Learn to Paint an Abstract Landscape Painting II | Jacquie Gouveia | Skillshare

Learn to Paint an Abstract Landscape Painting II

Jacquie Gouveia, Abstract Landscape Painter

Learn to Paint an Abstract Landscape Painting II

Jacquie Gouveia, Abstract Landscape Painter

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15 Lessons (59m)
    • 1. Introduction

    • 2. Tools & Materials

    • 3. Colors!

    • 4. Photo Review

    • 5. Underpainting

    • 6. Sand - 1st Pass

    • 7. Sand - 2nd Pass

    • 8. Sand - 3rd Pass

    • 9. Sky - 1st Pass

    • 10. Sand - Midtones

    • 11. Sand - Darktones

    • 12. Sky - 2nd Pass

    • 13. Star of the show - Purple!!

    • 14. Final Details

    • 15. How I Finish My Paintings

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About This Class


In this hour long painting video artist Jacquie Gouveia, will teach students how to paint an abstract landscape painting from start to finish. Jacquie will use a photograph for color reference and demonstrate how she pulls elements from the photo to create the painting. Jacquie will discuss the tools she uses and the techniques she has learned and developed over the years. She keeps the process very simple and her instruction is extremely clear and easy to follow. Students will use minimal colors plus white to complete the painting. This video is perfect for beginners or seasoned artists looking to learn some new skills.

It can be very challenging to paint a landscape painting in a simplified and abstract way. Capturing just the essence and overall minimalistic color field of a scene can be a new way of painting for many artists. But in this video, painter Jacquie Gouveia demonstrates how simple and relaxing this style of painting can be.

You will learn:

  • How to keep your colors fresh and clean
  • How to mix paint colors
  • The basics of color theory
  • Various paint application techniques
  • How to layer your paints to add depth

Tools Needed:

  • Stretched Canvas (small like 12x12)
  • Spray Bottle (keeps the acrylic paints wet)
  • Gesso (white and clear)
  • Brushes
  • Palette knife
  • Acrylic paints
      * Ultramarine blue
      * Cobalt blue
      * Olive green (or a dark earthy green)
      * Cadmium Orange
      * Permanent Rose
      * Sap Green (optional)

To see Jacquie's paintings go to:

Student Feedback:

"I LOVE your paintings, and really enjoyed your video! I thought it was tremendously interesting to see how you approach painting: No focus at all on the line shape or "drawing" aspects of the brushwork – which is quite diff from how I paint! – and fully engaged on the color and textural dimensions.
As a result, your work is essentially very lively, thrilling color field painting with some landscape references. You "let it happen" based on the tool you are using, the characteristics of the paint you've mixed and the surface – and then react with your next color step/s. Wow. I can see how this would be a very fun way to work, rather than sweating specific representational details. "

"I bought your painting lesson as I had never used acrylics before. It was absolutely excellent. Your video was superb. You seemed warm and friendly and made it easy to understand with clear simple steps. You made it fun and also made me feel that I what I wanted to achieve was possible."

"Jacquie, I have watched this video at least 3 times and love it! Really enjoyed watching you creating one of your masterpieces and have learned a lot about painting from you. Highly recommended!"

"I think you did an excellent job here. You cover every step, including your basic setup, in detail. You made it simple enough for a beginner but in the end you create a piece of fine art even a experienced artist would be happy with. "

"My wife and I kept looking at each other marveling at how simple you made everything seem. We were amazed at your truly minimalist color pallet. Of course, it was your enormous talent that was really the star. We are both just mesmerized by the simplicity and beauty of your art."

"Your teaching style and the production values of the video made the process very easy to understand and comprehend. I am going to purchase paint, some brushes, get a few canvases and give it a go."

Meet Your Teacher

Teacher Profile Image

Jacquie Gouveia

Abstract Landscape Painter


After many requests, painter Jacquie Gouveia, finally hired a videographer and created her first painting tutorial in 2016. She has sold over 100 videos thru Etsy and has received excellent feedback from her students. She loves sharing everything she has learned about painting and strives to keep the process fun and relaxing.

Jacquie Gouveia's paintings are collected throughout the US, Canada and Europe. She sells through both brick-and-mortar and online galleries such as Saatchi Art. Through various licensing agreements, prints of her paintings are available in Pottery Barn, Neiman Marcus, TJMaxx and Shopcandelabra.

