Impressionism: Paint this Countryside Path in Oil or Acrylic | Christopher Clark | Skillshare

Impressionism: Paint this Countryside Path in Oil or Acrylic

Christopher Clark, Professional fine artist and instructor

Impressionism: Paint this Countryside Path in Oil or Acrylic

Christopher Clark, Professional fine artist and instructor

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9 Lessons (3h 14m)
    • 1. Countryside Path 1 Intro

    • 2. Countryside Path 2 charcoal drawing 1

    • 3. Countryside Path 3 1 Underpainting

    • 4. Countryside Path 3 2 Cleaning palette 1

    • 5. Countryside Path 4 1 Opaque painting1

    • 6. Countryside Path 4 2 Opaque painting2

    • 7. Countryside Path 4 3 Opaque painting3 1

    • 8. Countryside Path 4 4 Opaque painting4 1

    • 9. Countryside Path 5 Outro 1

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About This Class

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, edges, and texture. 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.  

DOWNLOADABLE MATERIALS: I provide the reference photo I'm using for the painting, and an image of my finished painting for you to analyze. Also a materials list: you're free to use your own style of materials of course, but I'll list every single thing I use. 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

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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. Countryside Path 1 Intro: Hi there, I'm Christopher Clark and walked into my painting course, impressionism painting with light. Where together we will paint this beautiful landscape scene here all in pretty much one sitting. So little bit about myself. I've been an artist for many years, professionally, many years in general, most of my life, I used to be nice to watch Bob Ross on TV and sit on the coffee table and get out my crayons and follow along with Bob Ross. That's kind of a famous story this point and tell it to everybody all the time whenever we talk about my history as an artist, but really is where I got my beginning. So we're going to discuss some concepts of impressionism here. And when we're in a, my background, that's kinda where I feel like I hang my hat. That's my my biggest influence. It's basically a period of time in the late 18 hundreds when artists mainly in France were departing from the norm, the history of art work where they polish paintings very smoothly and there was no brushwork visible and the subject matter, it was a lot of religious scenes or heroic, you know, Greek mythology scenes, that kind of thing. This sort of painting everyday things. Going out of the studio and painting out of doors with to paint in paint tubes was a huge motivator for that. Made people have more mobile studios. And they started experimenting with brushwork and they could be loose and free and spontaneous. And it kind of indicated there were painting at time of day. They're painting a fleeting moment. Instead of necessarily this allegorical story. They're painting the way light falls on objects and the way the light changes throughout the day. It was really a great time for art. And I identify with a lot of that. Now that some of the main concepts we're going to go over in this piece are kind of the five general categories of painting. It's drawing value, color, edges, and texture. First one is drawing. It's very straightforward. It's how they, how a painting is constructed, how the objects in the painting are constructed. It's linear perspective. It is anatomy and figure drawing. If you're painting a figure, it is, you know, that kind of like how to show a three-dimensional object on a two-dimensional surface. So that is drawing. Next concept is value, that's light and dark and the combinations of those and how to group those together. You can have a value pattern is what you identify very early on in the painting. You can make large value shapes that help the painting read much easily, even if it's a very complicated piece. And also how they relate to each other. When they're next to each other. One value can make another value looked totally different just because it's right next to it and how that interacts. It's a relationship that changes. Next concept would be color. That's very straightforward as far as you know, everyone knows Hughes, reds, greens, blues. There's color temperature like warm and cool. And then how those colors interact with each other. There's transitional colors between two shapes. So a lot of fun ideas about color and we're going to discuss. And then edges are how to shapes to color shapes fit together. I always use this example because it works really well. So like my shirt is blue. So this is one color shape and let's say the background is like this, beige as another color shape. So where those meat that's an edge, It's kind of not the hardest edge because it's not a very contrasty. They're almost the same value. So it's, it's, it can be painted as a hard edge, but visually seen as kind of a softer edge because there's not a lot of contrast and maybe the other side as much sharper edge that you can see there. So you can have sharp edges, you can have soft edges where there is no shape that meets, it's kind of blended together or that's completely lost. And edge, like, you know, you have this whole varying range of edges and that can help sharp edges can bring things forward into painting and make them more attention. Attracting. And software edges will make things more round or soft or recede into the painting. I pushed back. So you can use those to help tell your story. And then the last concept is texture. That is, the texture of the objects you're painting themselves. Whether it's, you know, a city with gritty concrete and brick and things. Or if it's a landscape with leafy, grassy, fluffy things, whatever, or it's the texture of the paint itself. It can be scratchy and it can be, you know, mushy texture or it can be, you know, layers of transparent things building up. So it could be the quality of the actual surface of your painting. So those two things both fall under the category of texture. We're going to start our panning with a charcoal drawing on a piece paper. As a study, it's gonna mainly be a study of drawing and values. It will also be a great way to practice the painting and sort of do it once in a quick, you know, you could do it in ten or 15 minutes. And a very nice fashion to get to know the peace and solve a lot of problems early. So with that, let's get to our charcoal drawing. 2. Countryside Path 2 charcoal drawing 1: Okay, we're ready to get started with our charcoal drawing. I've got our materials laid out here that very simple. Just some Vine or willow charcoal. These are basically little sticks of burnt wood. Basically it's like a Vine or a twig that they burned to a crisp. And then it's a nice piece of triple that we can draw with very different than compressed charcoal and a pencil form at the wood around it that has some clay in it and some binders that actually make it not as easy to erase this stuff, erased really easily. And we can push it around. We can push it on the paper, very much like wet paint. It's really great as a, as a study medium for a painting. I've got a rubber kneaded eraser. And this is these are very inexpensive, like $0.50 for a very long for this. And we can squash it into any shape. We want a little sharp blade. We can make it into a point. So we can do all kinds of fun shapes and it doesn't leave any of the eraser poop all over your paper. So really nice. And then just a couple of phone brushes. These are used, we can soften some of the charcoal if we want just an oil paint, we can blend and push the paint around. We could do the same thing with with a sponge foam brush here. Okay, so this is drawing and value study and I'd take my char club and look how I'm already holding it. We're not going to hold it like a pencil. Like you write your name with. We're going to back up and hold it what's called the overhand grip. You just hold it over here like this so you can use your whole arm. And we can also get some nice angles with the tool that I'll show you here in a second. This is just regular. I'll sketch paper and sketch book. It's a smooth surface. We don't want a big tooth. Lot of texture when it fairly smooth. So nothing fancy at all about this. So soon as it's good just to mark in your space. And here's a really simple, helpful way to help you place everything on your painting. And the reference photo, I have a little grid, the graded version it's got. And you can just eyeball this and this little service. You can measure half their, half up and down. And then sort of bring those together to a point. I made a little cross where they, where they meet. And we might reread put that in there a couple of times because it might get some moisture and that's okay, but really great way to help place your painting. So we're going to squint at our subject. Light is coming from this side. So I'm just sort of in my mind, where's my light source coming from? Coming from the left. So it's going to be lighter here, darker here. So now illustrate this right now. What we're doing is this is a value study. We're going to divide this drawing, this, this really complex image that we see here of this trees and everything. We're going to divide this into three main values, values light and dark. Now, the lightest value we can get is the white of the paper. In this instance. So let's say it doesn't matter what number you call em. We'll just say that's 12 would be, let's say like a medium somewhere halfway between the lightest and the darkest that we could get. And then, let's say three would be the darkest we can get with our medium. In this case, it's this charcoal, some very, very dark grey. So we can say a 123. This is the market for our middle. That's not a number. So let's say that's 123. We're going to try to separate this drawing into those three very simple, largely grouped together values. As if you had like three pieces, three colors of construction paper. He had white, gray, and black, and you had to cut it out with scissors and make this scene with only those three colors have construction or you could totally do it. That's what we're gonna do right now. So take your charcoal, your stick, and home. That's what's like flat. We're almost gonna put, put it flat against the paper like this. And what I can do it, you can even push it a little bit of him to you. But I want to fill in the whole thing. We're going to start with value number two. We're going to start with the whole thing as a midtone, the middle one. And see if you do it as a point. It'll take you all day and it's a different texture. There's another quantity we're going to talk about is texture. And you might actually start pushing it too dark. But right now, I actually just want it very smooth and even maybe it might get a little darker toward the bottom right here because our light source is coming from the top right. Think I demonstrated a little too hard. They're pushed little George's. Ok. So I'm filling the whole thing and with my value number two. And you can kind of go back and forth. You can do different directions. It doesn't really matter, just screw it. And then here's take our low foam brush and we can just sort of smooth it out. So it's a nice smooth value to maybe even I can emphasize the darker side of this. I'm kinda doing one stroke at a time. 111. I'm not just like scribbling, scribbling aimlessly. I'm doing deliberate stroke at a time. We will paint the same way. It's a good habit to get into now. Okay, so here's our value two. And now we gotta do, is you can start doing a little drawing to, to, with, you know, we actually have kind of sharpened our edge here a little bit. We can start indicating some of the large shapes in this piece. Let's find our middle again. There's that middle. There it is there. And we do this we'll do this in the painting to you put little dots on it. I don't need to draw the whole line because I can see the line in my mind. The dots are sufficient. I can connect that line in my mind and I can place things in it, that's fine. And then I don't have to cover up this big dark line later. It's easier up to cover up a dot. It's far easier to do that then to cover up this heavy line or something. So really nice. So now let's look at our reference main shapes here. One, we've got this mountain in the background and watch how simple we can get that. You know, it's got a lot of little variations and things. But right now it can be that do the squint. That's basically you look at your subject. You kinda gently close your eyes. Almost like you're gonna fall asleep. You can tilt your head back a little bit to, to make a little more gentle, don't squint your face like this. That's that'll make you tired and I'll give you a headache and it's too much. You can literally just like let your eyelids closed and do that squint. And it'll simplify everything. And you can see all these big shapes. So simple shape for some mountains. There's this group of trees right here. Maybe it's gotta kinda the tree comes out here and then there's a line of trees, it comes down. And then there's one more. So there's our trees. There's this path thing that actually has some different values in there. Let's find that. That's maybe here and I can measure against my little grid. I can go, oh, it's just down from this line is about halfway, a little further. And that will help me find those. Just helps me place things. This actually hits about the corner. And they always say, oh, you shouldn't ever have anything pointing at the corner that you can do whatever you want it through painting. I might move it up just a little bit. So, so it's not like right in the corner then it turns into like an arrow pointing your your eye off the page. So maybe I'll push it up just a little bit so it's just off the corner. So here's that side of the path. And then the other side is about here. Tonight. You can just poke it and see as editor, as edit. And I can find it. It actually curves a little bit there and we can find some of those finer details later. There's that. And then this is a challenging piece. This particular painting is had the challenges. This tree in the top left, there's so much going on there. Here's what we can do. I'm solving this with you right now. I'm going to find the tree that we're going to treat the tree as a darker shape with some interruptions in the middle to show the light of the sky coming through. That's how we're going to treat this. And then this a trunk. And then we're just going to assume that we're going to connect this whole thing. See that tree has this, that the Trump turns into this shadow. And that actually becomes, we can even say just becomes part of this. There's the shading on the ground that the shadow of the tree as another, there's some complicated shapes in this painting, but that's, that's all we need for now. What