Lake Landscape in Acrylic Paint | Jennifer Keller | Skillshare

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

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

Lessons in This Class

10 Lessons (1h 18m)
    • 1. Introduction

    • 2. Materials

    • 3. Sketch

    • 4. Background Underpainting

    • 5. Mid and Foreground Underpainting

    • 6. Underwater Rocks

    • 7. Mountain Details

    • 8. Rock Details

    • 9. Trees

    • 10. Final Touches

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About This Class

Welcome!  Everyone loves a day at the lake with fresh mountain air, pine trees, beautiful rocks, and crystal clear water.  It represents freedom, relaxing, and having fun!

My name is Jennifer Laurel Keller.  I’m an artist and instructor with over 20 years of experience in the arts.  People love it when they feel like they can step into a painting.  So, in this class, I share step-by-step instructions for painting remarkably clear water with underwater rocks, granite boulders that you can jump off of into the water, pine trees, and big views of the mountains. 

In this class, you will learn about acrylic materials, sketching in the composition, color mixing, and painting in the background, mid-ground, and foreground.  I discuss brushwork, perspective, how to loosen up, and how to make the piece pop by using details, highlights, and shadows!  Every move I make is explained in the class and you can follow along at your own pace.  

This class is right for you if want to expand your understanding of landscape painting.  I’ve seen beginner and intermediate artists excel in my landscape classes.  The key is to have an open mind and understand that patience and practice make progress.

Once you understand how to paint this lake landscape, you can incorporate your new skills into your future work with more confidence.  Are you ready?  Let’s begin.  



Meet Your Teacher

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Jennifer Keller

Express Yourself with Creative Confidence!


I believe that art is magic.  By creating, we mix our inner souls with the outer world to make beauty.  

My name is Jennifer Laurel Keller.  I’m an artist and an instructor, but what I really do is help people release their blocks and express themselves with creative confidence.  

I've worked in the arts for over 20 years as a frame designer, art gallery manager, vintage furniture and home decor dealer, art supply sales associate, and finally as an art instructor.

I love teaching so much.  Seeing students light up when they begin to gain confidence in their abilities is so incredibly rewarding and I'm so lucky to be a part of that process.  I'm really happy to be able to connect with people all over the world who love be... See full profile

