Mastering Brushstrokes - Putting It All Together (Part 6 of 6) | Jill Poyerd | Skillshare

Mastering Brushstrokes - Putting It All Together (Part 6 of 6)

Jill Poyerd, Professional Fine Artist & Educator

Mastering Brushstrokes - Putting It All Together (Part 6 of 6)

Jill Poyerd, Professional Fine Artist & Educator

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8 Lessons (51m)
    • 1. Mastering Brushstrokes Introduction

    • 2. 5-Stroke Painting Activity Introduction

    • 3. 5-Stroke Watercolor Demo - Part 1

    • 4. 5-Stroke Watercolor Demo - Part 2

    • 5. 5-Stroke Oil Demo - Part 1

    • 6. 5-Stroke Oil Demo - Part 2

    • 7. Combining Brushstrokes

    • 8. Wrapping It Up

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About This Class

Master key brushstrokes that lie at the core of watercolor, oil, and acrylic painting.

"A lot of questions I've had for ages have been answered." - Lynne B.

Brushstrokes are at the core of being an artist, and an individual's brushwork is one of the things that sets them apart from other artists. Using her approachable, easy-to-understand teaching method and lots of hands-on activities, artist Jill Poyerd breaks down historic and contemporary brushwork into twenty-two unique brushstrokes from traditional to unconventional. 

This six-part course covers twenty-two individual brushstrokes. They are broken down by style of application and include a brief history, examples of how they're used in masterpieces, visual demonstrations, and student practice exercises. By combining technical learning with visual and hands-on examples, students gain a thorough understanding of each brushstroke variation. At the end of the course, students are challenged to create a simplified painting using five-strokes selected from the course material.

Note: Demonstrations are given in both watercolor and oil paint. Acrylic painters simply have to apply the knowledge depending on how they use that medium, whether thick (like oil) or thin (like watercolor).

Meet Your Teacher

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Jill Poyerd

Professional Fine Artist & Educator


Jill Poyerd, NWS, is a contemporary realist known for her tranquil subject matter and unique painting style. Her award-winning work can be found in private collections both nationally and internationally. She has been featured in national publications, is the author of the portrait painting book Fearless Portraits, and is a signature member of several prestigious art societies, including the National Watercolor Society. Jill works in both watermedia and oil paints and has exhibited extensively throughout the Mid-Atlantic region as well as in national shows.

In addition to her work as an artist, Jill is an active member of the arts community. She has curated many multi-medium group shows, and is the founder and current head of the Fine Art Professionals of Northern Virgi... See full profile

