's underpinning can be detailed. It should be at least accurate always. So here we're going to carve away those that the background there. So we're gonna leave those trees that the background trees in the horizon. I'm carving those out of our and their look like they're really far away. I love this part of the painting because it starts to look like your subject really quickly. Some styles of painting, it doesn't make sense for many, many stages and a long time you've got to spend before it turns to make any sense. But in this style of painting that this technique specifically it looks like your subject really quickly. So it, you know, because you low confidence because I know how good this isn't looking good. I'll keep going. Let's see here. We should do that outside of the tree. Now, come over here, I'm going to switch hands, just go get in front of the camera. As a big chunk here. There's a little, sometimes if it's if it's looks like it might not be as light as Nick squint your eyes at it and like, okay, this part isn't so light, so I'm not going to push so hard. It's a little lighter, but it's not much. It's little sliver we can get that later. There's a couple little sort of light spots that are up here. They're not white. Don't remove everything. They're lighter than the dark, but they're not white. Hares. Pretty pretty darn. Lie. Okay, watch out for the trees. Trees are here. We should do that real quick. Mark those there. See, did that. Now I can erase around them without accidentally going through them. And I get I get a clean spot another minute or two. And this will be done on what I just come here until a couple of little spaces there. And if you think gets full, you can just grab another one. And see even now are under painting is showing through. It was the yellow ochre here going into the purples, even as you're erasing paint, the color still affects the pain that's remaining on the canvas. And it's, it makes a big difference under painting is really important. And I think underpinnings that heavy lifting. I think it's the heavy lifting of the painting. Here's another piece, clean piece. We're gonna do that horizon, the ground, I should say. It's about right there. And I'm just gonna go sweep across just like that. Because this is a very flat brown that its not always, but this time it is right up to the tree. Get a clean spot. Right up to the tree. Maybe I shouldn't make it that light. You can always put paint back on as well. If you take too much off accidentally, it rounds out here because the tree is, well, this is where the shadow of the tree starts to come out. And here you can do this too. We can do some of the light stippling through onto the ground. As I say, don't worry about painting around that section. She pointed at the sun there because we're just going to take some of it alpha. Okay? And then there's this side of the horizon over here. So lined it up. Make sure you have a, a pretend Jackie drawing through your object. Sometimes one or two little indications will really be enough to show what you're doing. Okay, and here's our underpinning. As you can see, the painting looks like it's done. Some people even said I go, Are you finished his FDA unlike No, it's just the underpinning. Where do I get started? You know? But it's a very powerful technique to do that under painting at all, let alone this specific technique of under painting. So with that, let's cleaner pallet up, clean up brushes and get to the finishing painting. 6. Cleaning Your Palette and Brushes: Okay, here's a little bonus video on how to clean up your palate and clean your brushes because it's very important. That's kind of one of those things that no one really teaches you how to do. And you like, Well, how do I do this? And you kind of figure it out. This pal, it's a mess. We're gonna add clean paint on here, and we can't mix with this. So take a palette knife. I got the old Bob Ross here, but any palette knife will do and come over here and scrape away the sides of your paint. Which incident last should mention you probably saw me doing this when I reached for the paint with a brush. I reach into it into the sort of side, bottom of the pile, not right on top, because then you're just gonna deposit, um, other colors of paint into your nice, clean piles of pain and you'll contaminate them. So I'm trying to mix them later. That will be harder to mix colors with, so you just come scrape off. This is my glass. Pallets are just so excellent, like scraped right off, and it's a clean white surface again that I can see my colors on. So come on here and scrape with sides scraped like that. Um, same thing here. Scrape away those colors. You save a lot of paint. That way, when you contaminate your paint by giving your brush on top, your pain turns into mud and you have to constantly be adding new pain. So having nice, clean piles of paint at a nice clean Palin to scrape this off. Okay, thank this. Dip it in here a little bit and for the boom nice clean painting surface, because whatever is on here is gonna end up on your canvas. You got mud on your palate and have mud on your canvas. So if you have a nice, clean controlled service that painting your paint is sitting on that will drastically improve the control you have over your color in your mixing and things like that. So and, uh, there we go. There's a clean palette. Now, clean a brush. Take your brush. Um, it might have a lot of paint gobs of paint on it. If you just dip this right into your your mineral spirits and clean it, il it'll turn it into sludge real quick. So someone's use. Dip it once and then take a paper towel and you squeeze out the pain. See how that pain