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1. Introduction: Hello love and welcome to my lake landscape acrylic painting class. Everyone loves the day of the leg with fresh mountain air, pine trees, beautiful rocks and crystal-clear water. It represents freedom, relaxing and having SUN. My name is Jennifer Laurel Keller. I'm an artist and an instructor with over 20 years of experience in the arts, people love it when they feel like they can step right into a painting. So in this class, step-by-step instructions for painting remarkably clear water with underwater rocks, granite boulders that you can jump off of into the water. Pine trees and big views of the mountains. Over nine lessons, we'll cover materials sketching in the composition, color mixing, and painting in the background, mid ground and foreground. I discussed brushwork, perspective, how to loosen up, and how to make the piece pop by using details, highlights, and shadows. Every move I make is explained in the class and you can follow along at your own pace. This class is right for you if you want to expand your understanding of lands painting, I've seen beginner and intermediate artists to excel in my landscape classes. The key is to have an open mind and understand that patients and practice make progress. Once you understand how to paint this lake landscape, you can incorporate your new skills into your future work with more confident. Are you ready? Let's begin. 2. Materials: Hello and welcome to the Materials lesson of this lake landscape class. First off, I have an 11 by 14 canvas panel, and we're going to use this horizontally. So you can put that on one side and then on the other. You'll want a palette that is flat with no wells in it. I use a glass sheet from a picture frame and the edges are taped off. Next, you'll want a pencil and the pencil will do. And you'll want synthetic bristle brushes. And this one I actually used for the sky and it turned out to be too big. So I just wanted to show you because it's in the class, but you could actually use this neck size for this guy. And this is a medium-size bright brush. Next I have another size down, another bright brush. Or you could use a flat brush. And I have a teeny tiny bright brush, and that's great for lang 4K and small details. Next, I have a film birch brush, so it's flat one way and rounded the other. Alright, next I have a tiny round brush, and this is for my smallest details. I like to keep a piece of chalk handy, but I didn't really use it in this class, but it's really great to have around if you want to do any sketching over a layer of dried acrylic, it'll just wipe off of dried acrylic if you want to. For instance, sketch out the trees over the background and then you can use the chalk. But I ended up just using the pencil on this class. Next, you'll want a pint or two of water, and you want to keep that handy by your palate. I have failed blue in the golden fluid acrylics along with burnt sienna, teal, titanium white, yellow, ochre, chromium oxide green. And then I have a paint rag that I keep close to my water for drips. Okay, that's everything. So next is our sketching lesson. I'll see you there. 3. Sketch: Hello and welcome back to the sketch lesson of our class. In this lesson, you can see we are going to sketch out a line drawing of our composition. So there is a ridge line up at the top. It's like a jagged line that is going to be the mountain tops. And then next there is a flatline that comes through only partially for the area where the lake meets the shore. Then we do the rocks and the rocks are at a lean. There's a diagonal shape to these, and then they round off at the top. And then we have trees, we have four trees that we're going to draw it. And then we do some texture in the water and the rock in the foreground. So this is fun to just get acclimated to what's going on in this scene. We are going to paint over this sketch. So you don't have to be really particular about the shapes and everything. But you want to just start to get that hand-eye coordination going in the composition. So I'm starting off with my canvas and I have my pencil here. And I'm going to mark, I'm just eyeballing on the edges a halfway point so that I have a guide of where are the halfway point is and I can use it in relation to where my line work goes off the canvas and kind of go from there. So a little bit up from the halfway mark on the left, I'm going to draw in the line where the lake meets the shore and do a couple of passes on that so that it's fairly straight. And I'm gonna come in about two-thirds. Next, I'm going to draw my mountain tops. And it's very irregular, organic line. It goes up and down. And so just do your best here. You just want to have enough space under it and between the shore, the mountaintops from where the shoreline leaves off, I'm going to draw the top of that land in the mid ground and then come down. And I'm starting to pencil in the shape of the top of the boulders as it tapers down towards the water. And then it comes back around and it's going to slope. That jagged line is going to slope a little bit down before it comes back up towards the shore. And you can see the shores just has a slight rounded area to it. Next I'm going to just loosely make the shapes of my boulders. And for this, it doesn't have to be perfect because we are going to paint over this and create new boulders over the top. But I just want you to get a sense. Shapes that they will be. And so when we come back and paint them, you'll have already kind of analyze this and you can look at the reference photo that I supplied in the class. And that's my finished piece so that you can have that as a reference as you draw and paint. So we're just doing the, the front line of the boulders and then we work our way back. And they're kind of just like upside-down, U-shaped. But sometimes they have a little twist or a wobble in the line in them. So do your best and it's going to look great. It's hard to mess this up. Just as long as they come bumping out from behind the lower rocks, it's going to look really good. Okay, now I'm bringing in my tree trunks. So the first two trees are growing out of the, the other side of this jutting out Boulder land mass. And then the second two trees are growing out of the front side of it. So we're going to see where the trunks meet the land. And on the first two we don't. And for the branches, we start with just these back and forth lines and then they come down in a at a different angle. So at the top they are more up and down that the slope of the branches is higher. And then as they fill out, they get heavier and they come down further. The diagonal isn't as up and down. Our second tree doesn't even have very many branches as it meets the lowered shrunk. So that's just, those branches are up really high. And then this one, so the diagonal changes a little bit as at the bottom of the branches. And then again on this one, it's okay to have things not so regular. We're just using this for scale mainly because we're gonna paint these in later. And then under the trees there's a bit of brush, there's some smaller plants under there. So I just scribbled that n k. And now I'm going to draw a line to indicate where. We'll actually, there's another little rock jutting out from behind there. So I pop that in. And now we're going to do just a few rocks. Those will be underwater, Some will be peeking out. And now I'm doing this area where there are underwater rocks, there's a shadow of that land. And then it comes out into that little cove where there's gonna be a shadow of where there are lots of rocks under the water. And similar to that, there are rocks in the foreground as aware as well. So I penciled that in. And now I am going to bring in a bigger bolder in the foreground and a few other rocks just to show that that's a rocky area. And then as they get further away, their flatter, that's something called foreshortening. And so when they're something round is far away, it's flat. Okay, so up next, we're going to do the background under painting. And I will see you there. 