In 2016 she was invited to become a member of Art in Embassies and has a painting on display at the residence of Christine Elder, the US Ambassador to Mon... See full profile

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1. Introduction: Hi and welcome. I'm Jackie Cova. And in this painting video, I'm going to show you how I painted this painting from start to finish for this video and for this painting, I'm going to show you a photograph that I use for inspiration. We're going to keep things really simple. We're gonna have lots of fun. And I hope you learn all kinds of new stuff. Thanks so much. 2. Tools & Materials: So before we get started, I just want to talk about the tools that I like to use when I paint. Um, obviously I have my easel. I've had this easel for several years. Um, and it's nice and sturdy, but when you get started, you can use anything. This happens to be a little bit more expensive easel, but you can buy things that are just tabletop. If you're getting started, you can buy things right at Michael's that aren't that expensive. Um, my canvas. I tend to like a canvas that has a lot of texture on it. It's a heavyweight cotton canvas, and it's wrapped its gallery wrapped with voter inch and 1/2 thick. Because I paint the sides that way, people don't have to frame it if they don't want to, because I use acrylics. I always have a spray bottle on hand. The room that I'm in now tends to be dry, so my paints dry quickly. Um, and you have to kind of keep your environment in mind if you're painting on Ah, um, rather muggy day, your paint a Ghana. It's gonna take longer for them to dry because they're going to be a little bit superior. So when I'm if I'm painting in a dryer environment, this spray bottle comes in handy because I can keep my paints wet, and I can control the consistency of them. Um, I also use two types of Jess owes when I pain, I use a clear Jess Oh, which is clear. It doesn't really affect the color at all, but it helps me to kind of get some fluidity with the pain and the clear. Jessel also has a small, tiny grittiness to it again gives it a texture that I like to work with. The other Jess. Oh, that I work with is white Jess. Oh, I tend to use Jess. Oh, as my white. I do use a titanium white, but especially when I'm working on big paintings. I use Jessel as my white because it gives me that ability to really mix up big the big spots of paint. So that way, when I'm working on a large canvas, I can move the painting. I can move the paint around, so I like to use Jess. Oh, as my white. You know, it's acrylic base. It mixes well with my acrylic paints, so my paints themselves. My favorite brand is M. Graham, and Graham makes both acrylics and oils. Um, this it's more of, ah, probably a pricier acrylic pain, but because I sell my paintings, I like to have quality products. Um, and M. Graham. Their colors are gorgeous, there really vibrant there, really rich, and they're great to work with. My palate might. So my palate is basically I think it used to be in a picture frame at one point. It's just a piece of plexi glass. Um, and it's Aiken. Clean it really easy. I spray it down, I can wash it off. I keep my palate nice and clean. And when you see how I mixed paintings, I only mixed one painting one color at a time. I don't have a bunch of different colors, so I mixed the color that I'm gonna work with. I use it and I clean my palette off. So I like to keep my palate nice and clean because it helps me keep my colors nice and fresh. I also use palette nights, so I used the palette knives to both mix pain and also apply paint on my canvas. and I'm gonna show you that in the video later. How I actually apply some paint on my canvas with a palette knife and then last but not least, my brushes. So I buy really cheap brushes. I know when you can go and you can spend a ton of money on brushes. I used to do that, and it just didn't make sense for me anymore that with the way I pain So I buy these brushes at like a lows are Michael's. They're super cheap there, like maybe a dollar. Um, and I really work my brushes hard. As you can see, this little study brush used to look something like this, but I like using both of these brushes because this is this brush is really soft. It gives me one sort of technique that I like to use, the way I apply the paint and this brush that's really gone worn down and stubby helps me really kind of scrub in areas. If I want to lighten things up, if I wanna kind of pull some of the paint off, you know, I get to use these kinds of brushes. This will wear down to a point where I really can't use it anymore, So I throw it out. But again, I use really, really cheap brushes. 