Landscape Painting Demonstration - Aerial Perspective | Robert Joyner | Skillshare

Landscape Painting Demonstration - Aerial Perspective

Robert Joyner, Making Art Fun

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7 Lessons (53m)
    • 1. Part 1 Is Free

      1:35
    • 2. Part 2

      7:25
    • 3. Part 3

      9:25
    • 4. Part 4

      8:37
    • 5. Part 5

      11:26
    • 6. Part 6

      5:58
    • 7. Part 7

      8:12

About This Class

In this class I will share a step-by-step video demonstration for painting an aerial perspective of a Maine landscape using acrylics. The purpose of the class is to show how easy it is to build a painting in layers using good painting fundamentals. 

Who Is This Class for?

Anyone that wants to strengthen their basic acrylic painting foundation and wants to learn more about how to create a finished landscape using incremental steps.

Transcripts

1. Part 1 Is Free: Hi. Welcome to the demo. I will be painting a landscape slash coastal seeing the air so obese, um, coastal homes in the foreground with see and have a harbor looking inlet type thing and some more trees in the background. Um, and I'm working with only acrylic. So this is just an acrylic demonstration, and I'm working in layers. All right. Layers are basically output. Ah, block in or add a layer. Let it dry completely. Come back and do it again. OK. Eso brushes. I have a small, um, right square of a small liner or script brush have about number 12 round. It's pretty beat up, and then I have a flat hog's hair. Bristle. Ah, a little bit of clean water here on my palette. I have titanium white cad yellow, in fact, reknowned blue. He can use oh Chimerine out of ultra marine blue. So I just accuse that a lizard, crimson yellow iron oxide, ridean, fellow blue cat orange and raw sienna. So I will start the demo by using a number three. This is just a mechanical pencil. Eso Aiken layout my composition there and then crack forward. All right, so let's get started with the composition 2. Part 2: all right. So, to my right here is my computer has my image on there and image up on my computer and you'll see me glance over there from time to time. Now, this is not a typical composition. And like, it doesn't have either the horizon line, and then you can kind of place everything in the sky in the foreground. All that, um, so you don't really see the horizon if anything is probably way back and away up here, okay? But because there's so many trees and stuff, you're not going to see it. So what I've done here is a kind of laid out of roughly a square, and what I'm going to do is I want the homes to take up about half of it, okay? On another thing you can do to is you can just kind of you can divide your paper and thirds and use that Third is a guideline. Typically, artists don't like, divide there images in half. Because I feel like this is such a unique image and such unique layout, I can get away with it. Okay? Plus, I really want to show this harbor and some of the boats on the harbor. And if I pushed the homes up too high, then you're not gonna be able to see the harbor for push the homes too low. Then the homes will get chopped too much, and I don't think it will make sense. So I'm gonna say, roughly in here for the height of of the main homes, there's another, like, 1/4 home over here that I'll probably stretch up in that area. Um, and then we we have, um, some background trees and stuff like that. Okay, So fairly easy composition. You know, we have some trees and some foliage and different things happening here. There's our first home there, and if I take the image, I take my pencil rather and I hold it up to the image. Well, I'm gonna do is I'm gonna find the center of the image on when I do that. What that does is it gives me a good gauge as to how Teoh layout these homes. So basically, what I see is we have a home in the foreground here. That kind of comes roughly to the middle, slightly less and then it breaks out. I goes, goes out of the view there. And it was like a little window right here. May or may not include that, um, and then the angle and again, I'm holding this up to the image, and I'm adjusting the pencil to find the angle. So the angle of this roof is roughly in here, and it goes up to about this point and then down. And then this one starts in here and so on. And, uh, this home come down in there and we can kind of stop it in there. That's fine. This one comes way over to this area and then comes over there and that cuts over and this one again has a little window or something going on in here. We have some chimneys on these buildings or homes. I don't have one on this one, but I may or may not add that I'm just gonna go on without it. Now we have another home. It's cutting across here it comes down the roof angle was going about like that. So the perspective is still working with that sort of perspective, that angle. So I want to keep that angle, and then this comes up and then way, Have another little area here, and then the roof comes about like that, all right? And I'm not sure what's happening here, but maybe I could just kind of do that for now. May or may not be something. And now I'm going to lower this. This, like the kind of look at the image this coastline kind of goes right with the roof line. I think that I don't want to keep those the same. So I'm gonna going Teoh, bump