we might even treat this house as part of this mountain, you know, it's, it's pretty dark if you squint down, but I might choose to lighten it up to push it a little further away. And that's called aerial perspective. If the closer the things are to you, I'm going to use my, my darkest value, the foreground things are going to be your darkest value. Very often. Say I'm actually, I'm holding it, I'm giving a good push. Now here I might push a little less because I kinda wanna have some light sort of filtering through. So it's going to be a dark value, but a little lighter version of it. But still I'm thinking one piece. So this tree, the trunk is connected, this shade, the shade and the grass. It's connected. The light shadow on this path is a very different value than the shadow of this, these two shadows and from the same tree, but the grasses shadows really dark. This dirt path is a little lighter, but I'm still gonna kinda connect them. And then here's the grass that picks up again. So I'm pushing a little harder. If you just hold this and push indicial break it. So you have to put your finger on it so you can push. And I'm, I'm very much using, I'm even like sharpening the edge a little bit. Like it's getting flatter as I'm going because I'm sort of wearing it down. Okay, and then the next darkest shape as it gets further away from us. Aerial perspective is kind of shows distance. It's like the further away from you something is, the more air there is between you in this object. And maybe the closer it becomes toward basically the color of the sky, the value of the sky, because it's so far away, it now disappeared into the atmosphere in the horizon. So the next lightest value at darkest here, the next lightest would be these trees here. And again, we're going to treat these as one shape with a couple interruptions to show the sort of light poking through the trees. So these are the same tree, this tree, and this tree is the same species of tree or whatever. And as they get further away, the tree hasn't changed. But it appears like it's gotta be feel lighter because it's further away from us. That will help really show distance. If you want. I guess you can start pushing in a couple of these trunks. Just to play around with that. You can spend as much time on this as you want and this is kind of your study. So you can play around with details and things. But in general, we're just thinking about big shapes. What's really going to help separate this house, I guess this house, I can do a little tiny bit darker version of the number two value. Will just joined this whole house together in one sort of strip. And then those mountains are definitely endless sky will be very, very often. Your sky is your number one value. It's your lightest value in the whole piece. It's, it's usually your light source and a landscape. So a light source will naturally be very, very bright. So here's the fun part. Make that will clear. Now we take our kneaded eraser. I'm going to start carving out this sky and watch. You just hit it and you push it and swipe it there and it picks up a bunch of the charcoal and removes it almost back down to the white of the paper. I'm going to treat this for now as if these chunks of the tree or we're not there yet, we'll do that later. A little tip about this. When you pull this off, you now have a big haunted charcoal here. If you just keep doing it, you're just going to be smashing charcoal back into your nice white. So rearrange it and find a new spot that's clean on eraser. You do it once or twice and then you have to move it. Otherwise, your you're just smashing the charcoal back into the paper and you won't ever get it to be as wide as you'd like. London stroke at a time. And I'm always, I always squinting at my subject. I'm always doing this squint. If someone doesn't understand painting and they see you doing that, they won't understand what you're doing is are they really upset about something or one person? I I didn't want to laugh. It was totally knee-jerk reaction. They said, I saw you doing that. You are closing your eyes and I thought you were just trying to feel it more, trying to feel the painting better. And I laughed and I didn't mean to, because, you know, people who don't understand painting. That's not a stupid question. They really have no idea what you're doing. It's like, no, it's not that romantic and silly if I'm just feeling like no, I'm squinting, I'm doing the squint. And I explained it what it was and it made sense. But yeah, if you never done the squint before, walk around in the world and squint and things and you'll see them simplified into there and to their true shape and their true value removes all the details. Okay, now, we've got our main shapes. The sky is kind of one shape. There's a lot of interruptions here. We can pick and choose the ones we want. We won't put them all in. It actually will be designed better if we don't do certain ones. And then we've got sort of this, you know, the background of this landscape that mountains, the house and this grass, this, these trees are sort of one shape. And this to this tree and the shadow that is casting is kind of one shape. There will be some variations in there, but in general, that's how that's gonna work. This tree has a really great lit side to it. It's like, it's like a sphere. And this will actually help cut out the tree out of this background. So we can see the house and stuff better. It'll give us a little bit of value contrast. It's funny. The, the oranges and stuff in this tree, but the same color in the same value on this whole side of the tree, but next to the sky, it looks much darker. Next to the house, it looks much lighter. So you use those contrasts to your advantage. I can I can tap this with my finger and lighten this up a little tiny bit. So I need to make this tree look round because it is. So that's a real contrast there. Let's find, let's think there's the largest shape here. This, this grass is going to be pretty light in value. Not merely as light as our sky, but I do want to lighten it a bit. It's going to be this nice, bright yellow, green. So I can come in here and lighten this up. All the way to the tree here. Just about these houses back here. I don't need to worry about those yet. We can get into more detail. Now the painting, you'd be surprised how little detail we need for those houses to read. So for now I'm just, I'm going to say this the grass will be lighter toward the light source and a little darker as it gets away from it that will help show a nice sense of light. And then this path here, this path is suddenly Nice jump in value as well. Lighten that up here, and then here's about where it hits the shade of that tree. And then back here is where it hits the shade of those other trees. And then we can even do a little bit. So you can use your finger as well. This stuff, it's like wet paint. It just sits on top of the surface and you can push it around. Really great study for doing a painting. He's looking at good, nice little landscape already and we've hardly done anything. Now we can maybe start to pick out some other little details here. We can use, we can start to pick out maybe some of these. The shadows and the lights on the ground being cast by this tree. Here's going to be a little bit of linear perspective. This isn't necessarily a prospective core star as in this example. There's always linear perspective. Everything was like a cityscape where you really see it. But you can see, well, notice this tree, the shadows at its casting or sort of pointing down. And as they get further away from us, they flatten out until they eventually flat with the horizon. And you'll notice that. So let's say here they're a little more unless pointed downward. And as they get further away, they will get flatter and flatter. And now watch, look at the, look at the shadows cast by these trees. Look how much flatter they are. There are little angled and as they get much, much further away until I think we get to the edge of that little row. We can see a little bit of this path. It's, I must completely flat. So we can see right near the horizon, it's a much flatter shadow and as it gets closer to us, it follows this, basically the raw, these are all pointing at a vanishing point which is probably off to the side and a left here somewhere. They're all pointing at the same spot. That spot has to do with where the light is coming from. The light source here, the sun. So that's definitely a nice example of linear perspective. Okay, I can fix this mountain shape. How about let's do a little bit for this house and does a roof plane right there. Let me there's two as a couple different planes here. This is kinda hard, this tiny little bit of a patio or some couple of little light. So just in my little study, you don't have to get super detailed here. I can take my smile or stick a charcoal for the more detailed stuff. Now I want to keep this pretty light and value. I have to say I don't necessarily want any values in this house being darker than the next thing forward in our landscape, which is, let's say this tree right here. I went to all the values in this tree area. The darkest values here will be lighter than the darkest values here. And they get lighter as they get further along. And if I put a big, huge black spot right there, that's going to bring that forward. So if I keep that tamped down to a lighter range, a lighter bracket of values, it will look further away. I can do some gentle details here. So we'll take a little house. And you can take your little tiny fan brush and you can just poke it also is a little, just a little helpful tools to help lighten things without smudging them or anything too much. So there's a little house that's kinda far away. We can get into some of this small little details here. Let's say, let's work our way forward here. There's these trees casting a little bit of shadow here. And this shadow is a little lower. There's several little other bits of interruption in the shadows back here. We can just gently indicate those. They won't really be that important. You'll see where else. Let's do this tree in the foreground. Okay, this is kind of an important bit. Let's maybe try to find I can take my and I can just find some other trunk, big fit branches here. I can go buy the piece generally, and I can just sort of play and do what I want is a tree. It's really open to your interpretation. Whatever you do, it will still look like a tree. This is what's really nice and easy about landscape painting versus like figure painting. If this was a person and a face, and I put the branch and I put the arm too high and the ear to low and whatever it very quickly looks at, looks absurd and amateur. But a tree I can move all those that yeah, can put whatever I want anywhere I want and the soil is like a tree. It's very liberating. Do there's some nice dark values along the side where the grass, the grass has a dimension before it, like drops off and then goes into the path so we can put a little bit of that there, There's some stuff when we have a larger space on our canvas, we can do some more of these details. There's even like a little fence or something. And those get larger as they come toward us. That's linear perspective. Perspective is basically like from where I'm standing. This is what these objects look like. The closer they are to me, they, they up here, larger, the further they are, they appear smaller or the value appears lighter. That object hasn't changed. We've changed, I've moved. The object gets further for me from my perspective, it looks like this. So those are very helpful tools. I'm just sort of breaking up this. There's some little bushes and things. Ca, you can now you can just play and take some little textures and things happening here in the grasses and stuff, whatever. Let's figure out this tree. Let's find some of the obvious ones around the edges are pretty obvious. There's a mountain is still going through here, so I don't want to later when I'm doing this with paint, I can add the right color so that I am seeing through the tree. I'm either seeing the mountain or I'm seeing the sky, one of the two. Now I just got this very subtle bit of value that play with. Let's pick a spot right here. What I can do is I can pick some very obvious spots where I can see through. Of course, like I can't see through the branch. I've sort of made these big branches. So I won't see through those. Those are my like my borders of maybe where some of these spots are. This is always a very challenging sort of thing when you have a tree that you can see through. How do you approach that? Say, if it's real sparse, Just a couple of branches, maybe you'll do the sky as one piece with interruptions of little branches. In this case, we're kind of doing the opposite. We're doing the tree as one solid piece with some interruptions where we can see the sky through it. I'll just do a couple here and there. And then I can later if we want, we can take our Medium and we can add some things back in front of these interruptions that we've done some leaves. Maybe we can even do a couple that's sort of extend out, break up that. And then at the bottom of the tree is really still a dark value. There's lots of light green things happening with the leaves and stuff. But if you squint your eyes, it is actually a much darker value than you might initially think. It really blends in with all this stuff. So we can add detail with color without changing the value too much. That's a very good skill to be able to recognize and to have and to be able to do. We can add all kinds of fun, bright, shiny colors, light wisdom, do the leaves here without breaking up this solid piece of value. That is one thing. That makes a painting confusing is too many large or too many value decisions everywhere. Millions of little values. If we start with the very simple value and we can break it up from there if we want, or we can leave it. We see a couple of branches from this tree. We can see a couple interruptions with this one as well. So you start with the big shape and then you carve away little details. Every time. Always, that's how you do a piece. That's how you, that's how you make something look real. Because you simplify it into the simplest possible thing you can. And then you break it up into easily digestible little bit. Panel, I guess sculpture in a big block. And that's where you start with and you chip away until you have the large shape and then you should weigh into ever smaller shape and you, you keep chipping away at this thing. As long as your large values and your large shapes read, you can add fun little details here and there. And it will, it will still read well, are making soften. See there's too many sharp edges on this shadow. I want to soften some of those edges a little bit, which is like wet pane. I can still switch this around a little bit. So there's a lovely little