3. Colors!: Hi. So before we get started, let's talk about the colors that we're gonna use in this painting. So one of the colors is ultra marine blue. This is my absolute favorite. Blue is a what I would consider, like a true creole or crayon kind of blew very rich. It's very versatile and it's really a beautiful, beautiful color toe work with. I'm going to keep on hand Cobalt blue. I'm not sure if I'm gonna use it just yet, but I'll have it on hand and we'll see if we use it. Cobalt blue is a little bit later, an area, and I call it icier than the ultra Marine where ultra marine a little bit richer. This is a little bit later. Those are your cool colors are under painting is going to be a permanent rose. And for whatever reason, I tend to like this Windsor New and Galleria, uh, permanent rose color. It works nicely. This is gonna We're gonna use this for under painting. So we have a nice warm undertones. Um, we are also going to be using cadmium orange. This is a color that I use a lot. This color is great. to mix with other colors to make graze, to make green grayish greens. So cabbie and oranges another call that we're going to use It also was a color that I tend to use right out of the tube. So we'll probably use that. The very end all of green is another color that I'm gonna use. This color is so gorgeous, it's so earthy. Um, we're gonna use it. Teoh, make make up our sand and beige colors. It's a beautiful color toe work with its really rich It's it's also really dark. So when I want bring in some really dark tones, the all of green is what I use and then optionally I'm gonna have sap green. You don't need to have it if you don't want to, but I'm gonna use it a little bit of it at the very end. Um, for some final touches, sap green is is, um, compared to all of green sat green is more of a green color where all of green kind of starts going towards the browns. So sap green is a really nice green, and it works well with adding yellows and stuff to make a brighter green. Eso we will also be using some cream. All right, let's get started 4. Photo Review: All right, So for this video, this painting, let's first talk about the photo that I use for my inspiration for it. So this photograph was a postcard that my my sister sent me off my two nieces on a beach down Cape Cod. So when I first get the postcard, I was like, Oh, my niece is just so adorable. That was the first thing I thought. And then I immediately thought, Wow, this would make such a great abstract painting because what I really got to notice waas the coloring on the beach, but also how the color of my knees. Caylee's sweater was a dark tan, and my niece Sarah's jacket was like a peri winkle blue, and I loved how the jacket had some really dark colors in it and then some light colors in it. So the shadow created these nice doc blues, and the sun coming through her shoulder created a nice light blue. So from this photo, I said, this is gonna be a really great inspiration piece to do a really pretty coastal type abstractly and state painting, and I've done several versions of it and they've come out really nice. Have actually sold most of the paintings that I've done of these. So this is gonna be the inspiration for this painting, and we're gonna just use it and will take some elements out of it. Like I talked about. We're going to change up the composition a little bit. But other than that, it's gonna be what gets us inspired. It's gonna be what we kind of draw toe to do this painting. Cool. Thanks. 5. Underpainting: Okay, so let's get started. So the first thing that we're gonna do is we're gonna put a little warm under painting on this. So I'm gonna use my permanent rose, and we're just gonna mix up, take some permanent rose, add a little bit of clear, just so take my spray bottle, get a little wet, and I'm just going to kind of go in and lay on the pain. I'm not gonna worry about covering every inch. I just want to get I just want to get some color on here. Just some Some of this nice pink undertones just moving around again. I'm just going to leave certain areas completely white, whatever. If the canvas picks it up, great. If it doesn't, I'm just gonna leave it as is. So that's our any of the painting. Um, it's gonna dry today's nice dry day. So it's going to drive real quickly so we could move on to the next thing. Thanks. 6. Sand - 1st Pass: All right, So now that we have the under painting on here with a nice, pretty pink color, um, we're going to start playing laying out the composition. So in this painting, I'm going to do a really, really high horizon line. And, um, what that means is that the whole bottom of this painting is going to be the sand color that we're gonna that we're gonna lay on here. So I'm like I said, I'm gonna have a really high horizon line. We're gonna have just a strip of, um of the sky, and everything else is going to be the sand color now, because we're gonna have such a big mass of kind of a beige color. We want to make sure that we are breaking up that color with different values. Okay, so the first thing a moon do is I'm just going to mix up a lighter version of the same color and just start laying that on just so I can, you know, define the horizon line and get some color happening down here in the sand area. Okay, so I'm gonna take some white Jess. Oh, and we're gonna use a little bit of the can me and orange and some of the all of green and I want Like I said, I want this this layer to be on the lighter side. So we're going to start with a lighter beige, put that on, and then we're going to kind of build up the values to be docker. But this first pass will be a lighter version. I had a little clear, Jess. Oh, I'm actually going to use the same brush that the pink is on because I don't mind if the pink blends in a little bit because it just gives it more of, ah, warmer tone. And I'm just going to kind of drag it across the top that's going to define where are horizon line is gonna be. And then I'm just gonna go in and I'm gonna stop laying in some color right over that pink . And again if some of the pink shows through, that's great because it's such