Sarah Mckendry, Canadian Realist Painter


Sarah Mckendry, Canadian Realist Painter

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons ()







  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

I am absolutely thrilled to be sharing this brand new misty mountainscape oil painting tutorial with each of you!  This class is for artists of absolutely all skill levels, and it covers some of my signature mist building techniques while creating a simple yet stunning mountain scene.  Each and every one of these tutorials that I am creating truly play off of one another as we work our way towards even larger, more complex landscape paintings together. Brushstroke by brushstroke you will find a greater creative confidence and a much deeper understanding and appreciation for this wonderful medium.  I can't wait to see your finished piece!


24" x 40" Stretched Canvas (or something similar with a more panoramic feel)

Eco House or Gamsol Odorless Spirits for cleaning your brushes

Liquin Light Gel Medium by Winsor & Newton (or Walnut Oil/ Linseed Oil if drying time isn't an issue)

Oil Paints: Titanium White, Payne's Grey, Charcoal Gray, Indigo Blue, Prussian Blue, Cerulean Blue (I go over the essentials from this list in the video)

Brushes:  2" and 4" blending brushes (Escoda Naturals and Proart are my favourites) and some White Taklon brushes in various sizes in both flat and filbert styles (or whatever you have on hand).

Palette and Palette Knife

Shop Towels or Rags


Meet Your Teacher

Teacher Profile Image

Sarah Mckendry

Canadian Realist Painter



Thirteen years ago I was standing on the edge of a busy Toronto sidewalk unsure of whether or not I was brave enough to walk into a little art store and ask what I needed to paint a picture. I had never once put a paintbrush to canvas at that point in my life, and the fear of being judged for having no clue as to where I should begin was absolutely overwhelming. In those few pivotal moments where the chaos of the city street faded into a soft hush and my deep rooted need for something more began to quiet my self doubt, I exhaled and stepped forward. Those three small steps across that sidewalk often replay in my mind late at night when I am working on a new painting for a client. That was the first time in my life t... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. MISTY MOUNTAINSCAPE: INTRODUCTION: McKendry and a Canadian painter today and be walking through really dreamy mountain skate piece. There's gonna be a really simple mountain silhouette on the left side of the campus. We're gonna have some soft cloud play. Then we're gonna have some mist and fog rolling in. And really playing with the soft and harshness of the painting that we're creating is not a very complicated piece. But it's really gonna play on all the skills that we've done in the previous tutorials leading up to this point. If you haven't done any of those tutorials yet, don't sweat it. I'll still walk you through everything in this piece, but I do highly recommend that you take a trip back and check out the first Street tutorials as I really holding in a lot of these skills and I'll be using in this painting. So I just want to take a minute and thank each and everyone of you who send me pictures of your finished projects. Be it on Here's your skill share or through my instagram account, which is at artist Sarah McKendry. I am always so floored by what you guys have created. I love the different techniques that you use and how you turn what I teach you into your own little ball of magic. It is fantastic. I really want you to have some fun with this piece. I want you to explore and push yourself. And I want you to just try new things. You were creating what you see and how you interpret the world around you. It might not look anything like mine when you're done, and that is perfect. Embrace that and realize that you've just learned some really cool techniques. And now when you see something else in the natural world around you, you will to apply them to that and create yet another painting based off what you see and how you feel about what you see. So no matter your skill set, whenever you sit down to do one of these classes, I really want you to focus in on your inner dialogue. I want you to listen to how you speak to yourself or how you speak about what you're creating. If it's really negative, if you think of it, all is a struggle and it's too hard, and I'm not getting better or anything like that, you need to flip that switch. You need to see it all is growth and learning and getting better. That's what I still do. I know every time I sit down to create a painting, I know I'm growing and I'm learning and in turn, we'll be getting better. It's taking me a long time to get to this point because I didn't have anyone to tell me just to check myself toe, listen to how is speaking to myself and change it. So I thought I'd just take a minute and let you in on my own little secret, which is interred. I look and changing your fixed mindset, which is I can't I won't. It's too hard to. I will. It's gonna be awesome. I'm getting better. I'm growing. And if you do that, the whole process becomes way more exciting and you might find yourself pushing yourself a little bit more or not creating out a canvas like we're going to do in this one. Just letting your intuition takeover. And it might look ridiculous, but then smiling at it at the end of the night and knowing that you grew that you learn something and that the next time you sit down, it's gonna be better. So I hope that helps you to shift your mindset a little bit, Maybe get a little bit more crazy with your decisions. Whenever you sit down to do this landscape, use me as a guide, not as the one and only thing you can do. If you see a mountain peak that needs to go up when I have mine, go down, make yours go up. You see a cloud that you want it darker, make it darker. I'm just showing you the techniques and tools you need so that you can create what you hope to in your mind. 2. MISTY MOUNTAINSCAPE: MATERIALS: wait a second Overall, the products that I'll be using in this painting. Now I know I went over everything in my very first tutorial video. But some things have changed a little bit just because I might have found a more cost effective alternative, or I just could not actually find any more replacements. A brushes. So those pro or two inch and for expressions that I was just telling you need tohave. They are really hard to get now. So really sorry for all the people who were out there scouring the Internet, trying to find them. I can't even get them anymore. So what I've done is I found an alternative. It's a little more expensive, but they're a fabulous brush, so I'll get into that in a second. So for cleaning my brushes, I've always used damsel, which is by gambling products. Um, I was brought to my attention that there's actually Canadian version, which is fantastic. I love how you're always learning and growing within our community. This is called PICO House. It's another environmental product for cleaning your brushes, and it's actually Canadian company. And so, obviously, if you support Canada as much as possible. So if you have a co host in your story, use it. It's fantastic. If you can't, I still highly recommend damsel. It's a great product. So the only medium that I'll be using with editorials is looking like Joe by Windsor Newton . This