landscape. So there's our value study for this, for this painting. Now doing this value study will save you hours of time struggling with your painting because you've, you've discovered all these things in the study. While it's just one medium chart, just charcoal. You can, you can push it around really easily. You can erase it and fix the mistake. You can try something out light in like that. I'll put it back. You know. I don't like that shape. I'll move the big shapes if it doesn't read right, do it again. You know, I spent a half an hour in this, but I'm Gavin a lot. You can do this in ten minutes and you can really figure stuff out. That then when you get to the painting, you've solved all these problems and you'll be able to just waltz right through it. And then, you know, when we're doing the painting, we're adding all this color. There's medium, this paint, and there's mineral spirits and linseed oil and he always brushes and your hand and it's a lot more to think about. So if you've had this practice already, you can, you've got this in your mind and you're ready to go. It will, it will take a lot of burden off of that process. Maybe there's even some lighter color. I can add some fun oranges and stuff in here. So you can use your finger to just smash things around to which I've added with the paint to use anything I can. There's no rules. So great. So there's our value study. Good practice. And now I will set up my paint to do the under painting, which you'll see the underpinning itself is very much like this process where we're gonna be doing value drawing. But now we'll actually have a couple colors at the minimal palette, a couple colors to get us started indicating some of the temperatures and things. So let's get our paint set-up. 3. Countryside Path 3 1 Underpainting: Okay, we've got our paint setup to do are under painting. I've got my canvas. I'm using a 16 by 20 canvas set, you know, smallish size, big enough to get some details in, but not too huge to get overwhelm with. I've got my glass palette setup, and I've got just three colors out so far, we're gonna do very minimal monochrome sort of style under painting. Again, this is mainly to explore drying and values, but start to indicate some of the colors and temperatures and things. So I've got yellow ochre here, I've got Alizarin crimson, and I've got ultramarine blue. Those are kinda like three of my favorite colors. To do a nice underpinning You can get you can get a lot of mileage with those three colors. And basically have a yellow or red and a blue got the primaries. The brushes I'm using for this, we're using a two inch chip brush, some crummy ONE from Home Depot. And I'll probably use some of these just like flat synthetic brushes. Totally not expensive at all. And I might use a smaller one of that little tiny size two. These are size ten. Nice for big, big stroke sound like a big piece of charcoal, you know. So, and then I've got some mineral spirits. I'm using odorless mineral spirits because I'm using oil painting of using acrylic course you'd be using ladder. And the acrylic and oil difference will be, you know, for this, not actually too much. Because that with acrylic dries quickly, but not that quickly. So you'll see we're going to wiping some paint away with with a paper towel here, just like we were erasing with the eraser earlier. So basically just gonna get a little mineral spirits. I'm gonna do my gradient, my light sources up here. And it's getting darker here. Some kinda gotta, it's a very like, you know, afternoon he kinda day. I'm gonna do warm colors for most of this. So I'm gonna just jump into here for some yellow ochre. Maybe we'll do a little bit of the Alizarin. Okay, that's a little too much Alizarin. You can always see, I'm just going to add a little yellow ochre. Now this is good. I'll use this color later. So I'm gonna come right in here and start washing. And I kinda wanna fill in most of this. I don't necessarily want a lot of yellow I'm sorry. A lot of like white parts of the cameras poking through, but if it does, it's fine. So now we're doing this like our number two value, like we just did with our charcoal. This is our middle value. Although now I'm actually able to do some, some color and some temperature. This is very warm temperatures for this. I'm going to add a little more this orange, I want a gradient, lighter to darker, but also going to say like warmer oranges down to more of a, a cooler purple. Do a little mineral spirits here. You want a little bit. You don't want the paint to be totally soup. But you want it to be thin. The paint and this part of the painting won't be very fixed. You don't want thick paint right here where it, where we want our thinnest layers that dry the fastest at this stage of the painting. And now I can do very specific strokes that are like, you know, boom, boom, boom. I'm deciding where I want them. I mean, I guess you can describe it, you know, whatever you think it's a good habit to get into, like actually paying attention to your brushstrokes. And then now, well, same gradually moving over. C, even though the place I've mixed my paint, it's more orange and yellow here and it gets more red and now it's Bar purple. I keep their paints next to the colors that they originate from on the palette that just helps keep the palace organized. So you know where everything is. I've seen a few painters were there painter just everywhere, even in the middle, there's a little blob of paint and my worry you even mix like, I don't know if you noticed. I got I should point this out. I haven't paints on the edge of my palette so that I have room in the middle to mix. And I did put them in a very specific place. It's kinda odd. There's going to be colors that are missing that I'm going to add later. There's gonna be white, a yellow, and there's going to be orange and brown and then a green. So it'll make a color wheel, you know. So I've put them here with those spaces missing on purpose. Just so you all know. And now I'm getting into more of this purple. And also now that I've got this other color on my brush, I can't go back in here and start noodling. I'm going to put this purple in this wrong place. I'm trying to get this nice gradient. This will set up a great sense of light in my painting when I've got this nice cohesive gradient that will maintain throughout the entire painting. To this little bit in the corner here. Okay, so here's my number two gradient done. Now let's start sketching in a little bit of some of these large shapes that we did. Remember. We have our little grid. This paint, this canvas is not nearly big enough where you need to measure this. You can measure it if you want. But really just I bought There's a spot in the center. I've got my little tiny crummy synthetic soft bristle brush here. And I'm just gonna mix if I can get a colour to stick on here, there's a lot of mineral spirits, so sometimes the paint is kind of swimming around for awhile. One, there. Literally just eyeballing in the middle. In the middle. Might drop a little bit, that's fine. And then I'm going to sort of a little low. I search a notice. Whenever I do a search on notice your tendencies. I tend to I tend to go a little too low and my halfway and then the middle, middle. So that's just to help us, that's our little grid. I can connect these lines in my mind and I can cover these spots up later there. You'll never really see them. But if I made a line across the center, you might see that later, you might have to cover that up. It's gets a little tougher. Okay. Let's do our mountain. Same, same process that we did in our, our, our charcoal drawing. You can start there. And this might drip a little bit at the mineral spirits evaporate pretty quickly. So this will dry while you're doing this, by the time you're finished with his underpinning, this paint will be mostly dry. If you're doing acrylic, it'll be very, very dry. Although it was a little bit of water and a little bit of elbow grease on a paper towel. We can wipe it away still, even if you're using acrylic. So there's my one shape. What did we say? Was there a second shaped? Was these trees just literally finding a nice edge. An edge contour is the shape sort of, if you were to cut this out of the picture, call that an edge contour. So you've already done this one. So I'm kind of already figured this out. When I did the charcoal drawing was my doing this, you know, for the first time. And now I can kinda, I know what to expect already. Now let's do our tree here. What kind of treat this as one big shape that's a little too far over. And if he didn't move a line, you know, no big deal, just move it. Okay. So here's the bottom is that there's a big shadow behind that tree to that's actually helping me to separate this. I tried to find images for us to paint that are pretty. And then when you're done, you want to hang on the wall and it's nice. But then also it's challenging for a specific reason that teaches us something, makes us work on something. So here's the trunk of this tree and other trunks gonna come down here. So here's the leaves. The trunk and the shadow are all connected. Okay. And we did that path will do that in a second. Here is the other that kind of comes across. So that's the, the shade of this tree is all one shape. This path. Another important shape? Or is that about here? I'm looking at my grid. Let's like here's the halfway point. It's a little bit further down from that. I'm using the edge of the painting and the edge of the photo reference as a guide to your painting outdoors. Painting from life. You don't have the edge of your photo as a reference. And you have to just, I'm sort of squash it into your painting on your own. But that's fine. You can know that the old other skill altogether, which I definitely encourage doing, painting outside on location. And it's very exhilarating. It's beautiful to be out, out of the studio and nice weather. And we say we weren't going to, for this, that the reference to add to that path points right at that corner. But we're gonna move it up just a little bit. Just so it doesn't make an arrow out of the corner, You know, I pointed up just a little. That might help not make the I just zoom off to the edge of the painting like that. I'm noticing a little bit of a curve here in this path that comes down. And then it kinda curves, and then it curves this way. So it's like a weirdo S curve that might be nice to play with. Okay, and then let's find this house. See here's the halfway point that the top of the house is below that. I'm just going to treat this as one Shae I know there's like a roof and stuff like that, but this is too early for that. I just it's about there. And then this is about there. And it meets the bottom of this tree. Okay, so a lot of lines going on, but those are our major shapes. Let's fill those in. We can use one of these are nice soft, synthetic Russia to big a size 12 and it's a flat. I like these for doing dark values. They're really nice. So let's do our darkest values first and we'll move our way back. Let's do this tree. Now. We can just mix too a little bit of mineral spirits. Mix some yellow, I'm sorry, some ultramarine blue and some Alizarin crimson snows. When I'm painting, it's hard to speak. The words and the images come from a different part of your brain. So I'm trying to get them to talk at the same time and it's difficult. I know this is green grass, but that's not what I'm worried about. I'm thinking about value right now. And honestly keeping everything very simple color palette will make this stage much, much easier. And plus, beneath the green grass is lots of like shadows of purples and blues and things. So this will look nice. It'll, it'll help. Here's the trunk of this tree. So now we have some colors to think about. Instead of just black charcoal, which we have some color. I might want to, instead of use is as much blue in this part. I still want to shade in most of this tree, still some wet yellow ochre here. So if I just use a little bit of Alizarin crimson to shade in a lot of this, I can get a dark value, but it'll push it a little more toward the orange. I can just do a touch of mineral spirits. I actually want to use a little more paint because there's already a lot of mineral spirits are already on the canvas. I don't need to add a whole lot more. Sometimes. It's still there, it hasn't quite evaporated yet. Touched more. And again, I'm choosing one brush stroke at a time. If you had to pay me a dollar for every brush stroke you made on your painting, would that change the way you paint? $1.2 dollar, man does get an expensive painting. You're one of those people does this. Here's 50 bucks, right? So, you know, really think about that when you're doing your painting, every brush stroke is an intention and said decision. So ok, I can actually, I can see this a little darker up here. I'm back in here and a little more dark. And I'll raise this all up. And all these brushstrokes will show through in the end. And it looks lovely. We'll do that again. Because sometimes I'll say for really dark pain, it doesn't quite sit yet. Takes it a couple of layers for to really sit on the painting. That's fine for now. I'm going to add some more dark trunks and stuff later. Let's get to this road here. Touch more mineral spirits. A little bit of this purple. Kinda doing this just as a separate piece. And I'm almost even making my brushstrokes going a different direction to show that it's a different surface like here. This is the grass I was kinda doing a lot of downward strokes. This is this path and I'm kind of doing a little more horizontal that will help show that it's a flat path that stops about their back to our grass. Again. We meet again. Make use. I do switch hands when I'm painting just because it's convenient and it gives me a better angle. I'm trying to not get in front of the camera here. But then also just helpful for different angles. Sometimes. Just takes a little practice, you can do it. Okay? So there's our nice dark foreground shape of this tree. And let's work on the next dark shape here, which is the tree just behind it. And they're gonna get c. I am not getting as quite as dark as they want because this is still a little thin paint. I'll be able to make some much darker accents later. So maybe I'll just add a touch of yellow ochre to this one so that light is it just a tiny bit? And if I push too hard, I actually will will pull the paint off the surface. So you can you don't need to push real hard yet. We will be pulling the paint off with a paper towel here in a second. To add the light values. Notice I don't have any white on my palate yet because we don't need it yet. Okay. So this path you can paint right through it because this is all one dark shape. We can find that again later. So if I need to like, oh, I'm like, this is really important to connect the shapes. We can just, there it is, we can find it later. Don't be