4. Background Underpainting : Hello and welcome back to the background under painting lessons. So I've got my water, my palette, and I'm going to add the blue and white to my palette. And I like to add the white, the center of the palate because I use it with all of the colors for tinting to make things lighter. And I have my one inch bright brush here. However, it's a little big. I used it for the sky. And you'll see it's just a little bit big. I could have gone down a size, so that's optional. So I just dampen the brush and wiped off any drips. And I'm going to add blue and white together. And what I'm going for is a nice medium blue. So I add quite a bit of white to this. And getting just a nice guy, blue going nice, deepskyblue, rolling the brush around, getting it nicely incorporated. And I bring it up to the top of my canvas. I'm going over the edge here. Just carrying that all the way through and I'm going to go over the trees. So were waving goodbye to the trees for now, we're going to come back and paint those later. And then I pull the brush through to get a nice horizontal brush stroke. And then under that I'm going to add a lighter blue. So here's where it might come in handy to have a smaller brush because there's not a whole lot of sky happening in this scene. The sky is kinda narrow and high up. So there's room. There's enough room to use a smaller brush. But what I'm looking for is a nice gradient. I wanna see the sky going from a nice deep blue into a lighter blue. And I'm carrying that paint over the top of the mountain tops. So that when I paint the mountains, it will overlap the sky and the sky will appear that it's behind the mountains. Carrying that lighter blue up the canvas and back down just getting a smooths coverage there. I had a little bit too much paint on my brush, so I tap some moth back onto the palette. And that's looking pretty good. Going back in for some of that darker blue, adding it up at the top, and then smoothing it out. And here I use this diagonal brushstroke to help with blending. I, i do that wavy line and then smooth it out to get a nice transition. Great. So that is looking pretty good. Doing any touch ups on the side. And I'm gonna wash my brush out. And now I've gone down a brush size and we are gonna do the mountains. So I have the brown and yellow and green out on the palate now. And we are going to mix up burnt sienna, yellow ochre and the fellow Blue. And I'm looking for kind of a Markov gray color here, but pretty dark. It's like a dark gray. But I wanted to lean more towards the blues and the burnt sienna. So I added a little bit of white. I did the test on the canvas. And then I added in a little bit of white and some more burnt sienna and blue and that is looking much better. So I am just going to refer to my reference image to create the ridge line of these mountains. Letting it go in and out and just carrying it off the side of the canvas. And I added a little bit more blue. And this is going to be the shadow color of the mountains. So we're gonna do more layers over the top. That will be the details. And essentially what I'm doing here is just filling this in, in a solid color. So I have that straight line down at the bottom. You can do a couple passes on that to make it nice and straight. And then covering up everything in the middle. Essentially. You want to have a lot of paint on your brush. You want nice even coverage. Don't be afraid to load your brush nicely or mix more of the paint. If you run out. Once you paint enough, you'll learn to mix better proportions of pain. A lot of beginners will either makes up too little or way too much. And it's just kind of a practice thing so you can look and see how much pain I have on my palate and even I have to go back in mix more at times. So now I've gone over that area where the boulders meet the mountain range. And I'm just going to cover that up. So we're essentially doing two areas of mostly solid color. And then wash your brush. Alright, so up next, we are going to work on the mid ground and the foreground for this class. And I will see you there. 5. Mid and Foreground Underpainting: Hello and welcome to the mid ground and foreground under painting of this class. So in this lesson, you can see that by the end, we will have the base colors for the area of land that has the boulders on it, as well as the underpinning for the water. And you can also notice that there is a little white strip of land that is out in the distance where the water meets the mountains. And I left that open on the canvas just to indicate that there is a shore there. And also there's a nice gradient going from a really dark blue in the distant water. And then it comes forward and we're going to mix in different colors and mix on the canvas as we come along through to the foreground. So we're going to mix in more teal green and white. And then there's a bit of yellow off to the right, which is where the beach is going to be. So let's see how that technique looks. All right, so I'm pouring some teal out onto my palette. And I'm going to load my brush with yellow, blue. And I'm going to bring that along in a nice horizontal manner using my brush, the horizontal way. So it's the thinner side of the brush that I'm using. And I'm just leaving a little bit of the canvas exposed. And it does touch down a little bit and meets the color that's in the mountains and that's fine. So I just pop it into what's showing behind the rocks a little bit. And then I am carrying it down into the water so we have a nice crisp line at the top and then I'm bringing it down. And then using a smooth brushstroke, the Broadway as a comes down because that water is very horizontal. Next I am bringing some teal into the canvas and mixing it with a little bit of that yellow, blue. If you already had available on your brush from the previous paint color, it might just mix up nicely on the canvas without adding more to the brush. So now we have a mix of the two. Then I'm mixing up on the canvas in this nice horizontal manner. As we come through to the mid ground. And as you paint around the boulders, you don't have to be really perfect about it. You can cover up that line because we'll come back over and paint over the top where the edge meets the water. So we're just basically painting it in and then smoothing it out. Smoothing it out some more as we come down and adding more untill to my brush. But I haven't washed my brush yet. Okay, so now I'm coming around the area of the point of that land. And there is a little bit of a change here. It's getting lighter and that