speeds up the drying time of your oil paint, and I really like how it plays with my paint when you push it along the campus. Now, if you don't have access to this, anyone in your normal mediums will do, say, linseed oil. Walnut oil. I prefer walnut oil. It doesn't yellow was much over time when it dries with your whites. Um, but yeah, if you are keen on not waiting a few days for you, paint to dry and said Have it dry within 24 hours. Liquid like Joe is a fantastic product. So a lot of you have a hard time finding the two inch for inch brushes that were mentioned in my very first tutorial video. I thought they'd be more accessible, so I'm really sorry. I have since found another alternative that I think is more global in its scope. OK, so these are called the Skoda Brushes the natural on get the 24 to 30 you get all sorts of different sizes. The 24 is pretty much a two inch brush, and then you're 30 and 32 is your for inch brush. Essentially, they have lovely bristles. They're the same depth is my pro worked as you work with them, they get a little bit more fan dough, which is perfect for your cloud work in your missed work. But these are a fantastic brush there, twice as expensive of this poor brushes. So if you could only afford one or two, that's fabulous. You don't need a ton of them anyway. But they're well worth the investment because they're really lovely, brushing way better than the port brush in terms of design and build. But I still have my Port Russia's, and I use them religiously as well. So I just wanted to give you guys an alternative to pro work brushes because they're very hard to find, apparently, and I'm really sorry if you guys run a wild goose chase. So again, these air a Skoda brushes, they come in various sizes. This is like the 20 number 20 and this is the number 30. So essentially, it's like the two inch in the forage. So as for the other brushes that I use, I get the white Taccone brushes. They're very inexpensive. Um, I'm really rough with my brushes, and if I spend money on them, they don't last, and it's just frustrating, so I just don't even bother. I just get my name's cheap tackle on. They work really well for the techniques that I use. I get the filmer and the flat, um, in various sizes from super tiny two. Pretty big, I'd say this is about the biggest I get in my filbert on this is a size 16 so you wouldn't need anything bigger than that with these classes that I'm doing. But a selection of them was great to have on hand. So these are all the colors that I'll be using. For this tutorial. We have charcoal grey, Payne's gray into gold, blue, Prussian blue and cerulean blue, as well as your titanium white up there. This really in blue and the pressure blue are not essential if you have another blue on hand. Other than indigo, highly suggest putting that on your palate. The reason why I'll be using serially blues. I want a really nice light, soft blue for the sky. So again we have charcoal grey, Payne's gray into Go blue pressure blues, trillium blue and titanium white. So, for this painting will be using a 24 inch tall by 40 inch wide campus. You do not need to find those exact dimensions, but do try and find something that has a little bit more of a panoramic feel to it. Are you traditional rectangles, say, 12 by 24 something that's a little wider than usual? 3. MISTY MOUNTAINSCAPE: COMPOSITION: I think that's supposed to be really fun and liberating process. I don't want you to feel as if you have to fall every step of mimic every brush stroke I want. You just get a feel for what I do and apply it in your own way to your own work. In doing this, I really hope that this class you try not to grit out your campus, and instead you use your eyes to try and figure out exactly where you want that mountain peak to sit on the left side of your campus. I'll explain how I do it and explain how why I lay it out the way I do. But I really want you to play with things now. I really want you to try and develop your own style laying out a piece. So this painting hasn't very simple layout. It's a lot of fun, and I think you're gonna really enjoy it on the left side. We're gonna have a simple mountain peak. Then we're gonna have clouds that look very much like a mist. They're gonna come in and play around and behind this peak. It's really gonna make it pop off the campus and created really mysterious and dreamy kind of look to it 4. MISTY MOUNTAINSCAPE: PART ONE: any one of your paintbrushes. This is a size 14. Anything around there? I'm just doing some large blocking in to give my brain the idea exactly where I kind of want to start building my mountains shape and how I want to start building the sky and the clouds all around it. All right, Before we get started, I just want to tell you, if you are a little weary of using just your intuition to figure out where this mountain is gonna sit and you'd rather just copy exactly what I'm doing. Then print out your reference photo and greeted into thirds. That means take your measurement divided by three. Draw your lines down and then divide your height by three and draw your lines across. That will give you agreed of nine different sections. You can then draw that same good on your campus and copy the composition of the photo onto your campus based on what's in each section of that grid. We did this earlier in I think was deep, quiet stillness, and you're welcome to give that a shot. If this works for you bought. If you're being brave, I'm really proud of you. and we are just going to dive right in. Oil painting is a lot of feel. It's a lot of figuring out what is too much and what's too little. I can't show you exactly how much liquid like John putting my brush because the camera wouldn't pick that up. But I'm just dipping the tip of the liquid light gel into my brush, and I'm mixing it into a little bit of my charcoal gray. This liquid, Nigel, just thins out the paint a little bit and just gonna make it easier to push across the campus and also very much easier to blend into our other layers. All right, so we're not getting our campus. But let me explain to you composition riel. Quick. So half of the painting is essentially clouds, and half of the painting is going to be a mountain. Very simple. The tallest peak is going to be in the top third section of our campus and slightly off centre, giving it a really nice focal point. They'll be pleasing to the eye. We're gonna draw that peak down into the shadows down here and also let it fade down into the side over here. It's really gonna be a beautiful focal point That's really gonna draw the i n and really allow the cloud work to really play off that mountain peak. So I grab some charcoal gray and I've got some looking like jail Just enough liquid like Joe to thin out that color just a tiny bit to make it easier to work with. And what I'm gonna do is I'm gonna start laying out how I want my mountain to sit. This does not have to be perfect at all. In fact, this is super rough in the rule change. As we work on our background and our clouds I just want to give your eye in my eye something to focus on that will help us build the right shadows and the right play on light as well. So here's about the half mark on our campus. Slightly to the left of half. I'm gonna have my tallest peak. So I'm just gonna put a little bit of paint here, and what I'm gonna do is I'm just gonna create a really fun Ridgeline. That, of course, will change