afraid of paint through your shapes in order to find the connections that you need. Okay, and then I got, I'll just pick up some of this stuff on here. I'm just gonna go realize want this a little darker. Here's these houses. Yeah, I can just push that and make that a little darker. So they're gradually getting lighter as they're getting further away from us. Okay. That's good for our main large shapes. Now, here's the fun part. We can take a paper towel and you kinda just fold it over your finger. And we're going to use this as an eraser. You can dip this in water for using acrylic, we're using oil. So I'm a debit my, say I've got my little jar mineral spirits here. I'm just going to dip it right in there and get my finger wet with the edge. And we'll take our largest Shape away first. Sometimes you have to sort of get it wet with the stuff and then find a clean spot on the paper towel and added again. And it'll really is hard to come off as soon as it makes a little bit of elbow grease, just sort of scrape it off. That's fine. But we're pulling off this wet dark paint. So then I can hit it with my really light value. Paint, my whites, oranges and things, and blues, mainly for this one actually. And those light value paints won't mix with those darker value paints. And della, it'll appear much lighter. And also because most pain is, has a translucent quality to it. We think about the layers of paint. Light passes through all these layers of paint and it hits the white of the canvas and it bounces back to us. So if you're, if you're light passes through these layers of paint and it's gonna, you know, it hits all these dark values. It's going to darken the light so that you really want the light to appear in your painting. You have fewer darks in the way of this light path as if light's coming through. And I can do it again if I need to. If you're doing acrylic paint should still be plenty wide enough if you've only been doing this for, you know, along this 20 minutes so far. That should that should not have derived long enough where you shouldn't need to use white paint yet. I know one of my previous videos. I've said that, oh, you definitely need to start using white paint. You know, you can. It's not the animal because it still drives real quick. But four, you should still be able to wipe this off with some water and some, some elbow grease. Let's do the edge of this tree and can pull off a little bit of this. Again, just finding a nice general big shape, making it kinda round. There's that nice little contrast here. Here's, I can just go over, I can just find a dry. So there's still a lot of mineral spirits on the surface. So I'm using that anyway. I can his wife a little paint off. Now I don't want this as light as this. This is my number one value. Usually the sky almost always is that the light source in itself. So that light, grass is pretty light, but it is not as light as this. So I don't need to wipe off that much here. Just enough. So it's a little lighter. The path here, let's see, here's the edge of that shadow from that tree. And then here's where those tree shadows, sorry. If your if your paper towel gets dirty and it's totally full, just get rid of it. And I grab a second one. And you just keep doing this until you run out of paper towels. And if you scrub too much, sometimes at lengths, you know, there's a paper towel kind of disintegrates to Canvas axis like a sandpaper almost. That's okay. It'll get covered in paint and right hills add to the texture. Adds to the flavor of the piece. Maybe here I can find where was it about? There was, there's a little sliver of light that I like. Kinda shows this path like turning. That's really just almost placement for me so that I can see where that is. I don't need that as far as like, hey, I can just add some light pain, that little sliver. It's not a big deal, but I kinda like to see it here. Maybe I can start finding some of these shadows. It's hard to see how they are going to start to angle down there a little more flat here, and they gradually get down right there. What's right? To use that grid? That big one is right on that center line. That's a good landmark. I'm squinting. Squinting helps them stand out more. You can see them better. There's one right there. And I'm constantly finding a clean spot on the paper towel. But just like their eraser with the charcoal, otherwise, I'm smearing paint back into the same spot, find a clean spot, and then continue. You know, you're not gonna get to light with this. I'm just removing some of the wet paint that's on there so that when I add when I add my lighter value paint, it won't mix too badly with this really dark or stuff. That's looking pretty good. I might try to add a little more dark value now without adding any more mineral spirits, I'm gonna try to darken that up just a little bit more. Maybe I actually want to wipe this on a paper towel and try to get some of those mineral spirits out. I'm not gone for thick impasto paint yet. But I want this a little darker. And if I push softly for out, for a nice soft brush is good for this because the paint is very thin. Oh, you know what I still need to do and I'm gonna paint around, just got dark in this path up a little bit around some of those marks that I made for the lights. Yeah. There we go. Darken it up just a little. And I can smooth out some of that if I want to. You know, it's my choice. Okay, let's find some of those lights in the tree. So first I'm gonna sort of maybe find some of the trunk. There's one that's there. Now I'm using the blade flat part of this brush. I like flat brushes because I can use a big thick stroke or a thin little blade. And it's very versatile. I'm just using Alizarin for this mainly. Here's one up here. I like to not have my tree branches. B2, sushi. I like him to be a little more. Straight like a, you can see me doing like boom, boom, boom, straight lines. Instead of like, you know, I don't like to swishing kind of branches. You do what you like. Some people love that gestural. It's almost like a, a person dancing or somebody who has a lot of these flow ie gestural lines. So you know, that's that's your that's your thing. I'm just explaining my choice to do it the way I'm doing it. Which is what you need to do is you need to choose as one branch that sticks out like that and I'm gonna put that in now. N is odd, the little guys, I can get those later. That's not for this. This isn't that kinda detail yet. Okay. Heard my paper towel ago. Think I got rid of it from dip this in here. And what's hard to carve this way. There's a big chunk taken out at back there. Now I have to reveal this mountain continues. So through the tree we will see that mountain live. I'll didn't line not Mountain Lion. There's no mountain lions in this painting. But that would be fun. I pay my share of wild life. Maybe that could be another class in the future. And then there will be, we will reveal the mountain lion. Slowly revealing some of those. And try not to make them too repetitive with the pattern. Try to make it random. Because this is a tree, and trees have random organic patterns. I'm using those branches as kind of a border for some of these light arts poking through. We will see right between the four of f. And then here, where's my mountain? I don't want to erase down to the white canvas where the mountain is. The mountain just happens to go all the way across. So maybe I want to find that. And I'm going to use that particular detail to describe the mountains behind this tree. So that's where I'm not necessarily just copying, I am kind of interpreting as well. And I can make the mountains go a little higher if I law, which I think I have. But it was intentional or not. I noticed it and I was got remedy. Okay. The rest of this is going to be this enlight things happening. But again, we can do that with paint. That's not necessarily that much lighter of value. These houses down here don't really, we don't really need to do a whole lot for that, that there really the value is not that much different. It's mainly we need to see this strip of mountain in this strip of houses that will be a critical. I'm noticing. These could be dark and a little bit as well. Let's do that now. Now the thing is it just dried for a few minutes. We can come back in a little more, little more paint. And urban knows a little bit. And soften this edge. This edge was all too hard at this top, looking around is looking kind of like a flat chisel. The thing I don't really need to show it in the trunks yet, but I guess if I want to, I can at least show with this first one where this one is. And it kinda comes up like that. And then maybe the second one. I can do those more later. I like this, finding this dark edge. Now, the sort of the back plane of these grasses that are bordering the path there. It gives the grass at dimension. That's like fluffy grass and the grass drops and then it's this path. And then the path comes up again because we're going to see some grasses sort of covering this side of the path. So that dimensionality were really make a nice firm grounding feeling in our painting. And then last thing, and then this under painting is done. I did want to carve out a little bit of this. Is too much dark right here. Maybe there's one that's a nice one right there. There's one right there. And if you push the paint around a little bit like that, let's wipe it off again later. Once read about oil paint is still wet. Can do whatever I want and wipe it away real easily. With acrylic paint. It's dry for then you can just paint over it really easily. So, you know, either way, don't worry about the mistake. Thank Bob Ross said, happy little accidents. And you'd be really surprised at how much, how, how true that is and how often that actually happens. I didn't intend for that. Oh, that was actually a better idea than what I had to begin with. So, you know, it just happens. So great. Here's a nice underpinning. We've got our large shapes. The large tree and the shade on the ground is one shape. This is one shape, this, this group of trees here. And then we've got our sort of background, mountains. I'm going to be real subtle and dark and this mountain, so it's a little darker than the sky. It's like lightest and then a little darker and a little darker. And then it gets a little darker in the foreground. Nice. So I'll do the next video. I will jump to. I'll show you how to clean all this stuff up, clean your brushes, clean your palate because for some reason no one ever shows anyone how to do that. It's really important. And then we'll get set up to do the opaque painting section of this pieces. So see you back here in a second. 4. Countryside Path 3 2 Cleaning palette 1: Okay, quick little note on how to clean up your brushes and your palate. Here's where we just left off. I've got a mile Bob Ross palette knife here. What I can do is I can actually take this and scrape away the parts of the paint I haven't used. I neglected to mention that when you're taking your paint out of your piles of pain here, I like to grab it from the bottom side of the pile there so that way I can get my paint and I don't contaminate the entire pile. If I stick the brush right on top, I'm going to contaminate my nice yellow ochre with whatever's on this brush. And then it's gonna be harder to get a nice clean color out of that later because it's got all these other colors in there and it's going to produce some unexpected results. So this is a good way to start fresh. Just scrape owners wiping us on a paper towel over on the side here, scrape off, scrape that away. And then what I can do, I've got a razor scraper and I can just go and scrape the huffing. Clean the huff and I'll do this a few times throughout your painting because you need more room to mix your pain. If you have a big pile of mud here in the middle, you just have no place to mix your paint. And then you're mixing your paint in mud. And then all your paints gonna be mode and nothing good happens then. So I could just scrape this off, wipe it up, paper towel. I could use this goes to why I used for my underpinning. I can just use this again, just dividends some mineral spirits. Or if using acrylic to, I still use a glass palette when I use acrylic. Because I can get a nice clean palette like this. And you can use a palette knife. Very well. This is just a piece of glass that I got from a glass place. I just ordered a size that I wanted that fit my my easel here. The quarter-inch thick glass, I just painted the bottom of it white with just white acrylic, let it dry overnight, and then I can use it as a palette. You can use any piece of glass if you want. I saw a guy who founded all glass coffee table in the alley. This is big giant thing and he used it as his palate. It was amazing. So okay, here's my my little thing. I'm mineral spirits. This is a silicone oil. It has a little coil of metal on the bottom here. You can take your brush and I just dip it in this. And I just sort of tamp it down. The little coils will get in-between the bristles of the brush and help to push the paint out. You can probably do this using just water even at acrylic. And imagine this would still be a very beneficial way of cleaning your brushes. You can swish around like this, you know, whatever you wanna do and then scrape it off. And then you get a paper towel folded in half. But in here and then just like squeeze that out, see all that stuff comes out. That has made him as e1, e2. Sometimes if your brush is especially dirty, let's say here's this little tiny brush. Let's say it's a big ol, it's covered, it's thick full of paint. If I just put this in here, that could turn my my washing liquids, whatever using into sludge real quick. So sometimes I can take my brush before you can put in here and I can just squeeze out all the excess paint that's on their squeeze that out. Do it a couple times. Now I've gotten the majority of the paint off here and now I can wash it. And that'll just saved me from having to change this stuff too often. Because as soon as this stuff it turns to sludge, you're basically mixing I'm sorry. You're you're washing your brushes in thin paint at that point. So you're not washing them at all, you're just getting them dirty. So that's another little trick. So you that here's my begun. But I used to start with you've got to be careful the bigger the brushes because little slosh it all over the place. But you just get it in there and he's moshe down and it'll get all that pain out. This one's just got an especially big pile of paint. And then I've got a love that I can fling. Playing my, my brushes out onto and there you go. So there's how to clean your brushes on your palate. Now you're good to go. So we are going to I'll put out the rest of my colors and we'll come back here in just a second and we'll begin the next part of our painting process. So see back in seconds. 