gradient is coming down in a smooth way. But I didn't make it up perfectly. It's not a perfectly blended smoothie area. There are some changes. And you'll see that in lakes there will be a change in the depth of the water or the way the wind is hitting it and you'll see different colors in the water. And so it's fine if it's not perfectly smooth. Okay, so I washed my brush out so that I could just have the teal on my brush. I didn't want any more yellow, blue. And now I'm bringing it in as we reach our little cove here. And the depth of the water is getting much more shallow. And I'm just blending on the canvas. And we want a nice even coverage, so keep your brush nicely loaded. And as I reached this rock here, I kind of decided right on the spot that I'm just gonna paint straight over it because I want to keep that texture of the water going across behind this rock. So it's okay to just cover that up because we know where it's going to come back. And we'll paint it again just like our trees. And K. So now we've just got teal. I'm coming up to the rocks where it's more shallow. And now I'm adding in a bit of yellow. So we've got this teal green that's happening now and that's where the sand is showing up a lot more under the water. And I'm just bringing that through, getting IT blended on the canvas, and then bringing it up. If you've got wet paint, it's going to blend really nicely. And if it starts to get a little bit tacky because your paints drying up, just add a little bit more. Mixing, some more green and a little bit of white now, little bit more white, because we want this to be really light at this point. We want to feel like we can really see down to the bottom of that lake and see the sand showing up. So we're getting a little bit more of an earthy yellow in our water color and smoothing it out a little bit more yellow where it's a little bit more shallow. And finishing off the right side. Right. And I'm going to carry this through all the way to the bottom of the canvas. Because even though this is a darker area where they're going to be lots of rocks. There are points where the rocks separate and you can see all the way down to the sand. So it's going to be our under painting. Okay, now I have the teal on my brush and I'm adding more to the left side because it is a little bit more shallow out there. Or excuse me, it's going to be more it's deeper out there. And working in that Teal to fill in the rest of that white area of the canvas. And we're gonna see some brushstrokes and that's fine. This is a painting were allowed to see brushstrokes. But we do want to work on getting it smooth doubt. Ok, and picking up the last little bit of white that I still had on my palette. And I'm working that into create a little bit lighter teal green. And it wasn't quite enough paints that I'm bringing more titanium white down. And now I have a beautiful bright teal green and brought in a little bit more yellow. Just as, just a little bit. And I'm going to make this shallow sand that much more lighter. Which is gonna give us the feeling that there's a lot of sun hitting it. It's shallow water and it's going to look gorgeous when this is finished. Looking really good. And I love that transition. So I'm gonna wash my brush and go down a size. So this is a smaller flat brush. And I am going to mix up color very similar to what I used in the mountains. So this is a shadow color. It's going to show through in the shadows of our boulders. And so I'm just going to use the corner of the brush to get a lot of the details in that line and fill in this area of land. So just it's nice to use the flat brush because it holds a lot of paint where painting in a good portion of the canvas here, so we want that coverage. But the corner of a flat brush will really help to get the outline of this area nice and detail. Okay, so we can make these areas kind of jutting out where each Boulder meets the water and just basically carry it through all the way until we reach the beach. So creating that outline and then bringing the paint down. And I'm just going to speed this up because it is kind of busy work. I don't have to explain every single brushstroke. We're just filling things in and getting it nice and even with the paint coverage. And then at this point, a lot of it's going to be covered with the trees and the bushes, all of the plants that are under the trees. Here I am mixing up a little bit more paint. It's a little bit more blue than I had before, but that's no big deal at all because we're gonna be covering a lot of this up. And it's not going to really make much of a difference. Alright, great. So now I'm going to use a lot of yellow. I just picked it up with my brush. I didn't wash my brush. I just didn't mix it in very much. I just hold it on the end of my brush and paint with very little pressure. So the more pressure I, if I were using a lot of pressure, I'd be squeezing out a lot of that dark gray color. But here I'm just making a nice earthy yellow because I'm painting with very little pressure. Okay, that's it. Up next we're going to do the underwater rocks. And this is where the painting really starts to come to live. So I will see you there. 6. Underwater Rocks: Hello and welcome back to the underwater rocks lesson. In this lesson, you can see we're just popping in a nice watery shadow color around that area of land that's jetting out by the boulders. And then indicating where there are rocks underwater. In the rest of this little cove, there are some variations of color. They're a little bit darker where there's more shadow. So I want you to notice how on the bottom left, we have some deeper shadows and more blue in the paint. And we'll get to that when we start painting. So let's see what this looks like. So I had that yellow and my brush from the shore, from the sand on the shore. And I just keep that in my brush. And I bring in some blue. And I add more Teal to my palette, pick a good chunk of that up and mix that in. So I've got kind of a nice medium blue with fellow and teal. There's little bit of yellow on my brush, but it's not very obvious. And just getting that nicely incorporated, rolling the brush around. And I decided to switch brushes at this point to my Filburn because the Hilbert brush is gonna give me nice soft edges because the water is gonna make things less sharp. So out in the distance, I'm popping in some nice area where the rocks are kinda, they've tumbled down into the water. There's the part of the boulders that are underwater. And so we're just going to hint at that shadow area. And I'm adding a lot of paint my brush. And when the brushes mostly loaded, it's gonna be up closer to the rocks. And then once a lot of the paint runs out on my brush, I'm gonna use it in areas where I want the painting to be softer, where I want things to be less harsh. So up against this line of the rocks, it There's more paint on my brush. It gets used up. And then I bring it out into the water and more of a blended softer breaststroke. Okay. And then this bottom areas that also going to have a lot of rocks. So I'm going to pop in this wiggly line and just bring it through. Some of the rocks are not connected to the area there. Individual rocks out in the sand under the water as well. And when they're out further, their brushstroke is smaller and flatter and very faint. There's