this down a little bit and make it a little bit shorter. Maybe bring it back and and here somewhere. And then Then we have these trees, and then we have another section kind of coming and there and then the last, the final one. And then there's something like Like that. Now we have some boats out here that I think you're real interesting, and it's really what caught my eye. Um are these little I think of the boats weren't there? It may not be as interesting to me. I'm just gonna put these little lobster boats, um, anchored up, buoyed in the harbor there. And, uh, give really gives it a sense of scale and, uh, perspective, which I like. And, uh, I think it really adds, gives it a sense of place. Maybe we could put one mawr right here and then the rest. We can kind of dot around and so on. Um and that's pretty much it. Like I said, it's not a very complex scene for layout. Um, but I think it's interesting sometimes. Really. Keeping it simple is the best thing. But to capture that distance and to get that feeling of a background, the coast or the you know, the inlet air, then you have kind of a mid for your area here, and then you have the foreground, and that's the feeling I want want that dimension in this landscape. OK, so that's what I work on. And to make that happen, I'll have to adjust the tones and values of things. It's more intense and colorful, perhaps in the foreground area, and then we push that color out. I counted down as the distance receives from from the viewer, okay from the foreground. So that's what I'm dealing with. That's my layout. And now we're gonna crack four with blocking this painting end, which will be the other first layer 3. Part 3: All right, I'm ready. Crack forward here. Um, we're gonna work, start with through the background area and then work my way forward, okay? And I'm not looking for perfection here. The first layer is simply chunk it in, get it going so that I can have something toe work with. Okay, so I'm not looking at the colors and trying to get them perfect. Right now, the purpose of working with layers is that you create a painting that has a layer look to it. So we get things perfect right away. There's no sense and adding another layer. Right? So I'm going to work with some grace. I'm gonna mix up a little bit this blue with the Liz Aerin. Uh, got little yellow in the air just by accident. Green. We'll fail. Oh, maybe a touch of orange. And that's fine. Something like this. And I'm a tone that down with a little bit of sienna and a touch of white and then that that that will get me going. I'm not looking for Do you know anything to intense? Right here. Um, now I want to go push this to a little more green. I'm going to add this next one. I can already tell you that's gonna be wait for dark, but that's OK. Um, that again is why I'm doing all this. A little bit of Verdean little yellow and this adding a little more feeling of color as I move forward here. That's fine. That's all I need for that background area now just going to wipe this brush down. So I have ah, tower down here. So I kind of just get a lot of that pain off it. A little bit of this blue low touch of the white. I don't typically mix my whites in the middle, but I'm going to be clean my palette in between layers. Eso That's okay. If I were, like trying to paint this and one go I made put a lot of my white mixtures on the edge, but for anyway, I got like, a nice light blue here, and I don't want that color too intense. Um, in the beginning kind of painting around these boats, the best I can and it doesn't have to be perfect. I kind of know where those boats are now. Laid him in the air. So it shouldn't be a problem. The get that back if I end up covering it up again, just chucking that in there. A little touch of water will go back into these colors and just a touch more blue here just to break it up into bring a little more and start to bring a little more intensity without moving perfection to that foreground. It's going touch that blew in different areas, so it's not stuck on one. Good. That's fine. Clean my brush off. Yeah, well, look at these boats and their white boots. We can look at the image and say yes, there whites, but we don't wanna put bright white boats. I'm gonna go a little white, blue orange sienna and ah, push that little red here and just trying to keep these more of a gray now. Okay? And that's probably a little too dark. That's good. We have one. There may be Aiken, Splash one over here on good can put one. There may be toe touch them that this area good. I really wanted that feeling of Ah ah, boat like, have you ever been to Maine? And this was that. This image was taken in Stonington. Um, when those guys Aaron, when this boats room for the day that that harbor is a pack full of boats and that's the feeling I want. Now I'm going to start taking the this home here someone go the bread blues maybe go a little sienna Little more blue And that works some kind of pop. This one in first, the one beside it seems a little bit lighter, a little bit warmer. Someone threw a little yellow one of that and that's good. Um, this one closest to us is a little bit lighter. So I'm gonna go a little bit warmer touch a little bit of Sienna and that, and five, this is a very, very dark home. So a lot of shadow or just a very, very dark feeling of a facade there, and it's coming down like