5. Countryside Path 4 1 Opaque painting1: Okay, we're back and got all of our paints setup here. To do the next section of our piece, I'll go through all the pieces of the paints I've got set up. I've got a big pile of titanium white. That's the one we probably use the most because we, we're very limited as far as how to lighten our values of our paints. We use quite a lot. I have CAD, cadmium 11, which is more of a slightly bluer version of like cadmium yellow. So this has CAD lemon. This is my yellow ochre that's still there. Here's some cadmium orange. This is transparent oxide Brown, which is a nice dark brown if you have like a Van Dyke brown Angus had works too. That's got a little black in it though. So it's a little more, you know, more bluer than I'd like. This is a very lovely warm Brown. I've got transparent oxide red. And then I've got the Alizarin crimson that I've refreshed with little more, got our ultramarine blue, and then I added Thaler green. Just because I like having always darks to play with. I haven't eaten up using black fur allow black paint because I'd like to make my own dark values, not necessarily just jumping to black as a marketing tool. It's a very good color, but I find it's a little, it's a little opaque. I like transparent darks where light passes through them. It kinda add the nice fun transparency to your shadows. And I like the colors that come when I mix all these other cool. It's a lot more colorful, Dark instead of just ivory black, you know. So we're going to start with the base of, we're going to work our way back to front. We're going to have to be the furthest thing away from us. And then we're going to work our way forward in the painting. So we're gonna start with the sky. Since it is the furthest thing away. Let's see. We're gonna say light. And then if I do a little whisper of fellow Greene, It'll be like a nice bright blue, bluish. You know, this might be a bluish purple even at some point. And what you gotta do is you have to use more paint. Then you think, I mean, the rule is as always kinda used more paint. I'm still deciding if I want to put some of the paint in here or not, or if I want to add that later. I might do a little now. And some of these spots not too thick because I don't want it to catch and maybe mix when I do my other one, I want to come back into the leaves. I'm I'm not to go back and forth in this area a couple times fairly confident of that. So what I can do is I can just do a little bit now and I can come back and poke in their later. Ok, good. I'm always I'm I'm checking if you have a mirror handy, put it behind you and look and turn around and look into it. I'm looking actually in the camera viewfinder and this just shows me my painting. Look at it through your phone. You know, anything to get the painting to look different for just a second, you can see how you're doing. You know, it's, it's very helpful actually. Alright, now I want this, this cloud that Michigan to be a little more purple. So I'm going to move up here, add a little bit of Alizarin, kinda got this Green Alizarin. It's slowly transitioning on the brush, which is fine. These clouds are easily the lightest thing in the whole painting. So, so yes, I've already got some greens and purples are flowing around in here, which is fun. I'll put a little bit there. A little bit of this cloud. I don't see a whole lot of cloud shapes because they're kind of obscured by other things. Maybe back here we see some like little wispy things. So we can do those little more Alizarin. If you notice, my colors are arranged like a color wheel. Remember in school that the color wheels and others, that color's going to circle. That's the same thing. I still have my yellows here, my reds here, and my blues here. Secondary colors in between. So it goes in, it repeats, you know, it's, it's a circle, it continues, right? Is kinda the anomaly. Light actually technically don't be too confused. It actually is considered a blue. Because when you add it to paint, it pushes them more toward the blue quality. If I add white paint to read, I get sort of a pink color. I don't get orange, you know, so it's not a yellow. It pushes it more toward a blue. If I add anything, if I add white paint to orange and kinda pushes it towards a little pinkish version. It doesn't make it more yellow. You know. If I add white paint to green, it pushes it more toward like a blue color. It pushes it back toward his blue. It doesn't, you know, so it's, it doesn't make things more red, it doesn't make things more yellow and makes them more blue. So logically, white is considered a blue paint. So it's here just because it works well with the value wise, you know. But if I were to get if I were to get specific, I used to keep it over in my blue area. I kind of I rearranged my palate every couple of years as I just think about it and do things differently. And what's kinda funded study, why do I do this? Why do I have my colors arranged in this manner? It's nice to revisit that every once in awhile. So now I can take some hard white maybe into site, really shove it in here. And this is where you have to like count brushstrokes. I'm trying to not mix with the wet paint that's underneath here. So I got some just solid white on here. And I want to do just a couple little streaky is over here too. Because I can see them in these class and they're pretty, and I kinda wanted to do that. Maybe I can come over and do a little bit of that. This is why I think impressionism is very powerful because I can smush and do things with the paint. That implies a lot more detail than if I sat there and did every little tiny detail for an hour. I think it looks more organic, more natural that way. Okay, let's do this blue on top here. It is actually a very purply blue. So this ultramarine, I've already got a little bit of Alizarin on this brush. So to work great. He wasn't a thing about what paint is already on your brush when you start to go mix and other color, I will start to bust out other brushes here. I'm only using one, but I have a whole pile of them here. And I will use them all. Every brush will have a different color on it. So again, my lightest blue is are going to be in this area. They're gonna get darker and more purple as they get to this side. I normally, if this tree wasn't here, I would start with the sky and work my way over this tree is making things a little ad. So that's why I'm kind of starting in the middle and then figuring out where to go from there. So every painting has a different problem that you have to solve. Right before I get too dark and two purple, I think I want to go a little lighter. Come in here. At some of this purply white. More blue, I should say sorry, to this area here where it, where it looks like the clouds in the sky almost become mostly the same color. Maybe I can break up, see what I can do there. Or I can hit this a little bit of paint on here and I can just sort of dry brush a little bit over to make to break up some of these shapes. So I'm, it's a little more natural. And I can do one by itself, you know. So it's like a semi-opaque through the tree, you know, maybe it's not a clear hall and there's some leaves there. But I do a little bit of Dr. Rashid thing and there's some some of the paint that sticks and similarly you can see some of the underpinning through it and it makes us whole fund vibration of color. Okay. I'm gonna come back and work my way back to the other side of this. So you know, here's how a great way to mix a mix My Color and then I scoop it up with the paint brush and I just sort of like a little shovel. And I come in here and do one stroke at a time. Scoop it up, come over here and just shove it in there. Smush is often a word or the concept that I think about when I'm painting and just smash the paint in that spot and and it works. So gradually I'm getting a little darker, not too dark. This is still the sky, which in this particular painting is the lightest value of the whole piece. So I'm not gonna get too dark. And again, I like to do one brush stroke at a time. One bucket stroke man. You're gonna make money as an artist. You better start counting your brush strokes. That's what getting a little dark to a little more. Sometimes you can test a color and a little spot to see if you like it. And again, this happened in the underpinning to now that I've got this purply version of this Morton, it's got some more Alizarin crimson into, I can't come over here. And so our new link, I'm gonna put the wrong color. I'm trying to have this gradation of color, some gradually working my way across the painting. Maybe if I want to come back a little bit, I can back up and put a little more. Just ultramarine blue is a little too much of the underpinning poking through here. Let's just try to smooth that out. But I fixed the color my branch before I just jump back over. So that's a very important step. And let's just finish this little corner here. Just over the edge of the canvas there. I can smush whoever. You don't always have to brush. Sometimes you can smush it, you know, you can scrape it in there, you know, you can do all kinds of stuff. Okay, so there's a nice little sky. I'm going to connect those shapes of the sky and the clouds a little better. But you don't necessarily want is like one shape and the same and they're kind of sitting there like this and that you can see the under painting right through it. You want to sort of push them together a little bit. Okay. Looks good. I'm going to use this. Keeps him and I changed brushes, but I keep slowly darkening this brush and it's working well. So I'm gonna, I'm gonna keep going with it. Eventually when I have other colors that I got to work with, I can I can hop multiples, but I'm going to take this purple and it looks like I can see some nice purple 0s in this mountain here. And I'm just going to, it's almost like this sky color is continuing. Maybe it's a little more purple here. Just for fun. Right there we can see a bit. And then it comes a little bluer again. So now we're getting into the mountain, which is just a little darker than the sky. It's a little higher as well. And I can, I can decide how sharp I wanna make that edge between the mountain and the sky. I think I want to make it a little sharper because this cloud is a little soft. So I want a little contrast between these two shapes, the mountain and the sky. And these two shapes, this, this cloud here. So I will do a little, little sharper of an edge, which I can do that by just coming, we're pushing. I know it'll be to paint along as if for some reason we're seeing a little bit of a fun pink color over here. There's a bit of a tree that comes down here. I'll add that in later. Yeah, this, you look at this kind of a p same, I might look really complicated at first, but it's really straightforward if you know how to just separate, separate into, into large shapes. Maybe this, I can see it comes into the tree a little bit here, saw this Polk in there. I can see a little bit of a mountain that through that tree. Ok. Let's see. There's some trees and stuff. And on top of these, let's say, we'll treat that as a separate shape here. This is a fun little trick. The bottom of this mountain, there's her as a sort of a separate closer section of mountains before we get to the house. So before I do that, I'm going to add a little more light value. Come at the bottom of this mountain, lighten it. So the top of the mountains a little darker and it gets a little lighter at the bottom. That will sort of imply low atmosphere, little fog or missed or something. You can do that here a little more. And then when I add the second layer, it will make more sense. Yeah. Ok, let's finish this left part. It is a little purply as well, and that's a little darker. So I can continue my shape. Maybe I can see, I just wanna make sure that, you know, the mountain may not be a straight line and might be lots of, you know, sort of other shapes going on. But in general, it's kind of, I'm continuing it to make sure it doesn't end here and start up here. That would just look odd. It's, it's pretty much continuing. That's sort of a habit. You get into any ways. You continue your paint through the form. You know, even if I wanted to lightly do that to make sure that they're connecting properly. That the good, a good habit to get into paint through the form. So you wanna make a little sharper edge there. And there's just a little bit of this mountain that we see before i gets covered by trees. Okay, so there's a bit of mountain Fourier number that it's looking like a nice painting already. And then as Lydon, happy place that you want to hang out in. I'm gonna sort of in my mind visualizing and maybe I'll leave some of those too, and maybe we can see through them through the tree. Ok. And now I'm gonna do that again. I'm going to darken this up. This is starting to, I don't want it just to be too saturated with color. So I'm gonna, I'm gonna do these trees right here. It's bluish, purplish, something. I might, I'm not making them too dark just yet. Some still keeping my values slowly getting darker. I don't want to get too dark, too fast. What's a good, I'll put a little bit of salt mouse here, maybe a touch of Brown to neutralize the color a little bit. That's a little too dark and a little more white. It's not bad. I'm filling this in. Maybe you may think that's a little too dark still. It's okay. We had a little more white and I'm just sort of go over it and almost gets a touch more of this pinky color. Why this thing is just the sunlight is sort of showing through, which is fun. Couple I'm going, I sort of scrub like this to make it indications of some tree is almost. And then here's where these houses are. A little lower. And I can do some gentle indications of some trees back there. Yeah, you could do that right now. Take a nice small little brush. These, by the way, these are my Rosemary bristle brush. You can use any bristle brush you like. I like the rosemary brand. They're not very expensive and they break at brushes. Again, I just like flat Russia's, that's the IU there. They call long flat. Other brush companies just call it a flat. So they have longer flat ones and they have shorter flat ones, you know, whatever you like. Trial that different sizes. You might like something different than that works for you, that maybe it's not my favorite. So this is a size too. So it's pretty small. It's a nice little sharp edge. I'm going to do some of these little trees back here. They're real close to this color actually, for just a touch of yellow. And you can, if you want to make them look like they really belong in this distant mountain. We'll just kind of mix right into this color that I started. There. Just a little lighter. And I can just come and sort of there's sort of cascading down. Here's where I'm not really a painting trees, I'm painting blobs of color and your mind will make them worried like trees. I could put a little more. A lizard and