a pretty color. Okay, so here we've gotten to the point where we've defined our basic composition, it's just gonna be stripped of area of sky at the top with the horizon line Really high were laying in some color at the bottom here. And like I said, we started off with a nice light version of this. And now our next layer is we're going to start kind of darkening up these values. OK, so this is gonna dry pretty quickly. I'm going to take the paint that I still have on my palette, and I'm just gonna move on and stop mixing up a batch or adding some more value to it to get a doctor. And then we're going to just keep painting. So we're building up. These layers were starting with late color, and we're building it up, adding dark as we go, OK? 7. Sand - 2nd Pass: So for the next layer again, I have paint on my palette, and we're going to just start darkening up this palette color that we already have. So I'm just adding both of the all of green in the Cabinet and orange mixing it in. And we can see this some nice doctor tones, and it's very subtle, but we're gonna work on just building this up, so it's going to start off subtly. But we're going to keep building and adding building and adding, and I can kind of define where, by the way I'm brushing this on. I can kind of define where I want that darker color to be and where I want to leave the lighter color because I do want. Overall, I do want the values to be different. I want some light areas and I want some dark areas, and then we're going to get darker and darker and darker. Okay, 8. Sand - 3rd Pass: so I'm gonna add more all of green and cabbie and orange together. And this time I'm gonna late on with my palette knife. And I'm just gonna I put some paint right on the back of my palette knife nice and flat, and I'm just going to start laying it in, letting the texture of the canvas kind of pick it up. And I'm, you know, kind of defining where I want the stock color to be where I want the dark, really dark areas to be, You know, now we're building up. So even darker colors and I can go in with my brush. You know, if I want to kind of soften some stuff soft in some areas, I can soften that a little bit. All right, So I would take a step back, Kind of take a look out of it. Look at it, see where we're at, and I can see all We got some really nice pink tones still kind of picking through here and some other areas. I'm absolutely loving that I think that makes a nice dimension to make some nice depth 9. Sky - 1st Pass: But one of the things I want to kind of switch over to now is start working on the sky area because I do want the sky area to have a nice blue sky, you know, like blue Sky. And while this is all kind of drying I can flip over and work on this sky part and start laying in some nice blues So I'm gonna clean off my palate Since I'm completely changing colors I'm gonna clean off my palate So I have a nice clean palette toe work from I'm gonna make sure I clean off my palette knife and then I'm just gonna mix up a small, small batch of some white and some ultra marine blue And I'll add just a touch of the clear Jess. Oh, blue flu is so beautiful. I absolutely love this blue. I'm actually gonna take a bunch of the paint again. I'm gonna scoop it up, scrape it up with my palette knife, and then I'm gonna lay it on the canvas with my palette knife. Since it's a small area, it's nice to just put it on, drag it across, scraping on. I already know that it's on the dark side, which is fine, because I can always add weight to lighten it up. All right, so with the paint that I still have on my palette, I'm just gonna add a little bit more weight. And this time I'm just gonna take, um, a really small brush. Mix it together. So I used a whole different brush. Now, this is a completely clean brush that I I want to use for my blues. And I'm just gonna lightly go over the blue that's there. You know, I'm just kind of dragging the paint sometimes across sometimes up and down, just to kind of give it a variety of texture because you're your brush strokes are important, too, because your brush strokes can kind of define the direction the pain is going, you know, and especially when you're doing areas like water, Do you have your brush strokes going across? It gives the illusion of water because, you know, typically if you look at the ocean, if you look at upon water goes cross. So when you use your brush strokes going across, it gives that it gives the illusion of the water. Um, so the brushstrokes are important. You know, it's something just to keep in mind. I like to vary it up because it gives it a nice texture. So I'm gonna take some more of this later, Blue and again added on with my palette knife very lightly. I'm gonna leave some areas kind on the doctor side, and then I'll add this on. So there's some light areas. There's some dark areas, and there's some pink showing through. So I'm gonna take a step back, take a look at sea where I'm at, you know, taking you step back, looking at your work. Getting a feel for the whole picture is really important to because it helps. You kind of really see everything that's going on. So if I take a step back now, I can stop making some new decisions. Okay. What do I wanna work on next? Where? Dough. I want to go. Do I want, um to dock in areas? Do I want a light in areas? Do I want to add more blue to the sky? So it just kind of helps you. Helps you take a look. Take a breath. Figure row. Where my at? What do I need to do next and again. The whole process is building up those layers. All right, so we're just building up the layers and adding values. And then at the very end, we add the very final pain that's gonna lay on top. But now we're still in the process of building up those layers. All right, so let's move on to the next layer. 