that comes out there. You could do that a couple times, and you get all the big globs of paint out of your brush first. That way, your minimal spirits last longer before you have to change them and you can't really be using them if their sludgy anyway. You have to constantly be coming clean to do that a few times and look it now. It's a lot cleaner. Now I can take it here and clear. Um, this container I'm using is called the Cilic Oil, the little glass jar that has a metal coil inside that I can it like. You know, here's here's the coil. Here's your brush it like you know it put moves the bristles apart and get all the pain out without damaging the brush. Three nights. So do it a few times, um, gently just dabbing up and down and then I, you know, sort of squeeze all the pain out, and then I'll get a clean paper towel and show you what this happens. Cream paper towel, and let's squeeze this out and see what color that is. It's a little dirty, Um, but it's not terrible, and it'll be okay for what we're doing to do that more times. And as your mineral spirits gets dirty, your so it's getting better. It's it's not bad. As this gets really sludgy. Your paintbrush will still maintain that sledge in issue. Try to mix a nice bright yellow white color, and it's got this sludge in it and turns into brown and your wondering what happened. Well, this is what happens sending with your palate. Whatever's in here is going to end up on your campus, so cleaning to keep everything controlled. So you know what colors were mixing and nothing comes as a surprise. I probably won't use this giant brush again, so I'm not too worried about Cuban at Super Clean. This is really just for under painting, so that's good for now. Anyway, There you go. There's a little tutorial, how to clean your palate and your brushes 7. Opaque Painting Part 1: Light Source: Okay, as you can see, I've got my palette with all my colors on here. There's only seven because we're doing a very simplified color palette right now. It goes from sort of warm to cool. I should say that the warmest starts with yellow and it goes cooler as it goes down this way. But these are, you know, it's, it's cooler toward the reds, at its cooler toward the blacks. So the blue is area, I should say. And we notice that we don't have a blue on here. We have black, white, yellow ochre. This is lemon yellow is a little cooler than you can use cadmium yellow if that's what you have. So that's fine. I have Cadmium Orange, burnt sienna, and then Alizarin crimson. We don't have a blue because we'll all these warm colors on this painting. If you mix pure grey, white, and black with a clean brush and a clean part of your palette, very pure grey, and apply it to these warm colors. It will look very, very cool and it will look blue. It looks like a nice subtle blue. So we're gonna do that this time. We're just using a pure grey. So anyway, let's get started. I've got a number ten bristle brush here. This is a bright shape because it's shorter bristles. Sometimes I like to tap a little bit of mineral spirits just to wake the brush up so it's not totally dry. I'm going to start with my lightest values first. So I'm gonna get some white here. And I'm gonna put a hair of somebody's other Cicero's On stark way. I'll add some white highlights later. So I want to light ish value. I'm going to go, it's got a lot of pain. Don't be afraid to use a lot of pain. There we go. Nice, bright white, something that I've mixed my color. I'm going to, I can scrape up a whole bunch with my brush. And now go here to the canvas. Let's start with the lightest, which is the, the sun. Administering one brush stroke at a time. One at a time. I have a lot of paint on there. There's no reason why you should have one area over and over and over and over and over again. People do it all the time and there's no reason to. Let's see, light areas. I might come back and start doing some more a little bit yellow. It's gets a little too late now. And a little yellow ochre, nice bright, crisp yellow scrape up a little bit in there that come in here and hit up headed again. I'm gonna, there's my branch, some sort of painting the negative space around the branch. One brush stroke at a time. There's some yellow and here, squinted your picture and see where the white areas are. I've got this color on their sums of squared over using it as much as I can, going around this one little area and finding all the places I can use this color. Okay. Come in here. Some nice big brushstrokes right now. We're doing big shapes still. There. There's sort of a rule there if you noticed when you do a big shapes and you work your way down to small shapes, you start with the big values. Work your way down to the smaller values. It's a nice order, a method for how to build a painting. Let's do this nice bright sky over here. Before I'd build some of those leaves. I'm following my underpinning that I've already made some more pain. Let's see here. This needs to be a little darker than it is. Here's my light source. It's lightest here and is supposed to get darker as it goes away. So this is getting darker and then it got lighter again. So I need to make this, I might actually start. Maybe I'll just do a brush of Alizarin crimson tomake. It almost sort of pink. That's better. Scrape up lunch paint there. And the bits in between the leaves. Let's do that again. See now it's like almost like a little pink. So you can gradually change the color of your your pain as you need to get in there. There's a couple of spots in there. And notice I'm holding the brush with or holding it out here like this, or put your hand on top. Some people I see will do with a