as I work on it and find if it balances or not, But it is fun to just play around with just these rough shapes right now. So I'm gonna have my tallest peak here. I'm gonna have a secondary peak here, and I might have another little peek right over here. If you also remember, not only we still following a rule of thirds by having our focal point left of Sander. And in the top third section, we also have three peaks. So have my tallest speak. I have my secondary peak, and I'm gonna have one that's just peeking through the clouds. No pun intended right down here, So that odd number is really wonderful for the I. So I think that's gonna work for now. This is going to change. As I said, it's just enough to give you something to work off. Now, I want this range to kind of come down like this and come across now this lying here that I'm just roughing in. It's gonna be where the shadows fall on my mountain so I don't have the snow on the side where our light source coming from here is hitting this side of the mountain. And then this is all gonna be in shadow. It's still gonna have some really need to play with darker snow and lots of rocks and shadows. But our light source is gonna be hitting right here. I might have another little piece over here where the sun is behind this big mountain and hitting another piece, but we'll get to that later. So I'm pretty happy with this layout. So far, we have our big peak are secondary peak in our third little beak, and then we have where we're gonna have our shadows start to fall where the light source is coming from. And if you notice it's still left of center, our focal points gonna be appear especially when we get some bright snow on this side. It's really gonna draw the eye in. So next I would like you to grab one of your two inch brush is this is the 21 s Kota brand , the natural brand. It's wonderful if you have your pro or two inch or whatever two inch pressure. Lucky to find, that's perfect. I'm gonna dip it the end in some liquid night gel. There's not a lot on there. I just want to coat the top of my bristles with it, so that when I start pulling some of my blues down, it's not gonna get chunky and stuck in them. You take some of my civilian blue now, the sky in this piece is very soft, so I'm adding a lot of white. I need a little bit more liquid later. You're going to start getting the fuel for liquid like Joe when you're mixing colors and they're kind of tricky to blend or they're not moving very well on the palate at a little bit more liquid like Joe, it just thins it out enough to really blend your colors and nicely. I'm gonna take a little bit of my pressure blue and add that to the civilian just toe. Give it a richer color. And what I'm gonna do is I'm also gonna add a little bit of indigo because I really want all my colors to have a hint of one another within them. Within the painting have taken a little bit of mice Trillion blue, take a little bit of my pressure in blue and a smidge, and of my indigo has very, very little that some white and some local night, Joe Water blue sky to be over here. I want all the clouds to pull down and up in the idea really focusing on this section of the painting. So right here, I'm just going to start adding a little bit of that. Now This blue to me is a little too bluey. Now, how's that for a descriptive word? I'm gonna add a little bit more of my indigo flew to it. Little book oppression, a little bit of cerulean and a little bit more weight. By adding a little bit of that into go. It's almost putting a little bit more of a blue gray without adding great itself. All right, that's a little better. Very settled. It's just how my brain works. And I'm just pushing really hard on the canvas, and what I'm doing is just getting this base layer done. I just want this blue down. We're gonna be playing with this color a lot as we move along. But as you can see, I'm pushing pretty hard on the canvas. I'm working in circular emotions. I do not have a lot of pain in my brush with these paintings. It's really important that you don't have chunks of paint on your brush. You just really want a minimal amount so that when you go across the campus here, I'll show you. So I'm gonna push up Russia. Cost a campus. I'm pushing pretty hard. If you can see barely any paint is coming off of it when I just pull it across. But if I push really hard and I pull across, you can see the paint coming off my pants, my brush. By doing that, it's a really thin layer of paint that we can put more paint on top. And it's not gonna really mix in a lot with the layers we put on top of it while we're working a wet on wet. So again, if I were to go like this here older right here, I'm pushing pretty hard. Barely any paints coming off my brush. If I push really hard and go in a circular motion, there's paint coming off my brush, and it is such a thin layer. But it's locking in the blue, and it's the exact amount we need for our sky. At this point, I'm just pushing really hard in circular motions. I'm going right down over our line. It doesn't matter. Just blue is also going to be used on this side for our snow as well. So don't worry. The blood stone he's gonna cover this whole strive section, which is really thin layer of blue paint get makes it around a bit like that, but it is a super thin layer of paint. All right, so the color we have on our brush, we will not be using very much of it over here on the right side of our campus to build up our clouds. So what we're gonna do is we're just get out a little hint of it down here. Maybe where the clouds break and we can see some around this peak. So if you look in the reference voter, you're going to see that there's not much blue anywhere else, but where you already put it down. So we're gonna use the same brush, and we're gonna build up some shadows now. So what I want you do is dip your brush in some liquid night, Jill, and added to that blue, we just mixed. I would like you to grab a fair amount of your charcoal gray. You're Payne's Gray and some indigo blue. So what we're gonna do is just start blocking in some of the darker spots on this mountain to the movie started clowns. They blend into these deaths. So Mark, I'm just putting charcoal ground my brush and a little bit of white, some indigo blue Payne's gray and charcoal gray makes him around. You don't need much liquid night job at this point. I'm doing circular motions with my brush, and I'm just gonna feel in this bottom section with these darker colors. So not adding Lincoln like jell this point cause I really want to block in a darker shadow . I don't have to be to washed out, so I'm just gonna go around and create the shapes with my brush. This is the bottom ridge, and this is gonna go up. I top peak and I'm gonna pull down the shadows on this side. What I'm gonna do is I'm just gonna fill in this whole bottom section from about this point over to this point with the shadow color gonna pull some darkness along my ridge as I'm doing these shadows. I'm also remembering that my light sources over here is gonna be breaking through the clouds and just hitting this top face right here. So this is gonna be the brightest section, and then it's also gonna be coming behind the mountain into hitting a little mountain section over here. So for the shadows again, I'm just pulling my charcoal gray, My pains grain, my indigo blue. And I'm just running them along this whole bottom section