their two little lighter in value. Maybe a touch more yellow. I like to use a nice big thick beat of paint on these because the B to paint is nice and sharp. Sometimes a thick B to paint on the end of your brush. A sharper than the Brush itself. If I just use a little tiny bit of paint on this brush, it might be a little too feathery and soft and it won't have a nice crisp detail like what I want. So I'm just kinda using the picture as an inspiration. I'm not exactly copying and kind of putting them wherever I feel like they would look nice, not covering the entire thing with him. And we can see a couple really light ones just in the back there. Here's some distant indications of some trees now. Autumn time in the mountains. So we see some cool distant tree things happening, different colors, leaves changing. Okay, let's, let's move forward. The next thing forward would be the house has a couple of trees back there. I kind of feel like I'm making indicate those trees first, I'll stick with this little brush through a little lighter, a little stronger. I've got yellow, orange, green and something. So these trees are closer to us. They're probably the same kind of trees that are on that distant hill, but they're closer. So aerial perspective tells us that there will be more intense in color. There'll be more, more value contrast. Not a lot more, just a little more because there's still distant. But those gradual changes are what it's going to help give our painting that nice, distant quality to it. So, I mean, this is a flat, two-dimensional surface to flat piece of canvas that we're trying to look like this expansive scene where you can see for miles. So we get to use all the tricks we can possibly think of. And aerial perspective is an excellent one to use for that. We've already got two examples of it. You've got two sets of mountains. One here that's a little lighter. One a here it's a little darker. We have two sets of trees. These trees in the distance that are a little more grey, a little more of this blue. And then. A couple more trees that are a little closer, that are just a little more vibrant and color and little more value contrast there too. There's an in-between those. Okay? Now I'm going to use a dark and other brush. This is my isn't gonna be my light yellow brush. I don't know. I'm gonna do a nice bright highlight on the edge of that tree right there. Okay, and this will be a darker brush. I'm gonna mix. That's sort of one dark tree floating around back there. I'm going to mix that. And we just do a touch. A green failover means very strong and probably use too much of it there. Again, this is going to be of the same sort of purpley color that we can do a touch, a brown to neutralize it. Not too dark yet. So I'm mixing all my darks and coming up with a nice car that I like. That's feel like it's still a little too much color. I want it more gray. More colors mix together, the more grey it's gonna get. So that's way too dark. Sometimes you just poke it and see what it looks like. Because the color on your palette might look very different than the color when you put it on the painting. That's a little better than that might work. Because now this is getting a little darker, is getting a little closer. Here's this one tree. I'm trying to find the edge of that house now. Maybe this tree even has a nice, really nice yellowish green edge to it because the light is coming from the side. Okay. Now let's do this. I might continue this same house isn't now, especially in light green. It's got some purples and things in it. Let's keep it going. And do the house. Allow the darks in this painting are very purple. Let's just think of it that way. And I'm gonna do this house as one solid shape and it's going to connect it all together. And I can add the lighter planes later, even mix more of whatever this color was. You don't have to worry about mixing the same color. You can, you can make it again, it's not hard. So here's this sort of their preserver roof that goes across like that. There's more of a angled one like that. And then I can fill this in. Yeah, squint your eyes a little more purple, making it to green. Let's write can be a lot of different fun colors. I always found that if you want to neutralize a color, adding both ultramarine blue and transparent oxide Brown is a really great way to just gray out a color. And then here the house continues this way, scoop up that pain. Continues underneath a tree and we kind of lose it underneath there. Okay. Great. Now we've got that. Now let's do a couple little, little details on it. These are very close in value, so I'm just going to use the same brush at a little bit of light and a little touch of the roof looks like it's kind of a brownish. So let's say here's one roof. Let's say a little lighter than that actually. And a little more color and it would be lighter. You surprised that the value that something actually is? Yeah, I'm squinting at it. And I'm seeing it as lighter than what I've done. And there's another one still up on top here, another layer of roof. A couple more of those. Let's say right here. And I can always hit it again with a lighter value. It will have a couple of different variations in it. There's this other part of that roof. It's lighter air and so fade out into it and look at tree. Let's actually, some of these seem to be much, much lighter than I'm still doing them. So now I'm going much thicker passe, but there's kind of a rule or guideline for painting. It's, you wanna do really thick opaque lights and really thin transparent darks. So if you're going to have thick, blobby paint, do it in your light values. Because you want the light values to catch all that light. And the darks you want, you don't want big thick blobs. It just looks muddy now. So keep your keep your your OPEX. Very, very light. Okay, I'm gonna do there's sort of this patio thing, just another fundamental detail that this house. I can sort of see some I'm trying to decide how many details and want to put into this house might redesign the house a little bit. Yeah. I'm going to read I'm going to do something here. I'm gonna redesign the front of this house. I'm gonna say I'm gonna get a little lighter. Looks like that front is actually some kind of an enclosed porch. Like for this painting. I'm going to redo this. Always repaint over and sort of make that just a solid face. I can like put some windows editor sometime. And I can, Let's get a small brush, little tiny guy. This is a size 0. I remember when I was a size 0. So long ago. The metabolism of a young lad. Not a lot of brushes come in size 0. It's one reason why I like rosemary. So I'm gonna do a little darker and want to do a little bit like underneath is awning. Sort of use that we can do. You can do a door, maybe a window. This is my house. I'm going to do what I want. Dude. I want and there's a door here. A couple there. Say this designed my own little house there. It looks great. Okay. That's all we need for that is going to be trees, leaves and stuff on top of that. Hmm. Okay. Awesome. I think that's a good place to being. Take quick break, stand up and stretch, get a drink of water. It's really important to stretch. Your back will dislike, seize up on you after a while if you don't. And then we'll come back and we'll continue working forward. The next stage here, probably doing this field and then these trees and such. So see you back here in just a couple seconds. 6. Countryside Path 4 2 Opaque painting2: We're back and we're going to continue on with our grass here in the foreground. I gotta clean brush and I'm going to use for some nice bright light, yellow. This grass is going to be very bright. Light with a touch of, let's say we'll use a little bit of green here. And I'm going to use a lot of paint. See how that is. Yeah, that's nice. Let's add that in here. Scoop up that maybe it's a little more orange. Whisper of failover. I'm sorry, of cadmium orange. That's going to come right through here, but that's gonna be covered up by the tree list. Looks like it kind of comes right up to that will house here. Here's a lot of Haganah Watch out of axon and grab up some of this paint for those blue next to it, that's going to change my colors so they need to be aware that that's there. A tree is like right there, right up to that house. Just kinda smash those together. Overlap there. Okay. And it's gonna get a little darker, a little bit more greener away from the light source. So over here till it gets behind the tree. You notice there's a little bit of a really dark shadow by that tree that's actually I combine two angles, have the same scene together. So there's a little bit about overlap there to get this better seen. So that's, you don't need to paint that super dark shadow back there. We'll pretend that's not there. And then it comes right up until it looks like it's a little more little brown here. A little touch of a different color, right along the border there. It changes a little bit. And now it looks like let's get down into some of these. So nice, lovely. I want to make it to Laozi background noise once in a while. We do this as it along the our guys. Should I stop? The realities? That distraction, you gotta fight your way through it. He had this mixing all of my lines here. Okay. It looks like it gets a little more orange movies. Maybe it's picking up some leaves. It's still pretty light value here. Now I can start carving out there's a couple different tree trunks right up until the edge of that light, but just more pain. Dark strip there that I hear my crushes today. Let's graph this. Using before for my grasses and such. Smaller. Start, I'm going to work backwards. Instead of painting the chops lead paint around their trunks. And these trees, because of linear perspective, they are getting smaller and less spaced out. It's not really, you're not getting smaller. They are the same size. If I walk right up to them, they'd be vague again, because we're further away, something is from us the smaller it appears. Linear perspective. Greg concept, to be aware of, crucial concept, to be aware of light coming through there. And the distance here, there's a little bit of light here, right on top of our path. Okay. I need a habit. Dark, greener brush has used this to see now I'm starting to collect brushes in my hand. And the other hand you stop hating width. You can collect wistful oh, brushes. It's nice to just have those out. And I'll get some sort of shadow green color. It's going to be sort of a purplish something or other. So maybe in here, a little bit. Lounge and things like that in part. Using the brush work. A lot of detail that really painting sat around a little bit. Still working our way through some of these areas here. I wanted to do a little more intense color, right in some of this place. That's one thing you want to pay attention to as you were transitional colors. There's always colors separating other colors. Instead it is smashing them together with your brush, which is a really easy habit. Sometimes you need to actually find and mix another color. Let's do some nice, really bright intense lights. On the tops of some of these little mounds here. A little more green. And you can see a couple of them going across the grass here. Using a lot of paint me here, nice thick bits of paint. Here's what we can do. A little perspective. Close one is a little bigger like that. And maybe there's a further one that's a little smaller, lighter actually. And as an even further one, that is the smallest. Everyday with a couple small further runs away. Those little opportunities can really help show the distance and earpiece as well. And those are subtle little details, little, little interruptions in the grass, little things like that. You don't know. It doesn't take long when it takes me 30 seconds to do that. And it just adds a little bit of interest in that area. Okay, there's gonna be some little fancy things going on there too at I'm not gonna do those just yet. I'm gonna do a little bit more intense. Yellow, green, and some of these places here had failed. Green is so strong. So be careful when you use that one. It's very strong. Just adding some other colors in here. Yet Thaler green by itself is the wrong color for this, it doesn't, almost doesn't belong. Here we're getting into the shadow of this tree, which I'm not quite gonna do just yet. There. Yep. Let's do some of these trees shadows here. Maybe they're gonna get a little lighter. A little more purple maybe. Here's this tree. Okay. It's too, too like Yeah, definitely a little more of a purple touch to it. And then these trees are casting a shadow onto the path this way as they've got matter brush here so I can come back and go back and forth with my different brushes. And these trunks are gonna get a little lighter. I'm just connecting with some of these shadows here. You can go as slow as you like on this. I'm trying to make the video not 20 years long, so I'm going a little faster. Plus it gives us a spontaneous feel. When you go. You know, I, I'm not encouraging you to try to go too fast. Take take all the time you need it, you paint slow enough to be accurate. But it's what makes it look gestural is. The limited number of brushstrokes that you're doing. That's what makes a painting look like. It has this brush work flinging everywhere when reality, it could have been very carefully done. But you just did one upper a stroke at a time. You know, this was kind of a long smooth all the way along here. But I don't want to do is this pack, pack, pack, pack, pack in the same spot over and over and over again, allow people do that. A lot of beginner artists do that. It's very common habit that you should break. You're gonna do one sort of little spot at a time. I'm going a little faster because I've been doing this for a long time. I've done hundreds and hundreds of paintings. Completed, finished published paintings. I'm approaching a thousand. So, you know, as far as studies go, it's thousands more. Who knows? It's hard, hard to count. And I've I've deliberately thought about this and I do it very intentionally. You have intent. You'll get a lot further than just haphazardly doing whatever. Okay, so now those trees have shadows that are casting onto this path. Let's work our way back here. And I want a little bigger brush. Let's say. I'll get another larger brush. This is a size six, psi six. So I'm going to do these trees back here. I'm thinking it's going to be darker than this. And it's lighter than this step. So this is a dark green. I'm going to clear away some of this. This is where I get my little razor. I need this room to mix some of these greens here. So this was my sky colors which I'm not really using right now. Claire myself was about There we go. Get a big old pile of there. Let's go put a bunch of my darks. Here's something else you can do also, a lot of your darks will tend to be a little thicker and paste year, you