pencil that hold it like this. This is how you write your name, but you paint. Move back, choke up on this nice move back in this nice long handle. So it becomes a part of your hand. Or you can put your hand on top of the brush and hold it like this. Here's your fingers and you can do all kinds of fun angles and things. Get in there and do things. This is limiting. This is painting, like you're writing your name. So we're going to back up and use more than length of rush there. Okay, I'm gonna get some of these nice, lovely yellow leaves that are right there. So I'm gonna get some nice bright yellow and some orange. And I'm using a lot of pain. Here's a lot of pain. Don't use too much for it's like just ridiculous gobs of pain. I mean, some people paint like that. They're very impasto what their pain. I don't like to do that because it's hard to control, especially if you need to go over it later. It's, it's hard to to paint over it with another color. Sometimes it led to layer my paints a little color and then a little color on top of that. Subtle but are used just tremendous gobs of pain. It's really hard to do that. Squint your eyes. Don't forget to do that. You do that all the time. All the time. I had to remind people because they just forget. So I'm going to remind you a lot. He squint your eyes at your subject. And you see where the little Gradle and remove all the millions of little details and only show you the handful of details that you need. It's like less is more. Painting is not about how many details you can successfully cram into your painting. Painting is about how many details can you leave out and still tell the same story? It's like reading a crazy wordy novel or they cut a lot of it out and get right to the African point. That's where you're doing here. You get into the point. The point is, the light is so beautiful shining through this tree. And we're trying to show the light in these groups of leaves that are, that are telling us this. Every million little leaf is not going to help us tell our story. It's going to be distracting. It looks good in a photograph. But that's not how we see the world. The camera sees the world differently than we do. The camera sees every detail. People don't. We have a focal point and everything else around it is blurry and the details are gone. Let's see, comes down to this and I can do some sort of yellow highlights. Then I'm going to paint over a little bit about risk getting, getting those started. Grab that little bit of those, scrape all that up, come over here. Here's this bit. Some bits in the tree are poking through. So I'll put those in now and I can pan around them later. There's even some yellow and I might come back and do some of these more as highlights later. But I can indicate them for now. Just maybe subtle, I'll maybe come back and do some of those later. But these ones are good. Reasons are important. Ok. That's good for our yellows. Because even a couple of yellows that come all the way down here over our horizon. Every time I say I'm done, I ought to do. And I however detail or to I've heard that Richard Smith, one of the, probably the greatest painter it was alive today. He says it takes two people to paint a painting, one person to paint it, and another person too lightly tap the first person on the head with a hammer when it's finished. So it's just me. So you guys can digitally tap me on the head and say stopping your dad. Okay, I wiped off some of the excess paint with that though. Dip it in white technique we did before. I'm not I don't need to wash it, so I'm still on these nice bright warm color, so I'm gonna keep it. I'm gonna do some oranges now. Well, that's really, you don't wanna use pure orange. It's too much to garish. It's got a bunch on there just to get started. Let me use a touch a White to lighten it up. And again, I'm coming into the sides of my piles and not on the top. Coming into the sides will keep your paint from him becoming contaminated. Scrape that up. They're coming here. It's nice and fun orange in here. And maybe I'll do a little, little gentle scrape over some of these other parts to, to almost dry brush it. There's many different ways you can apply paint into your painting. You can push real hard. You can go real gentle, little whisper. You can go sideways and you can smash it. You know. Lots of different things you can do. I don't think that every brush stroke has to be a brushstroke. You can do lots of interesting things with your rushes. That's why you hold him back here so you can have all the millions of ways to move it around. Mixing more color. Where else do I need this color? I get this phone orange. I sort of come over here. As you can see, it's like there's areas with his white and then there's yellow and orange light gets it radiates out from these spots. It's white here, it's yellow around here, it's orange around here. It's gonna get read. Everything radiates out from a spot. So that's why this oranges and terribly dark yet. And you can see how much detail we're really suggesting with a few little dabs of paint. So that would impressionism is, it's, it's giving you the impression detail. It's, hey, look at that. That's why they call it that. Well, they really call it impressionism as an insult, the first person to ever use the term monet had done a painting, something like the, the impression of a sunrise, something like that. And it was a very simple, very basic, almost a painting sketch that he submitted to one of the salon, a competition, things of the late 18 hundreds. And some journalist saw it and he laughed at it and said, yeah, it's an impression of you used the term oppression as at