so, um, the others are a little bit lighter, but in shadow keep him kind of cool. And the one beside, I'm gonna do the same kind of tone it down. I'm gonna warm it up a little bit. A little bit of sienna, a little bit of red, and so we have some warm and cool colors bounce off of each other, and that's fine for now. Like I said, this is just the first layer Will be a lot of adjusting going on. Have a nice white home there. So I'm not going to go to White, though. Looking around these grays and blues, I have already just dirty and leaves this white up as I go. And, uh, so it's coming. We have, ah, pitch like that coming down, and it's coming out and coming something like that. Good. And now Justin Green's I've got these will be really dull greens back in there. And, um, again, I'm just going to put something down here. Kind of get going with my greens. Good. All I need. All right, First layer, Chuck it in. 01 last thing I forget Right here. Rooftops. So we have a roof line here, roof line here. That's probably a little too blue. We're good with my blues again. The little CNN there that works a little bit better for me right now. Mixed up with the white. But that's all right now, like any more of that. Um, let that rest. I should have done that. And then I'll come on back when it's dry. And then, of course, I'm gonna take time to look at it, process it and then figure out what adjustments do. I need you to bring this to the next level. Okay, so I'll see you in this drives. 4. Part 4: all right. Dry to the touch and course. There's a lot of work to do here, and that's what I wanted. No, these colors are really what they should be, and that's what I want. Okay, um, behind the scenes. What? You didn't see fresh water? Very important. Don't keep using the same money. Water, clean pallet, all of the surface. Mixing area. Clean white down in the wet rag. Brushes. Clean. Very important. OK magazine, you went a little bit. And what I'll do is I'm gonna start tweaking this. I'm gonna dull this down a little bit to more of a lighter value. Um, and kind of the same. Here. Maybe this is not bad. This is not bother me as much, but I'm gonna start to add also a hint of coastline, rocks and stuff. And then I will kind of start to tweak thes. I mean these value, this is a little too dark. This is OK. This is not bad right now. Um, this is okay, Teoh. Mind that cut. The color is not high percent accurate. What's on the picture? But that's all right, But there's some shadows. And here I can start to add the feeling of trim and detail. Just chunky details here, maybe add some or pops of green here, and, um, working on that house little bit. Start to define these boats on the water is not bad. There'll be a lot of reflections and things like that coming down. Um, but for now, I'm not really gonna worry about the boats in the water. I think I'm just going to do this area. Tweet the greenery, the homes, the the coastal homes, the foreground And then add these chimneys in there. Okay, Someone zoom, you in there we go a little bit closer, and I am going to use, um I think because there's a lot happening here is a lot of little shapes. I'm gonna go with my smaller bright here, and I'm gonna go ahead and start in the background, mix up some gray. So little CNN a little blue, and, uh, there is fine. Um, and that might be a little too orange. Let me actually push that good little, little more Blue and Elizabeth Crimson And a touch of the white. Maybe a touch more of the white. That's okay in there. That's fine. Um I'm just going tie that color in to a few other places. So it's not so lonely. I like for my paintings that have some harmony to him. So time those colors in as I go helps. Now we want to push that back a little bit. So a little bit of the green, though, into this grayish mixture and see if that gives me what I want glare on that. I think I'm going to pushed that back and still a little bit more smidge darker where the trees are. And that's good. Now this is okay. I'm just gonna just pops me green in there just for color. And now I'm going to go to this coast, the rocky area. So little sienna yellow and, uh, maybe toned that down a smidge with some blues and reds. See how that looks. That's okay. Someone kind of started that, Um, and here and, uh, just gonna touch a little bit of white in there. Pull a little bit of that gray in there. Nothing. Those five. Now I'm going to move and to this area is gonna lighten that up a little bit. I like the color, though. So I kind of like that. Um, that tent to it. I want to see if I can get something closed when it's gonna lighten the value. A touch. I like that. I won't put a little bit of warm in there. Good. That's about what I wanted. I'm just going Teoh, just tie that color in. I mean, there's a chimney. Who here is a window? Ah, a couple of windows or re here as well Again. I don't know what's happening over here, but just put some nonsense for now. I can tie that color into the rocks. Well, and that's fine. It's going to lighten that color. Oppa's Well, it's it's really close. I don't mind it as much. I want to. I have a feeling off this, you know, this home getting much closer to us. Um, So what better way to do that and really warm it up at a pop color of the air? This was not bad. I think I'm just really going to go with a little bit of violet, um, mixture here and just see if