essentially everywhere where there's just a dark rock that I would like to create. I'm not gonna push hard, but I just want to create a little bit of definition as to where the rest of this mountain face is gonna be so that when I build my clouds, I can create little pockets. I'm gonna put a little bit more shadow coming down from this face right in here, Little valley that the sun's not quite hitting because of this moment, but have some fun with us. Create your shapes, create your own mountain scene. Just use these techniques and you're gonna be really amazed how it looks. In a few minutes, we'll even just start building these clouds together. More charcoal, very all the way down to here, Okay, I'm just gonna put a few lines here. So if you look at your reference photo, you'll see that these lines and putting in our just hints of where the rock is and minces no. So right now this looks super basic. We've just essentially blocked in an entire left side of a painting with shadows. We put a few hints of rocks on the brighter face where the sun's gonna be hitting. I've locked in where my third peak is down here and just along the bottom of making sure there's just a nice dark shade there so that when we bring our clouds around and we putting some white in here and mix it in tow look like a cloud, it's gonna pull these shadows in and really make this mountain pop. 5. MISTY MOUNTAINSCAPE: PART TWO: All right, So we're gonna start building your clouds. We have lots of shadows and clouds here. Appear on the right, and then obviously, along the bottom when the clouds themselves are also in shadow. So with the same brush, we're gonna grab a little bit of liquid. Night, Joe and a fair amount of white paint appear in the corner. We're just going to start blocking in that shadow from the corner. Just I would a boat six inches or so, and then we're gonna leave that they're right here. Grab a bit more white paint, create the shadow on the tile. That was right about here. We've roped in these extra shadows here. Now, you only have one brush. Clean this and dry it really, really well. Or grab a fresh brush if you have one. So with your fresh brush or your cleaned brush, grab a fair amount of white paint. The reason we're not adding liquid like job is because we're gonna be blending this white paint into all these other layers that we already have on the campus. It's gonna pull that liquid late gel that you already have in that paint that's on the campus right into what? You're working right up here. I'm just going to start putting it down on the cameras. And what I'm gonna do is I'm gonna start pushing weight in a circle out towards the shadows that I just laid down. I'm pushing hard on my brush. I'm working it out in a bigger radius as I push, So I start in the middle and then I'm pushing that way out further and further away from my central point. And in doing so, I'm creating a feeling me beginning to this cloud formation. So I had a little bit more titanium. Wait, I can start up here. I'm just might create some cloud work pulling some of this blue in going right down to where the clouds gonna tuck in behind and around. You can see the definition that started to be built just by mixing together white in between our shadows. What I love about this technique is that it really starts to build a mood and an atmosphere within the painting without doing much work at all. We just put down our bass player, and already we're starting to build a cloud formation that looks pretty realistic so far. So I grab some more titanium white in this section that has nothing. I'm just gonna start spoke a point again, can push it up into this shadow. Not all the way up. I'm just pulling a bit and coming back down. You can keep playing with it, blending it in ever so softly and then pushing that weight down into this section. This is where it's gonna be pretty dramatic. Only one a little bit of this peak to be showing. I really want this cloud to be coming down and tucking in behind this mountain. So with my white paint, I'm just gonna coming down like this right over the shadows I lay down I want him to pull into this white paint I'm not adding any liquid gel to this white paint. I'm pushing just what's on my brush and I'm letting these shadows come up and into the paint that I just put down. This is really simple technique in that all you're doing is drew circular motions. Whether you have the white paint on one side of your brush with the darker paint on the other from wherever you've worked with use that side to your advantage. So right now I have this lighter side of my brush that's going to be the more top and middle section of my cloud. The darker section is gonna be where it hits the shadows. So with this lighter section, I'm gonna do my top one where I'm bringing the lightness across Then I can foot my brush over and I'm gonna pull some of these shadows up into what? I've just created really gently circular motions and it really pulls the shadows into the clouds. It also makes it look like the cloud is really settling in on the scenery around it. This is a great area to really play around with the amount of paint on your brush, how hard you need to push and how to create shapes with this simple motion. So I'm gonna come around. I'm gonna grab a little bit more weight paint. What I want to do is I want to start just building some of this cloud on this side. I wanted to be a little brighter right here in the middle, so I'm just gonna wipe a know little my job, and I want this whole corner down here to be all in cloud. I'm kind of doing a right angle triangle just across here in cloud. This is very basic shapes. This is really gonna change as we work on this piece, but it's really fun to That's a lot of fun figuring this out. So as you come up your mountain face, you're going to push a little lighter so that it kind of feels like it's drifting off into nothing. See, I'm softening the edge of the cloud and really pulling it up into the shape or creating. So I don't have much pressure on my brush doing a really gentle circular motion and just pulling it slightly up into what we're creating here with our mountain shape. So this is the basic cloud formacion we're gonna be working off of on this side. I want to create a few darker grey clouds up here in the sky. I'm had not added any paint on my brush. This is just what I've been pulling up from this bottom section here. I'm just gonna add a few little hints of great clouds up here. I'm just gonna she's playing around with these clouds for a minute. I'm gonna work on a little bit of more shadow in this area towards this peak. So from this peak, I'd say about halfway up our main peak, gonna have a little bit of a cloud. And here's a little darker little shadow, not much. And then you just gently pull that into the white cloud that you're creating. We're gonna put a lot more highlights and definition, and this this is just building up some shapes. Right now, we also want to create a bit of movement with this cloud as if it's coming down and around . So when you pulling your brush through really gently to create some shadows just pulling in the direction you think the wind or the clouds are moving ever so slightly Any time painting one of these mountain scapes, I always get super excited right around the stage that we just finished because I can really see the shape mood coming into the peace. So we just did this and two