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1. Mastering Brushstrokes Introduction: Welcome to my course called Mastering brushstrokes. In this course, we discussed 22 different brush strokes used by the Masters. In order to give students a full perspective on each stroke, we begin by discussing that particular brushstrokes history, followed by examples of how it's been used by some of the masters. And then students watch as I demonstrate at close range how the stroke is executed. A separate lecture covers that stroke as it's done in oil paint. Students then watch as I show them out of practice this stroke at home. And then we finished the brushstroke by painting a simple object painting using only that stroke. In order to solidify its influence on forms. The brush strokes are arranged in a specific order. And we begin with the strokes that are often used in creating a base layer in a painting. Next, we move on to directly painted lines. Lines that remain is part of the finished product. From there, we move into strokes that use light amounts of paint, followed by those that use heavy amounts of paint. Then we discussed the various broken strokes. And finally, more contemporary application methods. Each lecture demonstrates the actual stroke, first in watercolor and then in oil paint. Unless a specific brush stroke applies more to oil painting. Most other painting mediums usually relate to one or the other. They're either fluid like watercolor or dense like oil paint. For example, acrylics can be used either thinly like watercolor or thickly like oil paint. So the acrylic artist would apply this stroke information to how they use that specific paint. For this reason, a basic working knowledge of your preferred painting medium is necessary. And what I mean by that is you should have a very basic understanding of your materials and how your preferred painting medium is applied to a surface. I recommend that you watch both the watercolor and oil lectures regardless of what paint you use. The reason is that sometimes understanding how a different medium works can actually help you better understand your own medium. Now one thing I need to recommend is only USE artist grade paints. And if you work in watercolor, only use our discrete paper or surface as well. Student grade materials do cost less, but their performance is poor. In fact, there are some basic skills and techniques that simply won't be possible using student grade paint. If you're concerned about the cost, just select a red, yellow, and blue paint known as a colour triad. If you work in oil or heavy acrylic, you may want a white and black as well. From these, you can make every supplemental color. And if you work in watercolor, I recommend to paints as opposed to pans. There are few brush strokes that are going to require the more malleable pain. Now as far as your surface, artist grade 140 pound watercolor paper is what I'd recommend. Preferably cold pressed. So it has some truth to it. And inexpensive Canvas boards are sufficient for basic stroke practice. If you work in oils. If you feel you need more information on supplies for water media paints, you may want to consider taking my course, Foundations for mastering watercolor painting. At the end of each lecture, students are guided through two assignments, some basic stroke practice, and a fun application exercise. If you work in water media paints, you may want to pick up a small ring binder of watercolor paper for this second exercise. If you do all of the practice paintings in this format, you'll end the class with a handy reminder of each stroke. Just make sure it's at least a 140 pound paper or thicker in order to avoid too much paperwork. And finally, you may want to watch my three-part YouTube video that covers the full history of brushstrokes and the masters that made them famous. But let's begin by discussing some of the topics that affect paint application. 2. 5-Stroke Painting Activity Introduction: Throughout this course, we've been painting an object painting for each of the brushstrokes. The exercise involved painting this simple image of an object using only this specific stroke we've discussed or integrating the stroke if that's not possible. In doing this, we learned how that specific stroke influenced form. Now we are going to go a step further. In order to learn how to combine brushstrokes, we're gonna paint a slightly more advanced composition, and we're going to use five of the brushstrokes that we've learned about. Students can use any five from the entire course. Or if you've only taken part to five from part two. So if you've done the whole course, you can choose from all 22 strokes. And if you've only done part two, you choose from the last ten. There is no limit on the number of colors this time, but I still do recommend keeping your palate to a minimum. Using only a handful of colors will help you keep the focus on strokes. But this is optional. In order to do this exercise, it's gonna take some planning. I'm gonna walk you through my five stroke painting to include my planning process. And I'll walk you through a painting in watercolor, as well as the same painting in oil, using five different strokes for each version. In order to do the five stroke painting, you can either select one of the provided images or use one of your own. But there are some things I'd like you to look for if you're going to use your own. First, the image should be simple. Now not as simple as our object painting, but try to avoid too many elements in your scene as it may draw away from focusing on the strokes and makes the whole exercise a little complicated. Also, look for a slightly limited color scheme. Try to avoid a very complex colour scheme as this can distract from your concentration on the strokes as well. It should be compositionally ready to go. It shouldn't really need much fixing, so you shouldn't have to move objects in the image. And lastly, this should be something that you really want to paint. I always say that even for an exercise, pick something you really want to paint because you'll put your heart into it. It'll come out better. So find something that jumps out at you. If you're an experienced painter. Because for limiting it to five strokes, don't expect it to look like your typical work. Keep an open mind and have fun with us. Even though we're aiming for a finished painting, that focus is still on learning how to combine the strokes in a piece of art. Okay, let's get started. Go ahead and select your five stroke painting image. You can print it out or view it from a digital device. Then before you touch any paint in a surface, you need to think through how you want to execute this piece. In the next video, I'll walk you through my thinking process, as well as the actual painting demonstration. 