can take a medium, this is linseed oil and a little tiny bottle. You can keep it on the side. You can just drop it in there. I'll put a little puddle here on the side. And what this is, you can dip into it now and then and it will thin out and as all too much, it'll fin out your paint. Especially the thick pasty stuff. So it was extended a little further. That's a little too dark. Still. See, I just tested it and one little spot. You can do that. Still a little too dark. It's gotta gradually get darker as it comes closer. So this is for this trees here as a brown line here. I'm gonna start a second, go back to my, I have a smaller brush here. So now there's a couple little leaves that sort of poke out. You can do that now if I want that. This whole area really squint down. Yeah, there's some details and stuff having inevitably can start very simply by filling that aim with this sort of dark purplish color, whatever this is. Purplish, creamish something. And it's going to turn into these more autonomy green orange trees as it, because it gets closer to us. And I can do some of this, this grass here too, which is just a touch, darker. Touch. This little linseed oil can help these darks go a lot farther. It's really handy. I don't like to do it for the lights because you want your lights to be more opaque. So here's a problem already I encountered. This is darker than this. These are the same dark values, but these are two light now. So it's like, okay, I've got to correct that so they're consistent. So they're the same. That's a little better. And I'll say like, if some kind of error happens like that in your painting, you know, you go correct it. And you have a couple of layers of petty things happening. Edited. Sometimes it ends up being better with Sally's unexpected layers of color going on. This could be a little lighter. Back here. This is where it needs to get lighters in the back and that's not second lighten this up a tiny bit. I'm just tapping the paint on top because I don't necessarily want it to mix the wet paint that I've already got there. And plus it's sort of just ends up making this cool texture. So happy little accidents you sort of run with things. Don't freak out. If something doesn't quite go how you expected it, because it will turn into the unexpected and that will be great. And I have my nephew host teaching him how to paint little k's extra 65. And he would drop a paint when it hit the paper. Anyway, just like lose it. Oh my god, a whole paintings ruin. And he didn't know how to deal with that. And I had to teach him that. It's not growing at all. Keep going. Just keep going. Don't stop painting. It'll it'll work itself out. And so there's that little distant area there. I guess we can just do this little grassy bit here. Just sort of work on my way forward here. Sometimes you kinda jump around the painting a little bit. It's not always easy to, to be linear about it. So now as you move around, here's some grassy bits. This calls for some smashing. Scoop that up. It says this little bit of light that's on this path here, that the light coming in between these trees is square root of. This is picking up my smaller, lighter brush. Maybe we'll do a little bit of this. See some actual grass texture now. Okay. I clean they do this path before I can really. Because if I want to do like grasses extending into this path, now I can't paint the path behind it. I'll paint over that grass. That'll depend it again, just to keep myself from painting things twice. This is why we work back to front so that the edges line like a, there's a path and there's grasses that grow on top of that as something goes on top of that. So that would be the edges makes sense. And you pay them in the right order. Opinion grass and then I gotta paint behind it because I've missed something and I got a paint around. It was little blades of grass. It's really tricky. So you kinda wanna plan the order, you're doing those kind of things. Okay, we're gonna treat these trees all as one big shape. Why don't we pick another big ol brush? Hey, look, I got a bunch of these. And we're gonna do this orange. Pretty, pretty bright value. It's funny because it's lighter value here and then here it almost looks darker against the take the same value. But because of the colors and values at their next to, it changes everything. Those need to be a little more red. They're a little too yellow. That's one great way to mix color is really, you know, we have the three primary colours. We have yellow, red, and blue. And every color you have is a combination of those somehow. So I recolor you're mixing is either going to need to be a little more red, little more yellow, or a little more blue. And then of course value lighter or darker. Maybe think of it like that. It's a lot easier to get a handle on. You know, you can still say temperature, oh, it's too warm, is too cool. That's more of a very general I no, I, in my older videos, I used to kind of focus on temperature was exclusively as a way to explain color. And it can be a little, a little confusing. Another light brush for this. Because you know, like this is the warmest color you have. Is this yellow. And maybe the coolest color you have will be like, you know, between the blue and the lizard, maybe a purple. So warmer. Goes this way. Warmer towards the red is what I would say. Warmer towards the greens are the blues. That's still a little ambiguous. It was explained to me by an artist named Casey Bob, who I studied with this here. I'm sorry, last year. And he explained that the whole concept of how every color really is just a little more. You need a little more red, a little more blue, or a little more yellow. And then the proper value lighter or darker. So I think that's a great way to explain color. Okay, so there's my edge that the lightest, brightest and I can pray you can put up go a little hotter there and some of that HOTAIR, I mean, like, like intense color. Maybe almost really light value C, I think this is a little too yellow. I think I need a little more of a read something. You know, you can try a little bit of transparent red oxide. I want to take a little pink. It's a little better. Okay, now as I'm getting further into this tree that, that bright colors to, to light now, I will definitely want more. This painting in general, the reds in this painting are very blue. Like this. Transparent red oxide is a very yellow tinted red, where Alizarin crimson is a very blue tinted red. So this painting in general has very, very blue tinted reds. That makes sense. If not, just keep painting and it, and keep mixing and keep thinking and it'll, it'll mix hence, trust me, sometimes it takes several 100 paintings to relieve, figure that stuff out, but you know, you're enjoying yourself, so it's okay. It's not like you're doing something horrid that you have to fight your way through. Think now you're painting and it's fun. It's always fun. Even when you're struggling, just relax and enjoy it. It's a fun process. And you can do whatever you want it, the paintings not going well. You stop and you figure out, you know, you take an objective approach to it. It outs are taking it personally. I, I must be a terrible painter. Well, why isn't this working right? You is only a few places where a painting could go wrong. And I've studied a lot of Richard Schmidt's work. And what he says should think is very wise is that when a painting is going wrong, it's a problem with the drawing, the values, the colors or the edges, and nowhere else. I'd like to add texture to that. Listed categories as well. But the concept is the same. So sit back and think what's wrong with my painting or the values grouped together nicely. You know, this was an error that I discovered very quickly. This was too dark, darker than this. So it's like, okay, those are the same distance from me so that the darks need to be the same kind of value. So that's an error that I discovered and fixed very quickly because I could be objective about it. You don't want to take it. You take it too personally. I kinda thing and then it's really not constructive. I'm gonna wipe off the brush here and use this as this might be my lighter ones. I'm going to keep going darker with this one. It's going to keep that gradients are going. Oh, I like this brush is actually an old crummy rush. It's not very sharp anymore, it's kinda fat. But I keep those because it's really good for this kind of slushy, leafy stuff. I like to rotate the brush so don't get a repetitive pattern. I don't like it when I see a painting and I can tell they use the same tool and that is moved it. And it's kind of like boring and tacky looking. Right now we're gonna get some dark value. Not too dark yet. Maybe that's too dark. Always gotta be aware of that kind of stuff. I do keep my sharp brushes for when I need something sharp and I kind of have two different piles. One pile is the good sharp brushes when I need them in one pile is that LDL crummy, goofy brushes, I need movie scrubby things to happen. Some of this dark value spills out. There's gonna be some branches here. Yeah, I'm liking this texture. This brush is like working perfectly for this section. And I can do a little lighter for writing here. Maybe some of this gets a little more green in a second, which I will do. And I measure this is going to turn into this color. So two, a little more blue. Kind of treating this tree is this group of trees as one shape. And really what we're distinguishing them are the tree trunks. I mean, the one in front is one we're gonna see the most. Anyway. Get my smaller brush here. I want to see some of these small bits here, which may turn a little bit greener. And maybe we will see in the dark half some of these detailed. It'll be a little more green. Nice. Okay, now let's take some tree trunk action. Maybe I've got a small nice Sharpie brush here. It makes some purple Do a little touch of white there, so it's not too dark. I'm gonna put a little bit of linseed oil in this because I need some thin sharp lines here, shapes. Now, some of these leaves we will see them through, like they come in front of the tropics. The trunk isn't, but for most part of this tree it's, it's in the middle somewhere. So, you know, you can you can sort of stop and then pick it up again. And I will show that there was tree that is leaves coming in front. Or you can add some leaves back in later. You don't need to do every branch. I can make them go in different weird directions. Come down like this is one that comes across like that. Now there's some that go off to the left here. Trees are found to paint because they are very forgiving. We'll see a little bit of this trunk. This one splits off into two. Cia. That is where you can just have fun. There's a new tree, as I don't have a sky color anymore. Let's get another brush. Let's do some of that sky poking through here. Little bit of purple, little bit of light. So two pink little lighter. Definitely lighter. So it knows that I don't like to go exactly the same color as the sky because remember this is filtering through these leaves so we might not see all the way through it. So it's not a perfect hole cut into the tree where we can see right through it. That's the exact perfect color of the sky. It might be a little a little darker and a little more. Maybe a little sort of tended toward the color of these leaves because there's leaves blocking our view of the sky. So you need to think through the object like that. Be sure to get real logical in a weird way when you're doing something so artistic now. So we've got a few holes. We don't need to, you know, shoot a million holes in it. That's plenty. Maybe for fun I can do just a couple more easily was poking out here is to break that up a little bit. It look a little more gas that's a little too harsh, sharp edge can break that up with some leaves or whatever. I think even on this tree, there's a touch. I can see some of that light. Just a little bit. A couple little interruptions and they're here in their great, we're we're moving on down. Okay. We'll take another break here. Take a stretch. It's important to stand up and stretch like every half hour or 45 minutes, you're back in your shoulders were really thank you. And I think we can do this path in this tree and the next session here and that, that might wrap it up. So one or two more sessions. So yes, stand up and stretch. We'll see you back here in a second. 7. Countryside Path 4 3 Opaque painting3 1: Okay, we're ready to get started with our foreground. Now, let's do our path. I'm sort of gonna use this pink brush. I'm not sure where I was using this for. But I think it was using this for the sky. Path is kind of a whitish, pinkish purple. Here's this little sliver. It's back here. It's kind of fun to see. And if you don't like somebody going to smash it away, fixing that. And, and that's how shadow and that picks up again right here. Much lighter, much more, little more yellow in this one. So I'm gonna, here's the shadow for this tree and tracking that second, put this in the right spot. A little lighter. There's sort of a darkish tint down the middle and we'll see where cars are driven by left. I'll do that in a second here, left to a darker patch. So here's where we started to see that. Okay, nice transitional color between this shadow and the path here. Some of these grasses will cast a shadow. Now whenever the limit, a little bit of linear perspective for this light shadows, you're gonna go more at this angle, angle down here and then become more horizontal as they get further away from us. It's like a clock, like the hand on a clock, you know. So this is the horizon and things angle this way. Depending on wherever your vanishing point is. The vanishing point. Basically we're, These are all pointing to on the horizon is off to the left a little bit. So the angles like this. So the shadows are going to go this way. And then they're going to gradually get flat as they get further away. So they're kind of a nice purpley color. And maybe there's a longer one there. There's gonna be some little posts and stuff there. And let's do these little more distant shadows. This is mostly, again, squint at it. We can see. I'll do it touch linseed oil to make that extend a little longer. Here's a little group there because he's two trees right next to each other. And I could add the interruptions of the lights in there. And then they just sort of they don't exactly follow. It's hard to track where there's trees are. Assertive. Guess to smash him in there. And then I'll take my light. And we can do a little bit of light there. So some lighter areas where we can see between those leaves. And here, again, a high hot the charcoal. You can hold the paintbrush. Like let the underhand we don't hold it like a pencil. You backup on. You used the whole length of the handle or you can put your hand over it and hold it like this. So you can come down here and do this