10. Sand - Midtones: All right, so we're taking a step back. Would taking a look at where we're at, and so I already know. I mean, obviously we we need to build up the layers at this on this bottom part here. Um, you know, the paint is still very thins nice and dry, so we can move on. And I'm gonna mix up some or of the darker tones. I think I'm gonna go try to get in between this light color that's here in the dark. So I have more of a mid tone that were kind of throwing on in, um, for the bulk of this. So let's mix up some more color. And again, it's the white Jess. Oh, with some cadmium and orange Teoh make it warm. Small of green. And I'm not. I put just ah, tiny hair. Tiny touch of the permanent rose came in a little bit more than I wanted to. Really. Let's mix that up so you would get who that's pretty color. So if you're not sure where the value is in terms of what you want it to be, you just take someone from your palette knife. Pulled it up to your painting and you can kind of see is it to light is too dark and, you know, it is kind on the light side pair to what I'm going for. You know, if I just kind of scrub some on, I can see really how light it is. It's, you know, it's a very, very pretty color, So I can just kind of lay some on. But I do. I do want it to be Docker. So I'm gonna add some more of the all of green because that's really the dark, the dark, rich tones and they're now getting We're getting it to be more of, ah, medium value, which is really nice again, just kind of laying it on with my palette knife. And I'm kind of I'm kind of taking this medium tone to kind of create, like a path through here, kind of swooping down into this area. I'm just gonna add a little bit color late on getting that really, really nice mocha tone going to it can also lay some on with with a soft brush, really pretty pretty color. You know, I have this section down here that happens to be shown some pink through. I'm gonna add some of the beige color to it. But I'm gonna leave some of that pink shining through because it's it's such a a pretty combination there, You know, when we know that there are beaches out there that have pink sands, right? So a we can leave that there with the boss of the boss of the painting. So we get to decide what we want on it. What we don't want on it. One ad with my palette knife, dragon cross up here. So I'm gonna take a stuff back. You know, when all I'm doing again, I'm just kind of taking in information. Take a step back figure. Oh, where do I want to go from here? Um 11. Sand - Darktones: I kind of have some nice lights in there. I can see some nights lights going on in there. I can see some pinks coming through, but I do. I do want a little bit more of that dark value. So this value right here is kind of by itself up in this corner. So to kind of balance off the painting, I think I want to put I'd like to put a little bit of it down here because it just kind of gives it a balance. Now, I know that in this area because of the composition and what I'm going for and this area is where we're gonna put in the blues from my niece Sarah's shirt or her jacket. So I know that over here, I'm gonna have some really dark tones, but it's gonna be a whole different value. So I want to take this value this really dark color and kind of added in down in this corner here. So there's a nice balance between what's happening over here. What's happening down here. So I still have pain on my palette. I'm gonna do is I'm gonna just keep mixing up some of the all of green in the cabin and orange. Get that really dark, rich color built up again. And to balance it you don't really need a lot. You know, all I'm doing is I'm just making a no that what's happening over here? Value wise, I wanted to kind of be happening down here, too. And it's just basically a decision that I'm making as I go. Teoh get cohesiveness between everything that's happening all throughout here, right? So we got the medium values happening a dark lighter. But I don't want the dark to be all by itself, basically. So since I still have some darks, I can kind of go back in and lay right over the dark that I have. And this now, because the values are exact, letting the cameras pick it up because the values aren't exact. It really creates a nice, uhm layering effect of the original tone that I created. And now this new value. And it's kind of laying right on top of that, which gives that to me. It gives that some dimension, so it gives it some sort of not three D, obviously, but it gives the illusion that there's layers there, right? Cause there's layers in the sand. There's layers and layers and layers. So this is giving that illusion to of OK, this is this part lays over this part. So this part is in the front. This is going to come forward thes parts kind of pushing back, So just gives it that really nice illusion of a layering effect. All right, so I still have some lighter color on here. I'm just mixing up whatever I have left on my palette. I'm just kind of mixing that