pejorative. And he said it was, she said wallpaper in its embryonic stage is more interesting and while painted this piece of crap painting basically. So that's how the term Impressionism first started. It was an insult to the Impressionists, but they embraced it and said the heck with you guys were making our own movement. And it was based on fewer brushstrokes, fewer detail, more light, more movement. And that's a long time ago and it's evolved a lot since then. But the concept ideas very similar. Maybe I'll use when I start getting a little darker with my orange, maybe even a little bit to want to use any Bernstein. Oh yeah, maybe this is a nice transitional colors. I could do without the burnt sienna. I couldn't make it with my other colors, but it does help. Let's start coming in here. So it doesn't gradually getting darker with my colors. I'm not going back and forth and doing yellow again, and then white again and then brown again. I've done all the white areas in this sort of spot and I'm going to start radiating outward. Maybe I'll do some of these branches now. The branch is right next to our light source, are going to be the lightest. They're going to be almost as orange. And then it will really help bring that, that light feeling to together. And again, we're more squinting at it and word, word painting. Shapes were not painting. I'll bind as a branch. Look at that. It's, We're gonna do more like I see this blob of code, that's this shape. Some painting it that way. You paint what you see is not what you know, don't think, oh, there's a branch. I'm going to paint a branch. You need to paint what you, what your, your eyes are seeing, not what your brain is interpreting. Your brain is too smart for painting. You need to turn your brain off sometimes and let your, i do what it sees. And c, I can use the very edge of this. That's why I like this brush shape. Because it lets me do all kinds of fun, varying strokes. Maybe there's more of that comes across here. Mechanist dab it on there so you can get some of the little tiny branches. I'll use a little brush later. But for now I can do that. Here's one bit of branch. I'm going to use a smaller brush and really make a nice orange. And hit this. This is where the light is. I wanted to be the brightest. Ok, and we'll use that again later. Back to what we were doing. And why we're doing what we're doing. When we're doing branches. Sure, when Apple and the branches will get darker as they move away from our light source. And sometimes the branches and the leaves are one. You can't tell the difference. Okay, we'll add more than darker branches later. Let's get into c where we're gradually going to add some more of our dark colors. Or we're, we're getting darker. Maybe I'll add a tad of this scraped out up there. And I'm you seems like I'm going random. I mean, I am making decisions about every brush stroke. I can just do it faster because I've done this a lot. Since getting darker as it gets away from our light source will get a little more of that. And don't be afraid to grab some pain there. There'll be miserly with your pain. Some of this actually gets a little greenish, so we'll come back and do that later. I don't wanna do green now because I don't want to contaminate my nice warm, orangey, reddish brush with green. To a couple, come in, little dabs of little speckles and we use there. Maybe there's one right there. Okay. I can do some over here. Getting further away from our light source. Maybe this part right here, right around, this needs to be a little brighter, right around these places where the lights poking through and see how quickly this has going. This isn't need to take all day. I just need to take all week. Some people tell me, oh, it took me a month to paint this painting might what were you doing for a month? There's no reason they should take you that long to paint something simple like this, you know, complicated stuff, you know. Sure. But there's no reason why this kind of painting should take that long. Okay. Here's some darker oranges and maybe a little bit of you in Alizarin crimson to make sort of a purple. And I'm going to add some green over this. So I'm just going to swoop in and do a lot of these bits. It is going to be some greens and yellows coming over here now in a second. So this had a few pieces of this purple. Okay. Okay, now I got this dark purple. Let's do a little bit more of the trunk. And the branches are this dark, purplish. Let's come in here and sort of pick up where we left off a second ago. And I can get lighter and not push as hard as I get to some of these other branches. So sometimes the branch doesn't continues and as it disappears behind some leaves. And that's fun. So I don't do the whole thing. And I'm doing a little bit at a time. I'm not painting necessarily at one line. That's a little obvious and that doesn't really sound actually how it looks. So there's no branch up here. Goes off like that branch up here. And in a second we will stop this video and start on with the next one, moving on toward the green side of this tree and then doing more of the trunk. And the branches will do to another little second here. There's a few bits of trunk sticking through those. Okay, that'll do it for this video. We'll pick up in a second how continuous these branches Andrey more. There's green side of the tree. 8. Opaque Painting Part 2: Continuing with Foliage: Okay. I think we're just gonna keep going with the with the branches we've got going on here. Because it was so much fun so far. And we're almost done. It's gonna get really dark, dark purple up in here. And right in here. There's a couple, maybe there's a