you're adding this feeling of a shadow helps it out a little bit that can run that dark into that home a little bit and maybe even can't take it into the trees. And and again. This adds a lot of unity to the painting when we can tie these colors. And like that, they're just kind of keep the brush on the paper and you can keep it Moving around. Make makes for a little more interesting shape. Go with my reds. A little bit of greens. It's going to add a dark side of that chimney. He'd add a chimney on that one. AM I had 1/3 1 here. The orange little red. Um, you added works. I want to strengthen that dark over there. One of the darkest darks house. See, we'll go with my fellow a little red, but green and and really just pop that dark pop this 12 I think it would look better and good. I'm gonna run this Ah, coloring into these trees a little bit more that's working. Fine. That's all I wanted to do. Um, I think I will let this dry look at it and then come back and see what to do next. 5. Part 5: all right. Dry to the touch. And I've had a chance to look at it now. Still, fill these air to dark back in there. So I want to tone those down in the value is just too intense is too dark. And, um, I think it's gonna ADM or death to the paintings. I'm going to start right there. It's going to take a little bit of my white here. Just take a little bit of these blues and browns. Um, maybe touch all of this and just see if I can come up with value a color that looks good. What pushed that a little more on the red side. Still it too dark and the sea we're getting there, and that looks good. Now it kind of sweet, kind of find something a smidge darker just to get that feeling. Here we go. I'm gonna lighten up the next level two. I'm gonna make the trees a little bit darker because things that are vertical, um tend to be a little bit darker anyway, so good. And that pushes them back a little bit. Kind of coming here with my greens and, uh, work with that and I can add a little bit more of a darker value to those greens. It's to bring him full word. That looks good. No. When I had a little bit of want anchor this coastline a little bit. So little seeing a little rare little green looks about Right. So I'm kind of coming here. I'm gonna put some paint down and then use my finger. This is smudged a little bit. I'm just gonna pull that down. Whose colors down, uh, right away into was going tie that in whoever I do, those colors. I liked time in a little bit That could go ahead and start no, even pulling some some of these colors down, um, into this area to not too much. All that looks good. Um, that's fine for now, This foreground working, working pretty good to me, Teoh. I don't mind a lot of that. Stop bath. Think I'm gonna add a feeling of shadow? Someone go with a little bit of the red, the blues, um, and just get that feeling of maybe some shrubs, trees and shadows and whatnot on a on that one. Good. I want adults color here. This building, um I'm thinking some sienna little orange. And of course, I wouldn't want to do with it quite that bright, cause it's in shade. I'm just gonna gray that down a smidge touch a green, and there stop Bad kind of coming here. And, um, pop that in there. Not Don't get to again get too fussy with this stuff. Pretty strong color. Um, I can kind of time that in a little bit. Maybe some of these other colors. Little splashy. That looks good. Now I'm gonna start to work with those boats. I'm just going to use my small liner. I'm gonna get some whites. Redd's I think over here may work. It might be too dark. And, you know, the lights coming from this this side. So, do you want to catch the bowel, that boat? Maybe the back of it? It's good. Maybe just get a little highlight there. And maybe this boat like that, we can add. This was more of a side to us here and just pulling that down as I go. Like a kind of a light reflection. Put this one on here Works way. Have another one. And here and once you define one boat. Um, the others can start to make sense without putting too much detail into him. Strengthen that shadow a little bit, pull that color down a smidge. And may we have another one ever in here. Good. It's all working. Fine. Take my small brush here and looking at the water. I want to address that. Someone going to my blues. See how I do with this blue side to back how like that not as intense is using the fate low and, uh, and skin that feeling of back in here. And, you know, we have some real reflections in there. We don't need a ton of reflections. Smooth. This is so far away from us. This will really define where this area starts. I get it. Get these edges a little bit cleaner now and again. They don't have to be to clean. And it's a few highlights in here. We just want to tie that in a smidge. I mean, we have a window there is catching a reflection or something. Good. That's fine. Make this boat a little more defined. And that work. Um all right, so now just a little touch on those chimneys. I just want to define those a little bit more feel with the red agreeing and make He's a little bit darker. That's fine. We have a dark window here, maybe some dark trim. Run into this fe low just to get some color here and, uh, work on the edge of that house. That's good. This will get some darks here and anchor. Anchor these boats a little bit and throw in feeling of some detail and stuff into these boats. 