up. It's creating a really, really pretty warm middle tone. Just gonna take quick, step back and figure out where I want to lay this down. And I think I'm gonna lay it right in here just really lightly laying it on top of everything. And again, you could see up in this corner how there's some pink hues coming through. And I don't want to cover that up completely because I really like what's happening there. All right, so again, take a setback and let's take a look and see where out. So personally, I'm really loving how everything is Lehto on the bottom here. It's got built up layers. We have some pinks coming through some of the lighter sand. We have some of the medium colors and again there medium, but they're not all exactly the same, which is what I like to kind of build those layers up. And then we have the dark colors flowing through. We have some flown through appear and then to kind of balance it off. We have some flowing in down over in this area. All right, so we'll take another step back. Kind of take a look at it. Take be Figaro. What's next? 12. Sky - 2nd Pass: All right. So the next thing that I want to do is I want to kind of pay some attention to the sky area . Um, I'm still feeling like there's maybe a little bit too dark in some spots. It's not bad, but I just want to kind of vary it up a little bit. Um, I like how the lighter color is just kind of lay. It just is laying on the top. But I think I just want to just do a small adjustment to it again. It's just a personal preference. It's, you know, it's such a tiny area of the painting. It just kind of breaks up the top half. It doesn't have a ton of significance, but then again, because it's part of the painting, it does have significance. So I just want to kind of lighten it up a little bit. Um, and I think I'm gonna use the cobalt blue. So, like I had said in the beginning, I was gonna have the cobalt blue on hand, didn't know if I was gonna use it or not. Now I know I am going to use it, so I'm just gonna say I'm just gonna take a little bit of the, um Jess. Oh, take some cobalt blue, mix that up again. My palate has been cleaned, so there's nothing else on here. It's up a little spot, a pink that if it stays wet, I'm gonna use in a little while. But in any case, so I just have this very light cobalt blue mixture going on and again, just going to kind of lay it right on top, using my palette knife. It's really light. And this is because it's kind of ah cooler blue than the ultra Marine. And it's a lighter value. Just gonna kind of sit right on top. All right, I'm gonna take, like, a lace beat of it on my palette knife, And I'm just gonna kind of drag it across, just kind of define maybe like that there's, ah, water out there or something, and then just laying it on nice and easy. Okay, So, yes, so that's basically it right now I'm gonna leave this guy alone. I like how it it has. Ah, variation of values up there again. Like the bottom. It's kind of following the same theme. It's got dark, some dark blues got some pink shone through medium blues And now with this cobalt blue it has a nice little, um, light light color. Well, the other things that I tend to like to do is with this blue, Because blues happen to me my favorite color. Um, and this area down here is so neutral, which I know we're going to make some changes, but it's nice to take some of this blue mixture that just made up and added to the bottom. But I'm just gonna do it really light. So again, when I put some paint at the very bottom of my palette night, it's gonna be nice and flat and I'm just gonna lightly apply it to the canvas and I just in letting the canvas the textures of the canvas pick up where that blue falls with. I'm not forcing it. I'm not pressing hard at all. I'm just letting the canvas kind of pick up that blue. So again, in terms of balancing out the colors, I have some blew up here. Now I have that same mixture just lightly apply to the bottom and I already know just because of the way I am I want to take the same kind of mixture and value and just really slightly added over here. So now we have this really pretty mixture of this, that doc brown, dark beige, with some of that light blue laying right on top of it again, the texture of the canvas is just picking it up. I'm just lightly laying it on wherever the campus picks it up, backs where it's going to stay, and it's and it works out really nice. It's just a nice, nice spot of color, really pretty, very subtle. But it adds, add some dimension and add some interest to the overall painting, all right. 13. Star of the show - Purple!!: Okay, So the next thing the next lay that we're gonna work on is we are going to start laying in the coloring from Sarah's coat. So if you remember smart, I'm going out of the frame back. So if you remember, when we looked at the photo of her code, there was the dark peri winkle in the light. Parent Winkle. Right. So we can go as strong as doing like, really dark purple and laying it on there and a light purple, but will make up will mix up some pain. We'll see what we come up with for value. But the the goal of it is that we're in this area. We're gonna lay down a dark, purplish peri winkle color, and then we're gonna lighten it, and we're gonna lay that over it. So when we did the, um, the sand color, the beige color, we went in the opposite direction. We started off with light beige, and we worked and