little bit of a gap. We can add some of those gaps, poking through as a, as a detail later, couple bit of branch coming through. They're very subtle. And you can add these as you want to. I'm trying to add what I see, but you know, some people, they get to a certain point, I made a stop looking at the picture and they just do whatever they want. So you can do that to the tree is a nice design. So I'm gonna keep looking at the tree, but feel free to stop looking at the tree and do whatever you want. Okay? Now we're gonna start using some of our black, which is also again a dark blue. And making some of our really dark value before that's a little too much. Don't don't just slab on black pain. That's too much. It's a dark value, but it's not necessarily just black. And I think I missed a little bit of the sky here because we were, we were focusing on always warm things happening with the sky and is cool things that we haven't done yet. So maybe I want to come back in with a different brush and do that. I'll, so here's our tree. And this kind of fade right into, I can make that little lighter. It's going to fade right into our shadows there. See if simple, broad, brave brushstrokes be brave with your strokes. I'm not gonna get too worried about that because I want to hit those again later. Maybe a little bit of that. I'm doing I'm making, leaving it dry ash, not gaba analog paint, kinda B, I want some more texture and the ground here. Because that could be fun. Okay, let's put this aside. I have another brush is clean, I haven't used it yet. We're gonna do the sky. And some of the parts over here. Let's say it starts out as this yellow, but it was started, it was getting it was cooling off. Maybe it's even a tiny bit pink. Anyway, more paint to that. I'm going to remind myself all the time, even use more pain, use more paint. Kinda pink Maybe. And the picture, it's so bright that I couldn't I can't quite tell what color it was. I took the picture myself but I don't remember. It was a few months ago. But this is where cameras fail you for doing paintings. They don't won't capture everything. They don't see the world like we see, this sky wasn't pure white like in the picture. It had some color to it as might have been a little pink, might have been a little blue. I don't remember. But painting from life whenever you can help you understand these things and see them a little better. And when I need to do is add a little bit of this pinky color to this part of the sky so that it makes sense. Continues through behind this tree. Maybe I'll even add a piece right there and right there. So at follows through nicely. A couple little bits that poke through here. Yeah. Okay. So there's our sky and what I'm gonna do, as I said, we might do a little bit of pretend blue by mixing pure grey. Here's white, here, white. And here's a little bit of black, making a pure grey color. And I'll come over here. And when you put that on top of those colors, it will look blue because of the color temperature relationship. Having such a cool color as gray next to these really warm colors, it will make it appear blue. And it's really remarkable how that actually works. But it has to be pure grey. It can't have any browns in it, anything like that. And yellows has to be very, very gray. A lot of paintings that you see when there is a really beautiful, subtle blue, it's actually way more gray than you think. In fact, most blues that you see in the world, except for like a really powerful blue like the ocean or a blue umbrella or something, they're really more gray than you had really planned on. That's just how it works. I'm going to just make that gray and little more. So we have that played in the pink and the gray. That's what makes this fun. Purply blue color. Over here the distance. And do the same thing on the other side. And black is strong, so don't put a whole lot of black in there because black tense very strongly. I want to come on this side, do the same thing. A little touch. And I'm now pushing very hard, so I don't want it to mix with the colors that are already there. I want to, I'm placing it on top. So I'm holding the brush like this so I can just place the paint. It's like, you know, here's the canvas. I'm just placing the paint on rather than push and roll hard, just like setting it on top. So it looks like it's sort of fading to this blue as it gets out to the edges here. There we go. Hopefully you can see that in the video it's not blown out too much. So I can put this back. Let's continue with what we were doing. Just kind of wipe some paint off of this and maybe we'll start doing some of those grains back there. There are some yellows and greens where this light's coming through. So maybe I'll do a couple of these little green yellow highlights where there's light coming poking through a little bit. So we'll start using more yellow ochres and things for because the yellow over here is going to be different than the yellow over here because it's getting cooler as it gets away from the light source, which is our Sun. Okay? Now we're going to, sounds very strange. We're going to add black to this mixture. Because as I said, black is the darkest and warmest blue that you have. So you add, what is yellow and blue make yellow and blue make green. So you add yellow and blue and you're going to get a green color. That's a little muddy. I'm going to add some lemon yellow back to this and make it a little more. Not somebody that's going to throw it in there. And we'll come in here. And you can go back and forth. And how much yellow and how much green you have. But how much you have black isn't there, you know, play with that. But