not a lot of pressure on the bristles when I do those. And not a lot of paint on my brush, I use more of the paint in the thicker lines. Okay. So off to the left, like I mentioned, there is more shadow because there is more depth in the water. So right here we have some darker rocks. And I just added more yellow-blue to this mix to show that those rocks are darker. And then right here is where we have our large boulder and you'll be able to see this. Reference image. So I'm just bringing in a really big shadow at this point. Some of the shadow is going to be exposed out of the water and some as underwater. But as long as you pop in a nice shadow that's about that shape, you're going to be in good condition. And I'm leaving some of the sand areas exposed. So we're gonna see that teal popping through. I'm using a horizontal chunky brushstroke. Here's some green I'm mixing in. So I've got blue and green on my brush, a little bit of teal. And we're going to lighten this up a little bit as the water gets Marcelo here, some yellow. So it's very, it's like a green teal with some widen it. It's really nice. Alright, so just bringing these chunky short brushstrokes through. Checking out the shapes that are in these rocks, you want to look at your reference image and see where they are. They don't have to be exactly like what I painted, but they should be fairly similar. And everyone's going to have their own little style that they use. Okay, so you can use a lot of paint where you want the most coverage. Once that gets used up, you use a light dry brush technique, which will soften the edges of your brush strokes and make it seem like there's water in front of those rocks and above the rocks, but between us and the ok. And now just bringing in some individual rocks, they're a little bit flatter the further away they get. Softening those areas. The light gets bent in the water. So there they're very faint. And these are really just going to be a lot of shadow colors at this point. We're going to paint a lot of the actual rocks over these areas. But so this is just more like a base coming in towards the beach at this point and I'm using a very faint brushstroke. Okay. More layering where I want it to be a heavier shadow and more dry brush as it gets as the details kinda blur under the water. All right, and now we can just kind of fill in the rest of this corner. I'm going to grab what pain is left and just scribble it in. You can tap a little bit and that looks really good. Up next, we're going to do some details on the mountain. Men start to do our second layer over these base colors. So I will see you there. 7. Mountain Details: Welcome back to the mountain details lesson. And you can see here we are developing our mountains in the background. And I've got a gray on the top of the mountains. This is where the treeline stops and you see more exposed rock at the top. And then as we move down, there's more forest. We're going to have the brushwork go at diagonals depending on which kind of slope or on. We're going to contour these mountain slopes as they come down into the flatter land that is at the base of the mountains, closer to the shore. And I decided that I really like the way the shore looks just with the canvas showing through. I thought I would paint over and do more with that shoreline, but I really just accepted it and left it, kept it simple. And as we move to the right on the mountains, it's a little bit closer to us and we are going to see more of the trees, the individual trees, and those are just little brushstroke. So let's look at this technique. I'm going to add more burnt sienna it, yellow, blue, and mix them all up to make a gray. So adding some white and the blue is very strong. So we have to compensate with more burnt sienna, which has a really read tone to it. So it's almost like working with primary colors. I've got my burnt Santa standing in for red. I've got the blue and I've got the yellow. And so when you mix all those primary colors up together, it creates a, an earth tone. Depending on which paint you use more of. It could be more of an earthy yellow, more of an earthy Brown, or more of an earthy blue. So here I'm testing out my Gray and I decide that I want a little bit more white so it never hurts to just pop in a brushstroke, test it out, and then make any adjustments that you want. So now I'm adding that and it's a little bit closer to my sky color in how light it is. And so I am using it more on the left side of the mountain peaks because there's more light on that side. And if you carry it down at a diagonal, it's gonna seem like one mountain is overlapping and other. Which is a fun trick. So I'm just bringing it through. There's a stray brushstroke there, but that's all right. I can mix it in. So that mountain, when a little bit lower. As it comes into like a little bit of a not a canyon, but like a not a gulch. As the sides of the mountain meet another mountain. Whenever you what do you call that? I'm going to think of it. Okay. So there you can see I've left some of the shadow color exposed. I use less opacity. There wasn't as much pain applied. And that just gives it a little bit of shadow within that mountain face. Okay, carrying that one way down. And this is where things get closer to us. So there's a lot of overlap on this one. So I carried it in further. And just giving that more definition, more white. Now on the brush, I added a little bit more and burnt sienna. Right? And this is gonna give us a little bit more light. And I'm gonna use this on the left side again. Because our light source is coming from the left. I'm not covering as much area now. And just giving the hint that more light is hitting those mountains, carrying that way down. And then I bring a lot of rock face into that mountain. Now I've got my smallest bright brush. And I'm gonna mix blue, green. And it's going to be a dark color for our first pass. With this dark green. And I'm, I'm going to add more blue. That was a little knot, right? That's the technical term for it. Okay, so I added a little bit of white to that mix. I'm I'm really kind of just getting my bearings at this point. So I'm testing and I'm bringing more of that forest color down the mountain, mixing more widen and scribbling it around. Now here's a slope. And then it comes around and there's another slip. So it's kinda like a cone shape. Ok. So the contour just following what you see, look at your reference image and then I kinda scribble along the line where there's that rock face because there is a jagged line where the trees meet the rock. It's not just a straight across. And write slope contour. The direction you use those brush strokes is going to be everything here. It's not just an up and down. Brushstroke. You gotta use that brush at a diagonal. Wonderful. Ok. bringing that way over. And then as it meets the, as it meets the bottom where it's going to kind of flatten out a little bit, but we're staying up at top now, coming through with another dramatic diagonal line, kind of curving down. And now we're getting further down the slope. Okay, let's work this area. It's just gonna be like a v kind of fanning up and I'm going to leave the shadow coming through where those crevasses are in the mountain phase. Now I'm just going to tap in some greenery on this closer Mountain. And that's looking really