6. Part 6: works fine. Now address that green in the foreground. I'm gonna brighten that up a little bit. So a little bit my yellow with green touch of fe low. And let's see if we can kind of bring this area to life a little bit. And the images kind of dole. So these are shrubs are aren't much to it. But don't try and make something a little more out of that Good. I would just use my liner a small liner here, and just define this window dark in that up a smidge. It's more earthy greens in there. It's a little splash. Just get that feeling of texture. Maybe a little bit of cool blue here. And I'm just gonna add a feeling of some trimming stuff to this helm. Have the same thing over here, But this is going to change up the color a little bit. All right, let's go light on that roof up a little bit. I think it will work a little bit better for a little blue. No, Sienna. See what I have I still too dark. A touch of the white. Maybe I think something like this. A work smooth at shadow out smidge Good. A little bit of line work here. Okay? And I think I'll let this rest. I'm getting to my violets. Um, nice, warm white, I think this kind of khaki color here. Little cno yellow, whatever that mixture waas work. We've got, um, coming like this on may be coming down, like so again, that feeling of perspective on home in the foreground is important. And I think keeping that color nice and clean, nice and bright. Um, we'll help. That's looking pretty good. I think one last thing I'm gonna do is clean that water up a little bit a little green, little fellow, and then push some whites into this. And it's just a little bit too, um, a little bit too chunky because that water is in such a distance there. I feel like it should be a little bit smoother and doesn't really nothing here that says it's, ah, a windy day or anything like that. They punch a little bit in here, and that's fine. Now, that was a lot happening in that layer. There did a lot of adjustments, So I think I want to let that rest dry and then come back and have a look at 7. Part 7: All right. Welcome back. Pretty dry. I think I'm going to pull the white down all the way here. So the house isn't cropped or cut off by the greenery. I'm out. Create a nice dimensional really pulled me into the image, and you see how that changes it. I made tweak a few of these boats just to kind of make those pop a little bit. But most part of this close and grandma palette, I think I'll start with the White House. There, keep that nice and warm on. Uh, it is something like that. I think that works better. Gives it a nice clean line, and like in this kind of scratch And, you know, some citing are feeling of something detail on that was broken up a little bit. And, uh, under schooling. Teoh work with these boots. Just a smidge here. Just going to make one or two a little more. Define herbal or define rather. And, uh, I think we'll be in business. Has it like a little sale on one of these? Yeah, I kind of like that. A little triangle shaped there is good. A little bit of this water color working good. I'm pretty happy with that. For just a good old quick demo gets you familiar with, um, Nazem Vertical interest here feeling off new layers and understanding. You know why? Um, painting and layers is so important. That's the main thing. I mean, if you just simply take time to let your layers dry, you're gonna find you have a lot more control over your paintings. And, um, of course, any time you can get more control, the better off you are. And by taking that time to, ah, look at things as they dry, evaluate them, clean your palate, all that stuff you set yourself up for a much cleaner painting too. So it's really a good thing to paint layers cause you're getting a lot of a lot more the realize. And, uh, I'm just going to bring a little war light, toning it down a little bit, but just a feeling of your branches and different things that could be happening in here. Thinker picks a little bit of darks here. And this anchor these ah boats a smidge more. Let me bring in a more darks over in here again that unity and flow going to the painting. Well, sorry about that. Yeah, I think there's working. Okay, maybe one more boat there close to us. Matt looks good. Um, you get one more little separation here. Anything that could even put a little chimney right there on that one. A dark side to it. Good. A little bit of color in here. And I think, Justin, about cat, I want to pop those chimneys a little bit more just to give that kind of vertical interest to the painting. I try to do with a little bit lighter. Had a work. All right. We put my palate down, all right. All set here to get that feeling of the coastal homes, the rooftops, um, your little distance, their little clutter of our cluster of lobster boots and work boots there. And worked in layers. And that was the main thing. They give this painting going, you start out with that sketch, get things laid out, blocking in. Keep blocking it in. Tweak those values in between layers. Look at what you're doing. Maintain your your materials, clean your pal and clean your brushes. Get fresh water. And, um, you make those adjustments. I think you'll find it. If you take that, um, those steps, you're gonna have a lot more success with your paintings to. Anyway, I hope you enjoy the demo. Thanks for watching. I'll see you in the next one.