easy steps. We laid out our background. We grab some white paint after putting our shadow sections and and we just did a circular motion with her brush. I'm really liking the feel of what we've created so far, I'm already feeling that this peak is just a little too high It a little too thick. So what I'm gonna do is I'm gonna makes up some more blue, and I'm gonna show you how I fix this section. Now, it's not gonna pull some of this gray up into this blue, and that's completely fine. One of the things I said we're roughing in our painting was on that subject to change. And this is gonna be a prime example of just that. I really want to make this a little less pronounced a little bit more delicate looking so gloomy, harsh and contrast it against our sky and are clouds. But I just wanted to change the shape of it a bit, So I'm gonna show you how I do that now. I put a lot of shadow already here, so there's gonna be some great pulled up into our blue here and that's fine. I kind of want that. So what I'm gonna do is I'm gonna rebuild. That blew that we put down beginning, grab my civilian, some Prussian, some indigo, and I'm gonna mix that around with some white on my campus here. I don't need a ton of it on my brush. So I'm gonna create the sheep I won by pushing that blew down and into the sections that I want to change. After I do this, I'm gonna go back and redefine my feet. This is one of the reasons why I love oil paint, cause you could really transform things without having to begin again. You just have to learn how to push the paint around to your advantage. So I'm pushing hard with my brush I'm using circular motions and I'm bringing that sky down over top of the peak And I'm shrinking in size and shape until I get something roughly I was hoping to achieve in the first place. You see how hard I'm pushing on my brush? Some of that gray is coming up from this guy, and that's fantastic. That's fine. I'm gonna blend it like this. Picture hard on my brush. Push some of that blew over already. I like that shape a lot more, so I'm gonna take that first dish we used whenever we did our Ruffin, I'm gonna grab some charcoal gray a little bit of pains. Great. I don't need much liquid like Jill because there's already lots on the campus. And now I'm going to redefine that peak and see if it's where I want it to be or if I have to change it a bit more than make a little bit more pleasing to my eye. Just gonna run my brush around where I think there's gonna be some contrast and some peaks here. It's a little rough edges of cliffs, so I've dropped my rich line about an inch, and I really kind of made the mountain more compact, a little bit more detailed, a little bit more crisp. That's exactly the feel I want right now. Now, for this peak, I still feel that I've come over too far, but I'm gonna be fixing this with my cloud and bringing it across. So I'm not worried about. So with some charcoal grace and Payne's gray a little bit into Go. So put these colors. I'm just gonna give a silhouette of where this peak kind of goes off into those clouds. So I'm just defining this ridge that's on the back side behind the clouds. We're gonna put more clouds over top of it, and you're going to see the effect that this creates. When we do this will be polar brush for our cloud work over top of this. There still gonna be a hint of this shape behind that cloud. It's going to create a really realistic look for this face off the mountain. I'm also going to start with the same brush up. Just add a little bit more charcoal. Great. Just gonna bring up this final bottom peak here and give it a little bit of definitions again. When we bring our clouds over top of it, it'll blend in a look Really realistic. I'm just gonna grant this brush that I was using for the sky. I'm just gonna fix this side. I really want this toe. Have war of a peek over here, So I'm pushing hard on my brush and I'm pushing that brush down into until I get rid of that pain that was there enough to make it look like a peak. Then I'm gonna go back with my smaller brush and it's been fixed pretty neat. So grabbing just your titanium white with no liquid light l start filling in this side of the mountain. Your highlighted side. All I'm doing is I'm creating shapes with the white where there might be a cliff or a valley where it's super steep, Ortho gentle slope. You get to create that with this white paint. Now, this does not have to be very detailed right now just blocking it in because we're gonna be doing a lot of cloud work over top of it. But what you're going to do is just create the shape and we can start blocking in some of the rocks or the shadows here on this bright face. And it's gonna look really realistic pretty soon. So let's just pop are highlights in which is just straight titanium white paint and create any shape you think exists on the mountain. So you just follow your intuition and create some shapes that will really draw the eye into your mountain. This is a great time in the painting to really play around. Maybe the slope of the mountain is a lot softer here. Maybe appear. It is incredibly steep. Your brush drugs dictate how this mountain is going to look, so play around with It is a great time to discover what you can achieve with your simple stroke of your paintbrush, the shapes that you can build and all you're doing is putting white paint on chemists. It's pretty cool. So I put a lot of paint on this as I was just showing you all the different examples of how to move it across. I don't like a lot of paint and what I do, and I have too much pain to my campus. As I grabbed one of my palette knives, and I just gently pull it up, it takes off the extra paint. I put it in a little paper town, just drag it all the way up. So this is one of my tricks to keeping my paint very thin on my campus. When I'm working on a place where I need a lot highlights or low lights, I could add a lot of paint, and then I take some of it off with my palette knife. As you can see, it's still highlighted and the white paint is still there. It's just not as thick. Therefore, I can still continue with my techniques. I don't have to worry about big globs of white paint getting a new these clouds as I build them back up over top of this face of the mountain. 6. MISTY MOUNTAINSCAPE: PART THREE: All right. So grab another one of your Filbert or your flats. It doesn't matter what size you grab. We're just gonna be building up some of the shadows and read building some of this shape here. Now, I feel like this face kind of got away with me. I want to bring some of the ridge lines back over and take a little bit more of this white space away. So watch what I'm gonna do on my brush. I have my charcoal grey, some pains. Great. A little bit of my indigo blue. So imagine you're creating almost like a lightning bolt. This is gonna be the line for the ridge of this big mountain. And I wanted to be really believable. Nothing in nature's perfect. And so you don't just do a straight line with a triangle and assume that it's gonna look like a pound when you're done, you really need to play with these edges and start building some of these shadows up. So all I'm doing is I'm grabbing my charcoal gray, my pains green a little bit of indigo blue. I'm gonna start building up the shadow for this giant mountain peak. That's a focal point of our peace. Oh, I'm just gonna start making shapes in creating that contrast where