good. So at this point I'm really happy with it. The rest is just detail. I'm going to work in some lower land. This is more of a horizontal, slightly rounded brushstroke, k, having it made the shore, and then come behind those boulders. Let's have a little bit of white for some highlights now. We want to have a lot of light hitting the mountains. So as, as it hits those trees, we're gonna get more texture. Kay? Really loosey-goosey. The more you loose and free you are with this, the better. Just indicating more light hitting those mountains and crossover up into some of the rocky area. Let's put a little bit more yellow for the sunlight to have some warms here. We don't want to go to yellow though, because the further away, the less warm fuzz in the color, it's just part of the atmosphere. So I'm bringing more yellow into closer Mountain. I'm gonna use this dash up and down brushstroke. That was a little lights. I'm going to bring in more green and blue to the mix now. And now we start to see those trees really take shape. So it's closer to us. And we're gonna see more of the individual trees, but they're really just little lines that I'm tapping in. Right? And I'm going to pop in just a few rocks. Are they peek through? Great. Up. Next we're going to work on the rock details on the boulders. So I will see you there. 8. Rock Details: Hello and welcome to the rock details lesson. I'm excited for this. We've got these gorgeous boulders that were going to really bring to life and give more form in this lesson. And when it's all put together, it becomes like this really interesting, detailed area. Very much a focal point in this piece. And it's, it's really fun today. So let's get into it. Okay. So I have gray from when I was working on my mountains. But if you want to be reminded about what's in this mix, we have yellow-blue, burnt sienna, yellow, ochre, titanium white. And I'm going to start out at the most distant point on this area of land. And I'm following the top of that rock that's out there in the distance. And then sloping down for some contour. And then Iraq in front of that. And Iraq in front of that. So we've got some overlapping. And now I'm coming through with the front of that next point of land. So I've just outline that. And I want you to look at your reference image here. Just like I'm doing. I'm looking at a reference image and new Cantu. So carrying out way up, making the point on that, the highest point of it. Reloading my brush and carrying it down. So now I'm getting the shape. And I'm just painting the top of each rock. And I'm putting more light on the left side because that's why light sources coming from. So the more little lines that you leave exposed, those are going to read as cracks in the rock. And it's really, it's really fun to just make this up as you go along. There's one above another. And you just have to look at this like an artist. You're seeing the shapes of the rocks popping in highlights on the left topside of them, and leaving the shadows exposed. I also pay attention to the shape of the larger rocks first. And here I've sped this up. So I go big on the larger rocks and then fill in around them with more small rocks that maybe crumbled and fell into the cracks. So larger rock kind of scrape it in there and smaller OK. You can use dry brush technique where there's less light hitting these boulders. And we're just filling it in kind of just like a little jigsaw puzzle. Alright, getting closer to the shore and popping in lots of smaller racks. And as we get closer to the bottom, now we're gonna paint some over the water. This is where a few of those underwater rocks are poking out and drying up in the sun. Okay. And they're kind of like little jelly beans. Here is our big boulder. And in a moment I bring the camera out, so bear with me. It goes off camera just for a moment. And then filling it in following that shadow. And then I did a dry brush line there, makes it seem like it's kinda blended. Here we are panned out. And so it's now got the dry part of this boulder. And I just fill it in really lightly. You can see some of the teal coming through, which is kinda fun. K will do on there. That one's kind of big, rounded at the top and a little bit flat at the bottom, but not perfectly flat. Looks good. Just paying attention to the shapes. Okay, now I mixed a little bit of blue with that stone color. And I'm going to develop that shadow, some of it. And just so it seems like it's rounding up that boulder. Now we're gonna do some highlights. I'm adding much more white to my gray, getting that nicely mixed up. And I'm going to make a very distinct line at the top on the left. And then kinda scrub it in to get the texture of the rock and where the light is going to hit it. And then I'm going to put a highlight on all of my little rocks out in the water. Very small, just tiny little brush strokes here. And now we really see that they're picking up a lot of light and that they're coming out of the water. Okay. And let's move into the land. So I'm just doing little lines on that distant point. And coming over the shapes that we established before. But with less coverage. And we really get the feeling this is a warm, sunlit, rocky area. And now like you could just reach out and touch those boulders and you're going to feel the sun's warmth on them. Ok, so depending on the shape of the rock and how much flat surface is getting the most sun. That's the size of the brush stroke that you're going to use. So you have to use your imagination a little bit. Having things break up and overlap. But you can kinda just make it up. Use my image as a reference, but you can create your own little rocky area here. Don't worry about having it look exactly like mine. As long as you get the essence of these rocks, it's going to be a lot of fun. It also helps to stand back. Sometimes we get a little tunnel vision when we're looking at fine details like this. And it's good to just kind of step away for a moment. Get your eyes off of the painting and then come back and you can assess your progress a little bit more easily at that point. Okay. And now I'm going to add a little bit of yellow to that gray and white mix. Actually, this is just white and yellow. And I'm going to bring some horizontal brushstrokes up into the shore so the sand is getting more sunlight now as well. Okay, now I'm picking up some dark blue. There's some burnt sienna in here as well. And a little bit of yellow. So I've got a nice dark shadow color and I'm coming under the rocks just with a little line. And I'm using this where the rocks are exposed and where the rocks are underwater. So I'm showing that these areas have more shaped, more formed, more definition just by using some simple line work. Under those blue areas, the dark teal area. And by popping in more shadow, we just, it just indicates that there's something round and rocky down there, which is kinda cool. So I just kind of flutter those little shadows in. And then I cover up a lot of this brighter blue. It was looking just a little too bright. So this has that burnt sienna and yellow in it. And you did it a little bit more white at this point. So I added more titanium white to my palette. So I've got that blue that I was just using and I'm adding white to it now. A tiny bit of burnt sienna. Because the rocks down underwater, they