there really is. Black and yellow makes such a great green color that, you know, if you had blue to this, it'll be too much. It'd be two garish green, but black and yellow. A nice It's just earthy enough to work. You know, I don't know how it works. It's just one. Yellow is black is just warm enough. Where where does that okay, we're going to add a little bit of orange to make a slightly warmer green. And I need to lighten that value a little bit. So little bit of orange, because this green is going to end up blending with the orange that's already over here. So we needed to gradually come back to this color, come back to us. Orange and black also make a green because orange is sort of in the yellow ish family. So it makes a much warmer green. And it was painting shapes here. Not trying to paint leaves. I'm painting there's a shape of this color here and there's a shape of that colour there and that kind of stuff that goes over those. There's a little bit of that here. I'm implying a lot of leaves by just making a few brushstrokes. Smash into paint around a little bit. I'd like to let the paint do the work. Because the paint is way better. It has way better artistic ideas than I ever will. So I will let the paint do as much of the work as I can. And then also there's a disa, hair of green over here, but it's more of this orange, green. So I'm gonna do a little bit of black and orange and come over here. And this will balance it out to it'll, it will add some green to the other side so they can sort of join together. I'm not gonna go too far in because it doesn't go too far and it's almost, it's a little bit just on the edges because remember, we're keeping everything centered here on our light source and it goes out toward the edges so it's warm and bright and it gets darker and cooler as you go away. Okay. And I think I missed a couple sky areas over here, so I'm just going to come over and do those. I missed one here. I get my little tiny brush. This is a size. Was this a four? I missed that. Maybe I'll come and do a couple dipoles of light poking through places now, now that I have a smaller brush in the hand, since and that was the painting just sort of evolves from one place to the next. I tried to plan it, but sometimes things just happen and I just run with them. Light spoken through all kinds of fun places. This is sort of adding more of the detail. Now. Go where there's light poking through places here. So just a few, not too many. Scatter them around. Don't do don't do a bazillion of them all over the place too, a couple here and there. Otherwise it's too much. Okay. Now, since I got a small brush and my hand, I may go ahead and do the wipe off that paint. Same wiping it off. It's squeezing it up. I'll do some branches. I'll get some orange. And here, scrape up bunch. And maybe we'll come and do little tiny branch details and things to sort of put them everywhere. Because a tree really hasn't bazillion little twigs and things that where it makes it look really powerful. When you have lots of them in there. I'm not, I'm I'm doing row light. I don't wanna smear everything around. I don't want to carry this white with me into the, into the next section. I want to keep it where it is. Okay. There's a couple really dark ones over here. So will get some dark purple here, Lutheran crimson, and some of this dark brown. Dark. Look at that. Look at that now. Oh dear. That's my old man voice. Oh, I gotta take my pill. Because you're never too young to be a grumpy old man. Maybe we'll add just a few more. I'm looking for them in the picture. But if you see a space where I could use one, maybe sometimes cutting through those, those places and those places where lights poking through his fun to add a bright a chin. Okay, let's do it now that now we're gonna do the remainder of this by doing these background trees that the horizon ground here and then do this shadow. So let's start with these trees in the background. I'm gonna go for that sort of bluish color and say, well, what am I going to go? We're going to start with it'll, it'll eventually be more blue. So I'm gonna squeeze some of this out. I'm gonna do, I'm making this up as I go along. It's like an adventure. Wanna do sort of this cool, orangey, green, little bit black and their colour. And I definitely want it much lighter than that. A little more orange than that. At least for this initial part right here. And we go and we need more pain. And don't get carried away with details here because this is what we'll do a few more details in a second. But these are so far away that you wouldn't see details in them because your focal point is here on the tree. So you're not gonna see every leaf and every branch on these trees that are really far away. He just won't. So don't put them in. The camera, might see them, but you won't get lighter, little warmer. And as we get further away, I'm going to start using just more of the white and the black to make the grey color. And it will sort of help lend itself to this blue. And I'm going to pick this up over here and keep doing the same thing for I change my colors on my brush. So let's add a little more white. And we'll now I'm just gonna use white and black to make our gray because I want this blue now. And even now that you can see the poking through of the under painting, the underpinning shows through. And we can see little bits of the purpley color underneath. And that really helps lend to our effect. The, it's getting cooler as it gets away from the light source. Underpinning shows there excuse me. Here under painting is showing. Thank you. Appreciate that. Almost done here and I'm letting it dry brush a little bit