there is absolutely no sun And where there is a lot of sun hitting this mountain. So right now I'm just focusing on pulling really contrast ID line destruct from all the way across. I really like how that looks. As you can see, it is not perfect. It is jagged in his random, yet it's starting toe work. It's starting to give the feel of this imperfecta beautiful Rocky mountain in the middle of this cloud. I'm gonna come down this backside here, and I'm just gonna build up a few more of my darker shadows here you may want to add a little bit of like, unlike gel to your charcoal gray and your pains great just to help it flow a little bit more over this section. And on the back side of this mountain, you are gonna have some super dark shadows. You don't want to add any white to thes shadows as you build them. I'm just using charcoal grey pains, great and a bit of my indigo. And these are super dark faces on the back side of this mountain because the sun is hitting right here, and eventually there's gonna be a little bit more light finding its way onto the side of the mountain. But right here in the focal point, there's gonna be some super dark shadows even down here around the base of this because there's no light reaching this section. So what you're gonna do is grab some chalk, agree pains great and into go on your brush and just start playing around with getting some dark shadows and shapes on this backside. Think of ledges and cliffs and drops. So to do a drop right here and you pretend there's a cliff that just falls off. Well, what happens when you fall? He goes straight up and down, and that's what my brush is gonna do. I'm gonna pull it right down into this cloud because I'm also gonna bring this cloud backup and use some of these shadows to create some more depth of my clouds as well. So this all serves that purpose. I'm gonna keep working across here building shapes just with the paint that's on this brush . Just my shadows. All I'm doing is pulling some charcoal grey, some pains, great. And something to go on to my brush and plopping it down in places where I'm on it to be more pronounced with shadow on this backside. While opening is such a fun meeting, you can just keep playing around with the shapes until it becomes pleasing to your eye. See, I just change the shape of my ridge. There still have to have some more low lights back here. I'm just putting in where the shadows are on the backside here and then I will and some of my little lights. So I'm trying to create a look where the mountains coming out towards you as it comes out towards the bottom of the painting. So I'm just adding the shadows right now on this backside. Then we'll go in with just a light gray. It will add a little bit of low lights that are gonna make these shadows really pop mountains are random formations of rock that are in perfect and because of that, they are beautiful. Whatever you create is going to be fantastic. So it's important to notice that the darkest sections are where the sun does not hit. So you don't want a pile A ton of black shadows right here. We're gonna lighten this up a bit because there's gonna be a little bit of light that's reflecting off of the senior around it onto this face the sections that are super dark or where there is no sunlight where there is an absolute shadow falling in that area. So on this piece, we're gonna want it just around the tip on our ridge coming down. We also wanted just here on this face just to give the illusion that this is just a drop off and then we're gonna have it over here is it plays into the shadowed peak that we're gonna have hiding in the clouds. As you get away from these sections, it's gonna lighten up ever so slightly. And that's gonna really give that three dimensional look to the painting. Now it's no, it seems ridiculous that we keep pushing things down just to cover them up again. But I promise you there's just minuscule hints of all of these little layers underneath these clouds, and it's really going to make it feel like you have a mountain that's just coming off the canvas in front of you. So bear with me as we repeat steps a few times. And what I mean by that is just pulling these shadows down into the clowns that you've already created. We're gonna be going over these clowns again. Rose is gonna be drawing some of the clouds. Maybe across this mountain scape. We're gonna play with it and see what needs to happen to create a really balanced and really moody look here. So I'm just adding that same charcoal gray into go blue and Payne's gray to my brush and just building up these shapes. Let's go over to this side here and we're just going to start adding some shadows. Now, I wanted to be pretty dark along here because I want this to be a valley where the sun is not hitting. So we're gonna put a lot of shadow in here and I just start pulling that shadow, pushing really hard on my brush. I'm gonna pull it up into that white that I put down, and I'm gonna let thy brush come off as I go up, so that by the time I get to maybe this point, there's not much a shadow there. I'll do that again. So down here I wanna shadow That's gonna come up creating the illusion of a little valley in here and a compliment that on this side it's one coming down at a little bit more dark paint to that. And this is where you get to play with shadow aspect. Now we've laid in over highlights here. Now he's gonna start building rocks on this side. So again, I just have the same color I've been using to build our shadows on my brush. So there's a lot of different techniques you can use to achieve the look off a mountain face. This is still rough. We're gonna be going over this against don't worry. This isn't a great time to play around. So fun way to create a broken up section of rock. It's just have your brush following the angle that you want that rock to go and just kind of pull your brush down that face and just kind of lifted off and put it back down on the campus as you go. So it's kind like a speckled effect, But by doing that, you were gonna look like really natural rock that's actually on the face of this mountain. Now you can also just drag your brush down like that and pull it from a certain spot. Say it's a peak or allege and create that shadow just gently pulling it down. You're not putting much pressure, your brother just allowing whatever paint is already on there just to rub off into certain sections, creating really soft shadow or a marked contrast ID shadow, depending on how hard you push your brush. So right here I'm going to build. So all I'm doing to build these shapes some just have my brush flattening to campus. I have no extra paint, and I'm just gently pulling the paint. That's all my brush just onto that white and add a bit more of our standard color are all three were to graze in our blue, and I'm just gonna add some darker sections. All I'm doing is on tap of my brush against the canvas that I'm gonna go back and just spread it out ever so slightly to make it looks like it's part of this rock formation on the mountain. Now, this is just rough. I'm showing you various techniques right now that she can use appear. I want a little rock sticking out here that doesn't have any snow on it. So I pushed a little harder on my brush to put paint down. I'm gently barely. Any pressure on my brush? Just pulling that down into the snow around it. Gonna build a few more shadows and valleys down here. I'm