built up the values to the dark. This way, we're going to go in the opposite direction. So I want to lay down some ah, spot of a like a dark purple, then gonna lighten it up, and I'm gonna lay that on top of the Doctor Purple. Okay, so we're just going to kind of use this. I, you know, just use her co as a guide, and we're just gonna make basically some spots of color just to add some different values just to add some interest. And then once we do that, we'll take a step back, figure out where we're at, but let's that makes mixing up some paint for their All right. So before I mix up some new pain, I'm gonna clean off my palate, squirt it down, clean off my palette knife, And for this coloring, for this color, I am gonna mix some ultra marine blue with some permanent rose. Now, I happen to have some permanent rose left on my palette, which looks like it's still where Aiken, you? Some of it. Not enough. But that's OK. Got it right here. I'm not gonna add it right to my mixture, because, um, any of the red colors, like permanent rose or cabbie in reds, they're really strong. So, um, I like to add any sort of red bit by bit so I can control better. What it isn't trying to go for because I know if I add too much, it's hard to kind of pulled back into the blue. All right, so this looks like a nice a mixture of a purple. I just don't think I have enough. So when Al Blue Permanent rose again and that's gonna keep mixing, mixing it up, and I I want enough pain. So when I scoop it up and lay it on the canvas, it just kind of floats on top. All right, so I think that's enough. We'll just go for it. So I'm gonna take nice big feet of it again, taking it right onto my palette knife and nice be kind of sitting on the edge here, and I'm just gonna lightly lay it right across. And boy, is that beautiful. It just lays on top. It's so dark, so rich and kind of moving around. I don't want it to be just a solid blob. I'm gonna kind of do what I did with the cobalt mixture. Ad touches of it here in the air had touches of it here and there, and then I'm gonna add to the paint that's on my palette. I'm adding a little bit of white and I'm gonna do the same thing, So I'm gonna take this same now I've added White come in and do the same thing. This is kind of look going on the down the line of, ah, nice lilac color. Do the same thing. Just taken a bead of the of the paint mixture and I'm gonna just drag it right over that dark color. So the two together, the two together represent from Sarah's coat, the part of her coat that was in the shade and the part of her CO that was in the sun. And obviously this isn't a coat, But I'm you. I use that photo just as some inspiration. When I saw her co and how the two colors together those the dark and the light just were so pretty on sitting on that sand color. I knew that I just I just had to paint that I just had to do it, so I'm just gonna add a little bit more again. Just let the canvas pick it up, add in different spots. I think I'm gonna add some of this lilac over in this corner here just to break this area creates imbalance. I'm gonna take a step back. Let's take a look at where we're at. Oh, that really looks pretty. Um, I love how again, That pink undertone. Almost now that there's there's the beige on top of it, the pink undertones almost can become a little bit of a um Oh, great. Now you know, like a peach color doesn't lose my words. So it's kind of like becoming more of a peach color, because now that the baby just sitting on it, you know, you still see some pinks, but it down here it's almost like a PCI, really pretty. And then now that we have this beautiful spot of this dark, almost purple, dark blue and lilac sitting on top of that with a pink undertone, I just think it's absolutely gorgeous. And this is when you know I get so excited because no matter how long I've been painting, sometimes you stop painting, putting paint on canvas and things start to evolve and they just blow your mind. They just get you so excited because, you know, yeah, you formulate things in your head, you visualize things. But until you actually do it, You actually see the effect, you know, it's just it's just such a great failing to see Oh, wow, look at how this turned more PG just because the, um beige is here now with lilac here, you can see that it's it's very pink up in this corner. But when you get down here, it feels a little bit more peachy. So it just I just get so excited when things like this happen. And I witnessed it and I created it. But it's like, Oh, my God, this is happening all by itself. These colors air playing with each other, and it's just a really, really great combination. So we're gonna move on now, um, to our final touches, I like I said, I'm really loving the way the majority of the pain, the layout of the painting is get the composition going. We got the sand area that we have enough layers there that are playing against each other. Putting on this really dark purple in the lilac has just brought it to life. I really think it has brought it so much to life, it just laying on top there. So we're just going to do some very final touches, and then we're gonna have a great painting. Cool 14. Final Details: all right, so before we put on final touches is one thing I do want to share. It's kind of like a little secret that I have, or maybe it's not a secret. I'm sure a lot of artists do this, but I actually