so that it has let lets the underpinning show through their Okay, touch that up. Okay, so there's our background. Lovely, cool wave in the background, trees. If we painted them as black as they looked like in the picture, it looks like they're right next to this tree and it wouldn't work. So we push them way back and now it gives us some distance. I think I need to wash this brush off a little bit. So I'm going to wash this brush and I'm gonna use it again. I'm gonna come back in and do this horizon. I need some nice bright, really warm yellows and greens. And these blues will just fall out up. So I'm going to watch this and we'll come right back. 9. Opaque Painting Part 3: Finishing with the grass and foreground shade: Okay, we're back. As you can see, I cleaned my palate up because it was a big pile of mess and I had no more room to mix the colors that I need. So I cleaned it up and I could get working again. Hey, I'm gonna do this horizon here. There's a little bit of yellows and greens and things in there. It's a fairly light value, so we'll start with some white and get some yellows. Um, maybe just a whisper of the black to make it a tiny big green. And I might blend it in with those background trees, so it's not a hard edge. My, I might I am went to and doing that. I have decided. So just you can bring the paint up a little bit and push a little less hard and blend that edge in so that it blends right in with that color. Let's make a little more, and as it gets further away, it's going to get a little darker. Maybe a little cooler me a little more green as it gets further away from that center who will come in here and make that happen, And I know of I'll come back and touch up that tree if I accidentally paint over Here we go . Continue that over here. I don't make it even more darkish and greenish keeping the nice light value. But it does get cooler and a little darker because again, here's our light source. Want the brightest here and it's gonna fade as it gets further away. Fade as it gets further away. Will come over and do this part. Um, I think so. Call me maybe even a little bit orangey purple tickets toward the bottom here because this is where all the leaves of the tree have fallen. So let's make this. Let's keep it light, but make it a little more orangey instead of the green. And again squint your eyes and see the places where this needs lightning that again. Maybe we'll add a touch of realism. Comes in this time and that goes far. You don't need a whole lot of that stuff. Some paints tent much stronger than others, like lemon yellow. You need a ton of it to make it do anything. Um, but black um, listen, crimson they tent like crazy, so just be careful. Just be aware of how much you're tempting you. Some of the pain. You look at him wrong and they made changes your color. So we'll see. I really heightened those highlights, and now it's looking a lot like the shade underneath the tree. Here's a fun little trick you can dio when ah light area becomes shadow like here's light and it becomes the shadow and it becomes light again. Become a shadow. Whenever there's that transition, it's really, really saturated color. So we'll take some orange, maybe just a tad of lizard in crimson and make sort of a purple lee orange color. And I'm gonna come in here. I think I needed more pain. That's more pain. I always got to remind myself even more pain scuba bunch on their come in here and get use a transitional areas in between where the shade is turning into the light and make those really saturated. That's, Ah, a little thing that will add a lot of punch to your painting. You don't make everything supersaturated. You sort of save those moments like this. You save those moments when it, like, really needs to be hit hard with a A bold bit of color. You know, a little more is there to match those, and then I'll just do a little dry brush 11 time. You know, across one of these areas where it's dark, so I leave some of the bits of pain below coming through. So here's my little saturated babe. Still putting out around places. I need a bunch appear at the top where this edge of the tree is. It's like the transition color between the shade and the light. And also maybe we were there. Some places where there's it's not totally bright. It is a little lighter, but it's not light as some other spots. You can use this color like maybe there's a little bit right here where there's a tiny little bit light showing through so you want to use, you know you're too light. Values want to use tiny little bit. Maybe here is a little tiny bit of light showing through, so you can use this as a transitory value is really saturated. Version. Okay, and there's our shading. I think I need a little more I Look, this this shape is kind of funny. I need a little more of this, uh, sort of grassy part right here to round off this tree. It's too, like pointy or something every week. I think the very top of this needs to be a little lighter. That's better. Okay, I'm gonna work on the inside of the dark part of the tree here. Now that I have a dark brush, I see different brushes of the same size. So this one has this light values that are nice and Roman warm. I can use this again. And for a light value, having to wash it. Got another brushes the same size that I used for some dark stuff. I'm gonna use that now for some dark stuff here, E think I'm just gonna clean up some parts of this tree that need cleaning. Um, maybe there's a couple details of some overlapping branches that I'm gonna suggest. Maybe some of these edges aren't that clean. Have you want appreciate this? A little bit, actually, is a little curved, and then this this route comes