have a little bit of moss color to it. There's like a red Moss. So I wanted to use a little bit of burnt sienna here. And we're going to add some highlights to those. There's a lot of blue in this still. I want them to be darker than the rocks that are above water. And the more shallow we get, the more of the stone colors coming through. And it even more burnt sienna and now a little bit of yellow. And let's see what happens. Oh yeah, teal pair we go as kinda struggling to find it. Yeah. So I've got this tool, yellow, burnt sienna, and white on my brush. And now I'm able to indicate where the submerged rocks are getting a little bit of light. And I just love how this looks. Okay, I added some of the darker blue to that and now I can establish some of the rocks that are under more water, deeper at this point. Just bringing in some circles, some rough circles. They're more like ovals. And tapping in some of that color throughout. Now looks really good. And they just keep going until I'm happy. Then put a little up there, gentlemen, on those. And we just keep working with this detail until it really comes to life and we don't want to overwork it. So you want to check yourself every once and awhile and make sure, okay, now I'm adding a little bit more of a rounded shadow to that, so I use a color that's in-between little light and the dark. And I added a little bit more of the gray, the lighter gray to my Shadow Color. So we have a lighter shadow out in the distance. It's not as close to us, so we're not seeing it as detailed as we do in the foreground. It's a little bit more blurred out. But we still want to hint that there is some light and shadow out there. And how much white you have in these mixtures is going to be important. Because you don't want your shadows to be lighter than the rocks. And, and, you know, it's all relative to the light that's around it. Okay, looking good. Up next we're gonna do our trees lessons. So I will see you there. 9. Trees: Hello and welcome back to the trees lesson. In this lesson you can see we're going to pop in some trees. We've got four trees and some underbrush. We're also going to bring some of that green color out into the rocks for little tiny plants that are coming through the cracks. So let's get into it. I've got some burnt sienna. I've got some blue. And I'm going to mix this up. We're going for another shadow color. So let me pull this over so you can see it's just a dark, dark gray. So our first tree is going to come out from behind these rocks. So the bottom of the tree is going to be hidden on the other side. So I start at the top where I'm just popping in a line, I'm coming straight down. I've got my smallest bright brush at this point. It's a little bit thicker at the bottom as it gets closer to the trunk or the base of the trunk. And then we're gonna do another trunk. This one's going to start a little bit higher up. And I'm using the brush the narrow way. And this tree is also on the other side of the rock, so the bottom of the tree is hidden from view, right? Loading up that brush again. And the next one is going to be over here. And this one is on our side of the rock so you can see where it's growing out from the land. And then it's a little bit shorter than the last tree, so it's not going to reach as high up on the canvas. And this one's going to be closer to shore, little bit taller. And just bring that down. Okay. And the branches are not perfectly uniform. The angle is a little bit steeper as we're at the top of the tree. And then the branches get heavier and they come down and the angle becomes a little bit further outwards. And you wanna leave little gaps and irregularities because that's how a trees actually grow. It's not like a perfect triangle. Okay? And then this one, more of the trunk is exposed. We just want to use these back and forth brushstrokes that get larger as they come to the base. This one has very has a whole lot of the trunk showing and in and out and make it a regular make light coming through. There's little breaks and more gaps and that one and this one, we're just coming down on one side. It's going to meet the boulders. Loading the brush up again. And I'm using a really light brushstroke. You don't need a lot of pressure here. And it went over the edge, so I just wiped it off with my finger. Okay. And then you can make any little touch ups that you want. So these are the shapes of the shadows of our tree. And then we're going to come over the top of that with some greens. So I want to wash out my brush and get all of that dark color out because now we're going to start to fill in more of the highlights and mid tones. So now I'm going to use just green on my brush. This is straight out of the tube. Chromium oxide grain. And I'm going to make lines that are going in the direction of the branches. But I'm going to let some of that shadow color show through and I'm going to use more of that color on the left side of the tree because that is where our light sources coming from. So allow those shadows to come through. And some of the branches will be coming towards you. So don't just leave, you know, a bunch of shadow towards the center. You can see you come in from one side and then we come in from another and it looks like a little bit of a v, so I break it up and I make sure to do some coverage in the middle of the tree as well. And now I'm just going to bring some green into the ground. This is the undergrowth. And it'll just kinda blur the area between the trees and the land. And it doesn't have to be really specific or detailed there. And then I just pop some green into the cracks of our boulders here in there, not too close to the water side of those boulders. We want it closer to the land side of the boulders. Okay. Now I'm adding some yellow and white to migraine. And this is going to be our highlight. Getting that nicely mixed up. And we're going to bring that over to the left side of the tree almost exclusively. So we really want the left side to be lit the most with these highlights. That's where our light sources coming in from. And tap, tap, tap. Thought when I gave a little bit more to and let's do one more level of lights, so more white now. Little bit more yellow. Nice warm light. And I think here, yeah, I wiped off some of the gunk at the base of the bristles because I had a lot of buildup. So I just wipe it right off to on to the rag. In here. I'm just doing the very end of a few of those branches to give it some contrast. Because we want these to stand out from the mountain range behind it. So this is very, very slight. Just tapping in kind of an angle here, moving my brush around and voila. And I'm gonna do more of the same down in the greenery. Just a few highlights here and there. I'm just tapping and scribbling a little bit. And I decided to use just a hint of yellow. I just added straight yellow to my brush to give it some warmth. Maybe some of those bushes have turned a little bit yellow and scientists indicating that they're looking great. Up next we're going to do the final touches. So I will see you there. 