going to create a little but darker shadow. Appear now here. I feel like there should be maybe a face. It's more vertical. So I'm just gonna dance my brush along. There's no really any rhyme or reason to how you create this. Just kind of have to be a little sloppy. Actually, you're too perfect. It's not gonna look real. Nothing in nature's perfect. So be sure just a really mess around with your brush CEO. I'm just okay, literally likes to call it smooching the brushing against a canvas. There's lots of ways you can achieve the look you're going for, and sometimes it is absolutely ridiculous looking just getting these shadows late in. I have a bit of paint on the canvas a little bit more than I'd like. So again, I'm just going to go around with my palette knife in a second here. I'm just gonna gently. I'm not pushing very hard. It just pulls up that extra paint just enough so that when we do our blending, I don't have too much being blended into the clouds and pulling process. So when you're taking paint off a Caymus a palette knife, just make sure you follow the the angle that you're working on. So for this, I'm gonna follow this face on this side. I'm gonna pull down this way and just pull off some of that extra page just adding some really dark painted certain sections. Justo, make things pop a little here. A lot of this is going to be covered again. So if you're not entirely thrilled with it, don't worry about it. We're gonna be pulling a cloud over top of it. And it might actually look really cool once we do that for you because you just see a hint of it underneath. So don't get frustrated or worried. If you're not sure it's looking exactly like a mountain way. Do you see how it looks? Once we Paul some of our detailed cloud work over top of it again, you might be pleasantly surprised when you creating a landscape always give it 10 more changes than you normally would with any other medium. Because you never know if that one little I don't know if that's working actually turns into the most magical part of the campus. The most realistic aspect. So again, I'm pulling some of these shadows down into these clouds because I will be building up over top of them. I want them to have the hint of what's underneath of them poking through. If we're lucky, it'll work. So I'm just pulling these lines down a little further, and now I think it's time we start doing some more cloud work. So go ahead and grab a fresh big brush or clean off the excess paint a one you've already been using. We're gonna be using. This is a blending brush, so if you have extra paint on your brush, don't sweat it. It's still gonna work. Let's talk about the direction we want this to go. I have so much fun with this part of a painting because this is where you really get to develop the mood of the peace, and you really get to play with how the cold composition will come out. So I think I'm gonna pull this cloud over top of this face just a little bit. I might even have some of these clouds come over to this peak and kind of fall off down to the side to meet this group of clouds. So with your cleaned off brush or your new brush, let's put some weight on your brush with no liquid like Joe right around this section here , besides your main peak, push nice and hard and let's push this cloud right over onto our mountain face. So this is a really important step. You don't want to pull your paint across and then really worked this section with a heart brushstroke. You want to do what we just did. You want to push your paint from here, push it all the way across to about where you want that cloud to kind of rest and stop you . Then go back with that brush and you gently start working it into its surroundings to build up the shadows and to have the edges softened up a bit. It's a very gentle breast oak. I have barely any pressure on my brush, but that cloud is now picking up the colors of the scenery around it. And it also feels like it's just resting on that face. Go over that same technique right here once again. So on my brush, I'm just adding titanium white, no liquid like job right beside this special little hidden peak here. You gotta push hard rate over to the side of it. So I'm not exactly sure how I want this peak toe look, So I'm gonna play around with it. I have my brush on its face, and I'm gonna push these clouds and these shadows down into this corner a little bit, and I'm gonna see if that creates the look I'm going for. I'm gonna have to add more white here and just really pull that weight through. But I want to mix this in a bit and see what I could do. Cover up some of that blue and bring that shadow across here before I add more weight. So I have barely any pressure on my brush. What I'm doing is I'm just blending some of the shadow working 7. MISTY MOUNTAINSCAPE: PART FOUR: So I have white paint on my brush in a circular motion. I'm holding it off to the side here and pushing pretty hard. I'm just gonna pull that white paint right across. And then I got a blended into the bigger club really gently. I don't have much pressure, but I really want to start building the feeling that this is on entire cloud unit and not just a couple wispy clouds floating on by. So this is the middle of this section of cloud. I put my white paint down. I have my brush press pretty hard on the campus. When you're in the middle, you push really hard as you go out towards the edges, your circle gets bigger and you decrease the pressure on your brush. You lift it up a bit, and then you can pull your brush out from that cloud across those shadows and shapes that you created. And it allows the cloud to become a part of the scenery. So I haven't added any pain to my brush down here. I just want to build up some different shapes of clouds. So with my brush on its side, I'm just kind of dancing it along the shadows that I created, just allowing that little bit of lighter paint to transfer onto the canvas and create some little shapes of clouds. I'm just pushing the edge of my brush in to pull a bit of that white paint off, and then I'm just going to gently rub around that area, and it's gonna blend in a bit. Just create some different variations in this cloud as it moves across our mountains. So when you go back and you blend it into bed, I really want to pull these shadows down a bit, work them into a piece. So I haven't added any paint on my brush. This is what's fun about this. We picked up some of this shadow paint down here, and that's all I'm using to gently in circular motions. Bring a little bit more shadow up into this corner and then pull a little bit more of that shadow down into our flout, just joining them together a bit more. I think I'm gonna pull that shadow about the top here in across and just playing with the feel of the clouds. As you can see, there's really rough lines from the shadow work that we created. This is where is comes a lot of fun. So it's pretty rough up here in terms of how I've painted it onto the campus. I've had a little bit of white paint to the corner of my brush, and I'm just gonna gently push that paint overtop of those shadows that I painted. Now what's that's doing? I can still see some of the lines of the shadows that I had down, but it looks like the cloud is just resting or hovering right over top of that section now . And all I'm doing is I'm just playing with the brush pressure and transferring the paint that's on my brush onto the canvas