out a little further like that. There we go. So is this one? Here's my lighter. Russia. I'm actually gonna come back in here, and he was a lighter orange around the edges on this side to make it look like light is sort of peeking around. And it isn't being not there where there was a branch once. It was a little bit that got left there. But maybe we'll make something out of it. Maybe it's like a extra little branch that didn't quite make it didn't make the cut. Then here, maybe I'll do a little gap. Tiny little indication there's a gap in there. Maybe that's too much. I'll soften that up a little bit. And, you know, I really don't like that at all, actually. So I'm just gonna mix it with my dark Come over here. Yeah, I don't like that. That's okay. You can make things that you don't like. You just go fix him. Put a little bit of the branch showing through here more of the trunk because this is looking like strange on a show that these air leaves hooking through here. It looked like that was the trunk itself leaves there, covering that section. There we go. Any other bits of trunk over here that I need to do while I have the dark? Hey, Let's find them. You know, look for places while you have dark on your paintbrush. Was it our dark area over here? I'm smacking it on there. You know, you can apply the pain however you want. You get the paint on the canvas anyway, you can, um my teacher who taught me most of what I know about painting by deems and Guinean brilliant Impressionist painter. He uses round brushes and he'll actually roll them and he'll roll the paint down there. And he's one of first told me is like, you know, every paint rush, every brush stroke doesn't need to be. Ah, stroke. It could be anything. Anything you need to do to get that paint on there and you do it be inventive. Lots of little twigs and little bits of stuff happening here. Maybe I'll dio well, twig there. Um, there's a little bit of reflected light sort of happening on this tree. Someone I get some, maybe some cool, not terribly bright off. Still wanted to be this dark value. I don't want to change the value of the whole area, so don't go too light with this, but I'll do some details in tree. This comes right down to their and this is a thick trunk is like its own peace, and this is really subtle. Don't do too much here. Don't change the value of this section. Don't do to right here. This is a couple indications that there's a the trunk is has some features on it, you know, Let's see this in the house. I need to dio um, now you can stop. Sometimes you gotta stop and step back and take a look and see what your training looks like. I think mine's looking pretty good, so I might call this one. Done. So here we go. You saw Justin and maybe about an hour off the over painting process. We started in an area we started with. You know, you don't always have to start with the lightest point, but sometimes it's just a nice place to start from. And then I worked in a way around, gradually changing my colors to the darker, warmer areas. And then I worked back to front meeting the horizon, you know, farthest away from you toward you did the the trees of the field and then the ground here with where the shadow is and this needs that you continue touching the true there, put a little bit orange. So I would say, Oh, we're gonna look at that. And then I jump back in and do a few more bits. But that's OK. It's my painting. I could do whatever you want, and so can you. Um, so there we have it, All right. 10. Wrapping Up: Okay. And here's our finished painting off our lovely autumn tree. You saw every process of the whole painting. We started with a preliminary charcoal sketch to Apple's practice are drawing and determine our values on DWI, then translated that into an under painting on the campus with limited color colleges. Three colors, Um, and from there we added just a couple other colors to our palate, and then you saw his build up. You know the painting one stage in time, one section at a time, thinking about the color temperatures and thinking about our values may keeping our light values light. Making a nice dark values dark are drawing that the tree was pretty simple. Um, edges were like, you know, places where the light creeps around some of the leaves, the edges a really soft and occasionally have a nice hard edge like the edge of this, the trunk right here or any other side. But sometimes it gets soft as like some leaves interrupt that hard edge so that there's sort of a lost and found edge thing happening. Um, this background we pushed that way back to make it look more distant, even though in the photograph the trees a really dark in value, almost as dark as this tree, but we pushed them way back to make it more distant. We used aerial perspective. We put more air between us and the object that also making those edges a little softer around the edge. And they're really hard and crisp. It would bring a lot of attention there and make it look close to you, but it's further away, so things get a little fuzzy. So all those concepts we used to build his painting so you can see how it is, how easy it is to build. Ah, great oil painting or acrylic in one sitting. If you plan your painting out properly and sort of have this path that you create for yourself, you really just walk right through. And it's a lot of fun, and nothing will surprise you in the middle because you've already solved these problems early on. So you can really enjoy the painting process and get down a lot faster. So thank you so much for joining me for my class Impressionism painting with light. I'm Christopher Clark. I have been a great time and I will see you again next time