kind of thing. This trick. That's really hard if you hold a brush like this, use the hand. I loved long handled brushes so that I can do this kind of stuff with it. And you get these FlipKey gesture, anything that's happening. Ok, there's a little bit of this sort of dirty center of it and whatever that is. It's not nearly as dark as the shadows. So as you can smush that like the side of the brush, I'm actually rubbing the side of the brush against the Canvas to get a more flat brushed rawhide. That kinda makes I got rushed or something in the middle. We this continues a little further this way. Alright. I guess, well, I got this, I got the lighter brush here. Let's go for some more those lights. So let's track those. Make sure they're pointing in the right direction. Little more, little more horizontal and they get more and more angled as they get closer to us. See that I'm sort of describing these in sometimes you can do that to make a sort of a scrubby mark. It doesn't even have to be like you read redefined the term brush and brush stroke. Not everything you do has to be like, you know, one stroke. It can be a curvy stroke or a stroke or a, you know, quick little FlipKey stroke or a scratchy stroke. But every one of them, you don't do it intentionally. And you can try out different ones and you sort of hard to get a feel for what you think it needs. Oh yeah, this, this part needs this. Just kinda start to feel it. And you know what what the paint does and what what it's gonna look like. Instinctively after doing doing it hundreds and hundreds of times. It really is just, you know, time spent. With this medium. You'll get a good feel for it. Let's say there's some yeah, there'll be some lights on the grasses right next to some of these are at some data on the sidewalk, on the little path, OK, looking at it, some little Repetitive now, I'm trying to figure out where I can break that up. I haven't added in my darks, Yes, I can do that there too. The squinting and trying to see where the shapes are too repetitive. Let's, let's add some darks and I'll see if I can carve in both directions. Let's use this big brush to get some big things going on. I like the purple. And it kinda want to use a little more paint and mix a whole bunch. Maybe it touches linseed oil, neck and sort of scratch in some of these, maybe these needs, these are angling to quickly. That's what problems I can see now. Say to correct that angle. Thinking externalize, I can sure to draw an imaginary line as I'm painting can serve to help me track that. They don't want it to look like the pathways tilted. So maybe I just need to even those out there. I'm getting a little too excited about the angle or so we'll just lesson that just a little bit. Push that in there. Pushing. This is fun and get aggressive with it. Just like the energy that you're painting with it as it is found to be a little more aggressive. And here you can even use this to sort of smooth out some of these. And now what might help that to look less like the, we don't want to look like the sidewalk is tilting. I can put some details on the ground like this. So I want to make it much more horizontal. This little dark in the middle, not the dark mark. I carry Potter style, but and I need some surface texture on this ground to show me that it's not tilted. Because otherwise, these shadows and these light patterns from this tree is gonna make them look like it's tilting widget when it's not. Kind of a weird, unexpected phenomenon like, oh, what, what is happening here? Well, that's what's happening. And I can do that. I can put more of those little or more horizontal details like they're little shadows or something to help the path look a little less crooked or tilted rather. Okay. And then also what will help is when I show some of these other posts like the details, that they all start to make more sense as you fill them. All right, let's do this. A foreground section of my lens, heroes dripping up my palette. I gotta find it, man. I want some really nice price. Only my darkest value is in here. I'm going to fill this in and then add some detail to it. I'm still kinda leaving a little bit of that nice pink nodes underneath there, that under painting that's showing through everywhere. And that really helps. Just add some fun dimension to the painting right here. And you can do some grasses. Say me using the brush. 8. Countryside Path 4 4 Opaque painting4 1: Now to finish this last bit of the tree, we're going to keep going with some orange leaves here. So as you can twist, the brush also just makes a different quality of a texture. My goal is just to not be too repetitive with it. And also to keep the distribution of this paint random. Not random but not too planned or, or contrived looking or it's too repetitive. It looks trite and an odd. Okay, we're gonna keep going up the tree. Now that they might get a little lighter up the tree here. Especially around the edges of these these holes we've carved in the tree. That's where they're going to be the lightest. I think I want him a little more pink, actually. Nice light values as a nice light transitional color around those interruptions that we can see through the leaves. As if light is like a little tunnel of light. And sometimes you can put one in the middle. I'll just put one to make the whole not so perfectly hold much that on there, get some paint off it and use it somewhere else. And now here I can extend some of these leaves out away from our nice form to break up the, the edge contour. This whole thing say here I can even come down. Here's where I want a little more pain. Make a couple nice leaves that overlap that mountain. Whenever you can get away with an overlap. Definitely take it because that helps show this object is in front of this one. Is, I've seen paintings where they overlap is confusing and I, Which ones in front or there's a weird tangent. A tangent was where to two different objects that should be overlapping like meat and right next to each other. One should be in front of the other. You don't want any tangents in your painting. Very critical thing to look out for. Let's see here. Some of these groups have leaves are looking a little too like. That's my brushstroke. I want to maybe smush them together in a little way to break them up. And say this is my lighter brush. Let's get a little bit darker for some of these areas here. And this is where of course, when a lot of the paint gets smushed together and you get some unexpected mixtures and colors happening, which is great. Just keep moving around. Don't stay in the same spot and smashing and mixing and is pushing and mixing because it you'll, you'll blend. You're not trying to mix them all together into a gray. You want them to still have, you know, an individual life of their own. You do too much mixing. And then the colors are all grey because the paint is still wet. Of course. If you're an acrylic, paint might be dry already. So you don't have this much of a smashing problem. But it's not something to be aware of. Maybe I could put a little mark green back in here. Here's that brush. So these areas could use a little more. Green. Variety is nice. It's not orange. Maybe we can even see a couple spilling over the side here covering that branch a little bit with their covering that one, a little thin cover that on a little bit. And I can go back and I can add some branches if I want. How would I like to do that? You can use a sharp rush and add a couple of branches here. And they're like, you know, things that cross over these little interruptions. Leaves that we can see through. And you can do is make those as you want. So the trees, it's very organic. I can put a couple through these leaves here. It'll pick up and drag the paint with it to see if you get good some fun things happening. That's one thing about wireless. This much unexpected things happen because the paint is wet and use Dragon or all over the place. And if you learn how to use that, It's very powerful. Yeah, unless it all leaves hanging down to overlap that. Maybe there's even a couple grasses. Come on up here just for fun. Let's see. I can take my a really dark brush and I can hit some nice maybe a couple of dark details on the tree. Just toward the trunk here. We're just about getting getting close to being done. Remake and put some of these fence posts on the right side as well. Maybe I'm just decide where I want one. Maybe one here, angling. All these trees are angling to the right, I'm noticing. So let's make something that angles to the left so that, so that painting doesn't look crooked. And we'll put one there. It's not lined up a level to fatten. The lip plane on the front of some of these are beyond the top down. Now it's this path, it's like inviting you ran and these little fence posts show you how it's getting. That's one of the many devices we've got going on showing that the painting is getting further away. I change the angle of that particular trauma and call up a little sunlight. How all the trees are kinda leaning this way. That maybe, maybe I can make this one a little fatter too. Because these trees are the same as this tree that is a little further away. It's my dark brush here. Yeah. I mean, I'm now just picking. I'm depicting that we could be done at any time here. Here, like Please be dad already. Oh my god. This is where you just get a play. And I'm like, And it's fun. It's fun to play. Let's take a couple of these darker leaves and extend them down here as well. I think I can just about call this painting finished. You know, some of you whack away and you come back and you look and you see what you think. You'll notice things that you didn't see the first time. And eventually you guys kinda like OK, it's done signing it and then move on. You can't noodle a painting for 20 years. You know, he does know that it's finished. How do you know it's finished? When there's nothing else left to say. And there's nothing else left to add to the piece. You know, don't be afraid to add anything else. Literally choose to be done. And I, who looks good now, I'm afraid to touch it. I'm gonna ruin it, ruin it, try it, push yourself and do it. That's the only way you'll ever experiment and do something new. And really get the painting too. If it's where you like it, then you're done. If there's more to be done. If there's more things to be said and discover, then then do those things. Don't be afraid to do them. You can't mess up a painting, it's yours. How can you mess it up? You own it, you know, whatever you did was your decision. So there's no wrong decision. It's your painting. Someone said, oh, what's this right here. That's the part that I put there. Here. Like, you know, well, then don't wanna come up any zero-padding. You do what you want. Well, I'll touch more on that edge to lighten this part. Because this is the light where it's catching light and it's getting darker this way. Ok. And then sometimes you can go into sort of smush something with your finger here and there. If you're using oil, you just want to soften and edge or just move some paint over. You know, all kinds of fun stuff. But I think we're going to call this one a finished painting. So yeah, a lot of fun concepts in this piece. Aerial perspective, showing things that are for mountains getting closer to us. You know, values slowly darkening these trees, values are slowly darkening the darkest one. If some linear perspective, this path is getting narrower as it's getting further away, the path actually isn't getting narrower. It's the same width. If you took a measuring tape and measured it here, and way back there, it's the same width, but it's just further away, so it looks smaller to you. From your perspective of saving tree. This tree here is the same size as these trees. They appear smaller because they're getting further away. It's linear perspective and all kinds of fun things happening here. So awesome. Well thanks guys. I hope you enjoyed this painting and I'll come back here and wrap it up in just a second. 9. Countryside Path 5 Outro 1: And here we are with our finished landscape painting. This all came together really nicely. You saw the entire process beginning with a charcoal drawing on paper, which was used as a drawing and a value study. And it's just a practice to really find all the large shapes and group them together and really understand the piece from a very simple place before we can move into the painting. So here we will. They add, of course, all the different colors. A nice temperature from, you know, a nice gradient from the light source down. And so it has this warmer orangey quality down to a more purple quality. The underpinning is still showing through and a lot of places. And it looks really nice. That motif still persists. And all the concepts we did drawing, which is linear perspective, showing these trees diminishes, they get further away. Even these posts, a little, little subtle indication of that linear perspective. And then color, which we have, you know, the nice, you know, these gold, red orange trees contrasting with the blue cooler of these mountains and the sky. Their concepts like that, transitional colors everywhere in between things. Linear, aerial perspective as a big user of color because it helps to show color and value. As the things get further away, the colors get less saturated, more gray, kinda more closer to that, the sky color. And as he got closer tree you colors get more intense and more saturated. Values. We group these dark values together for them, almost foreground part of the painting. Values get lighter as they get further away. These constant you'll see in landscapes all the time. So this will really help your landscape painting linear and aerial perspective or just huge to help show distance. Edges, we can show contrasts like these clouds and a nice soft edge. And then as a hard edge, right where those mountains are. So those contrasts can help show the difference between those two shapes. And general hard and soft edges and work and can help us describe form, can bring it, bring attention to your eye in different places. So and then texture, you know, the different textures of the leaves themselves and the grasses and things. And that we can indicate with fundable brushstrokes. And then the texture of the paint against the canvas actually. So you can see all kinds of different ways that we applied the paint. Sometimes as thick and just like barely sit on the surface. Sometimes it's like, you know, thinner and sort of drawn in, scraped down there. Sometimes it's smushed and as you can see, the canvas poking through layers of paint crisscrossing. So all this different textures combined to make a really full rich viewing experience for your painting. So that's it. Thank you so much for joining me. I'm Christopher Clark. This has been my painting course, impressionism, painting with light and hope to paint with you again soon. So happy painting.