10. Final Touches: Hi, welcome back to the final touches. I can't wait to show you how this painting wraps up. We aren't going to pop in some of the smallest details of the paintings. So if you notice up by the mountaintops, we're adding a little bit of white for some snow. And then I carry that way through out the painting for extra highlights in the trees, the rocks. And we do a little bit of reflection in the water. And then I bring in more the paint colors out of the tubes to bring color out into the rocks. Oh, and I also add some more grey to the mountain tops to soften them a little bit. So I made some adjustments to my mountain tops as well as adding this now. So let's take a look at what we're gonna do. Okay, so I have my smallest brush. I always tend to end my painting with my smaller brushes because we work on more detail at the end of the painting. And I'm just going to tap in some small dots. And some of those dots are going to overlap with this snow. And a lot of the snow is going to cling to the top of the mountain, but also hug the cracks as they come down the mountain. So the crevasses and the areas that get less sunlight because the sunlight warms the snow and it melts. So more of a snow clings to those cracks. And the top of the mountain with the most elevation. And also there's a lot of snow on the right side of the peaks because they get less sunlight. So we're just sprinkling it throughout. And you can just look at the reference image for the part of the mountain tops that have the most snow coverage on them. And just have fun with it. And it also really makes the mountain stand out quite a bit because there's more contrast between them and the sky, which is nice. And now we're going to bring more of those highlights down into the rocks. And really hugging the topmost part of the rock. Less coverage than any of the paint colors I've used before. And just sprinkling that in tapping it in just little lines by the end. You don't need a lot of pressure. You don't need a lot of paint on your brush. This is really fine detail. Just little rounded lines, looking really good. And let's bring some into the rocks that are sticking out of the water. And what do I do? My thing? Tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap. And for those at the bottom. Great. And now they're really popping. Group. Okay. Let's do some of the trees that top one was way too heavy soil wiped it off and we're just tapping in again and this is going to make the tree stand out a lot more as well. Great. Okay, here I'm adding some yellow to the white. And I'm gonna bring some worms into my rocks, cuz they seem a little cool for the granite. So I want to bring some warms into this area. So I'm just going to add some yellow. Here's some yellow without White. And I'm just going to sprinkle that in to my mid tones. Just to warm this up. Now I'm gonna take some burnt sienna and I'm gonna add just a hint of the red brown to the tree trunks and the shadows moving up the tree just a little bit, some sprinkles. And here you can see it nicely. Breaking it up with some red is really going to make the green pop. And I can carry that through into some of the shadows and the rocks as well. I love how that just adds more rich color to the form of those rocks. And we can even do it out in the water just a little bit. You don't wanna go too heavy here, like it's really just very, very light. But you do see a lot of color in these, in that clear water. Alright, now I've got a really low light, light gray. I'm going to add some white to my gray and the grades again, burnt sienna, yellow, and blue. And so I've got a lot of white in here. And I think I even bring more and I went this almost white. And I'm gonna do the smallest little lines in the water. I'm barely touching down. I'm barely using any pressure. You could even adult tiny bit of water just like one drop of water to this paint mix to make it run in more of an Encke way, just really watery so that you don't have to touch down to get the paint to stick to the canvas as much. And I'm doing some reflections from the lightest part of these boulders just to make it seem like there are some ripples in the water, some reflection that we're at. The light is bouncing off the top of the water. I want to be very gentle with this. My cat is snoring next to me. I don't know if you can hear that she's been snoring for like 20 minutes. It's kind of a cute little noise. Did you hear that? We'll see. It's really cute. Okay, so I just continued along with these reflections. You can watch me do it on the screen and look at the reference image to see where they are. And you just, you know, it's kind of a practice with pressure. How much you will brush. I start closer to the rock where I have the most pain on my brush. And then as I use it up, I move outwards and it dissipates and fades away. And which is bringing them even stronger in places where there's a big bright highlight. And then I can kind of, I used some smaller lines where it's not so bright. And it's really just a mirror reflection of what's happening above it. Okay, I've got some reflections going in under that rock and that's a really strong highlight on that boulder that's out in the water. So I'm gonna do a very dense amount of ripples under it. Some reflections under the small rocks as well. Just tiny little tab, tiny, tiny. The further away, the smaller the reflections are going to be. We're almost done. Alright, so I'm gonna add a little bit more burnt sienna to my palette, add a little bit of blue to that. So we're getting another Shadow Color. And I'm going to make the deepest shadows in the foreground, which is to bring a lot of deaths out of the water, make more form in my underwater rocks following the shadows that I paint them before, but I'm just deepening them now. I always end up checking my contrast the most. At the end of the class, I work really light and then really dark. And I do this with almost every single painting because your contrast is going to make the painting seem more lifelike. It's going to give all of your shapes more form because they're going to feel like they're being hit by the light. And we have rich shadows underneath. So it's really important to not stick to the mid tones. A lot of students get shy about bringing in high, high, high highlights and deep, deep, deep shadows. So allow yourself to really stretch that spectrum out from the middle you want to, you want to add white, you want to add shadows. Here's where I fixed my mountains. I thought that the treeline was just a little too abrupt. So I'm making a medium gray. I'm mixing red, burnt sienna and White. And I'm going to bring this in over some of that green. And this is optional. I mean, looking back, in hindsight, it wasn't essential than I did this, but at the time I was like, you know what, I'm going to fix that up a little bit and do a little touch up. So I'm just bridging the gap between the rock face and the tree line. Here, I'm adding a little bit more weight, just bringing some more cool tones in here because when things get further away in distant mountains, they turn kind of lavender Gray and that looks really good. So just a couple brush strokes with that Silber did the trick. All right, that's it. Thank you so much for joining me for this class. I had such a great time creating this piece. If you enjoyed this class, please consider following me for future updates on new classes that I offer. And remember, Art is meant to be fun. So if you show up in practice with an open mind, you'll learn something new every time. Happy painting, much left.