and then gently blending in the edges with very little pressure on my brush. You can do it anywhere on this mountain, so I still have my brush that had blue paint on it. And if you don't just wipe off the access paint on other brush and go back to your palate where we had some of that blue Lato before. Now if you forget what kind of blew it Waas. I used some cerulean a tiny bit of my Prussian and a tiny bit of my indigo and a lot of white. What I'm gonna do is I'm gonna use that blue brush to start building in these shadows a bit . I want to tie that sky because it is right above this section. I want some of that blew down in these shadows just in this section here. It's really going to create a cohesiveness to this section of the painting. So with my brush on its side, I haven't added any pain to my brush because I already have that blue painted a little bit of the gray on my brush already, right with shadows meet the cloud that we built I'm gonna push pretty hard and transfer some of that blue paint into this section. It's not much, but it'll look really neat. Just be a hint of it in these clouds on the shadowed area and gently pushing my brush in a circular motion across the mountain scape. I'm gonna pull somebody. I'm gonna add a little bit of white to this brush. Now I'm gonna pull some of that weight just up the slope a little bit and then back down and I do it here up the slope. Barely any pressure on my brush Then I'm gonna push it back down, have a little bit of darker paint on my brush from going up this mountain slope down Had a bit of shadow and texture down here in the corner So hearing add a bit more white paint cause we're gonna be coming up into the brighter sky Not too much, Just enough up here. Now I'm gonna pull this cloud all way up here. Just fill in this section For now, I haven't added any pain to my brush. I'm just pulling the paint from all around this section up into the sky. So I really like how this is feeling. So far, I'm gonna have a big, more weight to my brush, and I'm gonna try and tie some of these clouds back in over here. I don't need a lot of weight starting in the middle of this area here. Medium pressure on my brush. I'm just gonna slowly walk that weight with medium pressure on my brush in small circles and then bigger circles right across here. Just draw these clouds together. You can come up a little higher give the illusion of another cloud. That's kind of just sitting up here, gets the space. And then since I have shadow color on my brush and start building up down here, I think it got a little too light for me. So I'm just gonna add I have barely any pressure, my brush, but just gonna use those shadows to start building a little bit definition down here. I think it's gonna create a real nice flow between all the highlights and low lights. Now we're gonna be going back in attics, more detail work. So don't worry if you lose a lot of your definition on your mouth Well, at a few little shadows and highlights, I barely have any paint on my brush. This is just extra paint from doing these shadow blends. All I want to do just have a big foreshadow up here. Little bit great clouds to really just poured over this mountain peak. We're going to go out a bit more white as well as you can see just a very minuscule amount . Gray paint is transferring its just enough to give the illusion of some clouds coming over top and just giving that feeling of unison to the whole painting. So I really love the imperfections of the clouds and how it's hovering over this mountain that we've created. I think I'm just gonna pull this one cloud over top of this peak a little bit and let it drift off into the blue thing Is just gonna finalize a cloud work for me. So I'm gonna add white paint here. I have medium pressure on my brush and I'm gonna pull it right across the very tip of my peak. And I'm not going to stop. We're gonna do the same thing twice. When we pulled up the first time, you'll notice that a lot of the great transferred into the blue. We want that. I'm gonna show you what we're gonna do that in a second. So with a little bit more white on your brush, but not much. Let's do the same thing. I have medium pressure on my brush with a circular motion. I'm gonna go over the peak and then let my brush. I stayed out over there. I'm gonna go around and build up the edges of that cloud a bit. Pull it down really give it some movement. And then on this side, you take those shadows, I'm gonna pull them down to tuck in just a little bit. I'm putting very little pressure. My brush I was pulling that great paint that was transferred onto the blue. Just pulling it down and letting it fade off my brush. Go over a few more times. Isn't that a cool way to create a shadow behind the light source? What I want to do, though, as I think I want to pull this cloud just across this section here too. I feel like this is just a little too dramatic right now. I want to soften it up. So barely any pressure. I'm just going to create some clouds right across this section at a little bit more white paint. Cause over here it's gonna be a little brighter. I'm just gonna tie these in ever so gently. I have very little pressure on my brush and it's gonna come over this ridge that is just gonna meet these other clouds fall down into this valley here. Another thing I'm gonna do is I'm just soften up ever so slightly by just gently tapping my brush across these sections and transferring a bit of white paint or it's almost is a little too dirt is just a little too many shadows there, just a title together. So there's only a few tiny things that I want to touch up before I call this painting complete. I don't want to give too much detail down here. I really like how the cloud plays on the shadow and gives the illusion of this third peak. I just want to lighten up a few of these little sections to give the illusion of a bit more snow. And then I'm gonna walk away from this piece and call it done. So I'm gonna pick up one of the brushes island using it doesn't matter which one. So you don't want break weight on your brush? Just a light gray will be fine, so you be using much pressure. But I'm just gonna pull down ever so softly with minimal pressure and create some lines in these darker shadows just so that it gives the I some more lines to play with right here. I think I just want a bit more white as it comes down. This Little Valley. These are just subtle lines that many people might not even notice. But I just want to create some more depth to the shadows. Just allow them a little bit more playful about the top. I want us to be pronounced right here because you know what? The top here and add a bit of white just to give the illusion that the sun is peeking behind this cloud and it's touching this peak over here. But underneath that on the other side, it's gonna be dark prescribing some charcoal grey. Some pains grains have been to go. I'm just gonna darken up the shadow side of that peak just a smidge and just sharpen up the edges with all of our blending work. Sometimes your edges get a little smudgy, so I'm just gonna add a bit of contrast up here. So I'm just adding some finishing touches to this side of the mountain. I could play around with this for hours. I will let you finish off your painting in peace. Thank you so much for coming along on this journey with me. And I really hope you enjoyed painting your first misty mountains. Keep