have some paint still kind of mixed up on my palette. And before we do final touches, I want to clean off my palate. But one of the things that I do tend to do is if there's still a lot of pain on my palette and it's, you know, it's wet enough toe work with this is getting kind of dry, but this is just a kind of share with you, some type of technique. I always have a canvas by my side, and as you can see, this canvas has just all kinds of stuff on it. And this is what I kind of used to clean off my palette knife. Like I said, if I have stuff on my palette and there's still a lot of pain, you know, I throw it on here so this ends up becoming the under painting for a painting I'm going to do in the future. You know, and I like working this way because I get some pain on here. And then when I go to actually use this campus to make a painting, then I got some information on here already. Okay, instead of starting with, ah, white campus, which I like to do, like, just how we started this one. But that's just a little technique that I have, you know, throw color on here just to kind of clean off. So for final touches, let's ah, clean the palate. It may seem clean, clean my palette knife, and I'm gonna mix up a tiny, tiny, tiny bit of white and my sack green. So this is if you don't have sap green. You know, you can always make up a nice green with yellows. Andi sort of yellow in ultra marine, blue or cobalt blue. You can play around, creates a nice greens. I just wanted, uh, just the light like green that I'm gonna put along the horizon line. So it's just going to kind of have the illusion that there are so nice green trees back there. So again, I'm going to use my palette knife. I'm just gonna put a bead of pain along the edge. And I'm just gonna drag it across up here wherever it falls, not going to force it. I just want to get, like, just a touch of green. Like I said, just to kind of create the illusion that there's maybe a tree line way in the distance. And then I'm also going to take one of the things I always like to do. I'm gonna take my cadmium orange and I'm gonna basically draw on the canvas right out of the tube just again right along that horizon line, just to give it some sort of marker that that says, Hey, there's something going on in the distance, you know, besides everything that's happening in here, something is going on in the distance. So now that I have the green up here, I have the orange late up here. I can see that I'm gonna I do want to add just a touch more green around that orange, and then, since there's just a little bit of green up here just to keep my overall painting little balanced, I'm just going to add a little tiny green, just really slight, kind of made a nice spot on my palette where it's quite wet. I'm just gonna lay that right in here. Just add some of that green throughout the painting. All right? And then last but not least, I'm gonna take some of my all of green, which is really a dark, rich green. I'm gonna take that bead once again, create a bead on my palette knife. And again, I'm just adding some some variation in some interest right up at the horizon line. And then I like to add maybe the dark around the edges a little bit. Just so there's a nice dark color going on. All right, so let's take a step back and take a look at what we have here. So again, with this painting, we went with a high horizon line. Very simple composition. We just have a sky area. We have this whole sand area, but the focus was kind of too. Get the sand area worked out. Get the lay is built up, get a variation and values within the sand itself. And then we built all that up to kind of make a bed for this lilac and purple color. So this deep purple with the lighter purple light, a lilac peri winkle, whatever you wanna call it. So this is almost this color spot to me is almost like the star. So we built up that nice, neutral bed, laid it on there, and then our final touches. We just added some interest, some variation way in the horizon line. So, you know, we kind of saying, Oh, there's something going on way back in the distance, but dry goes right here. That's where we, you know, built this nice neutral bet up. Teoh, give this the star. So I think we did a great job. And I hope you learned some great things and learned something new today. Um, don't forget signing. Always sign it. Spread hanging up and enjoy it. Thanks so much. 15. How I Finish My Paintings: just a couple of final comments on how I finished my paintings. Um, I do a light spray. Once the painting is dry, I do a light spray. I use this Grumbach er knowing Sure, if that's how you pronounce it. But let's go with it. Um, and it's just a mat Final von ish. So it helps protect the colors. It helps protect it from dust. Um, I just do. Like I said, it's just a light spray that I coat the whole painting with a couple of other things because I always use gallery wrapped canvas. I always paint the sides of solid color, which is really nice, because this gets the buyer so they don't have to frame if they don't want to. A lot of my paintings that hanging around the house are finished off like this. Um, I also wire the back, and I tend to go like a bow 1/4 of the way down from the top, and then I usually sign my name. Put my name on the back the year that I completed the painting and the title of the painting, and that's it. That's how I finish off my painting. Thanks