3. 5-Stroke Watercolor Demo - Part 1: In planning my five stroke watercolor painting, I'll begin by typing down a piece of scratch paper. And I have the quick list of brushstrokes on the side. I suggest you print that out as well and have it handy. It helps you remember each of the strokes. I have a color photo of my image, as well as a black and white version. Just in case I need to focus my mind a little more on the lines. And now I'm gonna do a very, very quick sketch of the basic lines of the painting image. And after that, I can plan which strokes I want to use. We have some rough grass right here and the shrubbery. We have the background trees. There's a tree coming up here. And then greenery. I've got another tree coming up over here, and also a third one. And we've got grasses on this side as well. I'm basically creating a very rough sketch of each element in the scene. Now that we have our general sketch, let's go ahead and plan the strokes that I use. So the first thing I'm going to think about is that distant tree on the right. The branches are white. And so since I'm working in watercolor, I'm going to plan on scraping that once the paint dries. And I'm gonna go ahead and do glazing for the sky, as well as the base coat for the rude. They're fairly light features. So I think that will work well. I could have chosen to do it ingredients and actually want those two elements to be fairly simple. So we have 12 strokes are far. I'm gonna go ahead and select direct lines to paint the tree branches for the trees on the left, as well as for the dark shadows on the road. I usually prefer to paint my tree branches with direct lines if possible, and will scramble all the foliage. I think we can use stumble strokes to pretty much accomplish all of that texture. Lastly, to get some texture on the road, but not have it be like the foliage, we're gonna spotter. And now I have made stroke plan. The five strokes I'll be using our glazing, scraping, direct lines, stumbling, and spattering. Now that we're getting closer to painting, one thing I like to do is clean off my palette and make sure it's clean and ready to go. I also spray my colors with water and just let it sit while the paints or softening, I'm gonna go ahead and select what colors are used. For each color that I own. I create a little swatch so that I can hold them up to an image or a photograph. Engage what combination I'd like to use. Then I mix up the different petals on my palette. And I use a piece of scrap paper to record the color combinations that I want to use in case I forget my color mixes later on in the painting. And then finally, I do a very light sketch of the basic shape outlines, just guidelines for when I paint. They're drawn so lately that they shouldn't appear once the paint is a pond. Here's how I have the demo setup. I have the painting surface in the middle and above that, I have my images, the photographs. Then we have this stroke plan, as well as the plan for the colors. My containers of water. And of course I have my palette with a few of the colors mixed up. Some paper towels and of course brushes. So I'm ready to go. In the next video, we will actually paint the demonstration picture. 4. 5-Stroke Watercolor Demo - Part 2: In this video, I'm gonna walk you through my five stroke painting in watercolor. Now I've already selected and mix the colors so we can dive right in. Remember, my selected strokes are glazing, stumbling, direct lines, scraping and spattering. I'm gonna start with glazing. In this case, the idea is to set the bass tones, the lights, and at the same time established the basic shapes. Now notice my level of dilution. That's one of the things that makes it ugly eggs. While it's very wet, I can move around the whole painted area. But as it dries, I'm going to need to leave it alone. You'll know it's drying because the xin will begin to disappear as the paint absorbs. Once machine begins to fade, if I need to correct something, I'll need to run my brush over the entire section again. Now while that Dries, I'm going to work on a different part of the painting. I'll work on the sky. I've chosen a smaller mopped brush for the sky because I want it to hold a lot of paint. But it's actually a small surface area, only nine by 12. I'm starting at the top and I'm going to work my way down with a thin blue toned. While it's very wet, I can continue with a very loaded brush back close to the tree line. The area is smaller. So I lightened my brush load by touching it to a paper towel. Notice that the sky area doesn't touch the root. That enabled us to complete both sections in the same setting. So you can see that there are very thin layers of colour over the two regions. Now will glaze the grassy areas. One quick note. You should wait until the piece is thoroughly dry before adding more paint to a prior layer. I'm gonna pay a glazed for the grasses and also stumbles Some of the glaze turn because the two light tones intermingle. In order to select the colors, I look at my image and decide what the lightest tones are. I'm not focusing on any details right now. Just looking at the large shapes and the light tunes. After a little drawing, I'm gonna go back in with a wet small flat brush to soften the line along the one side of the road. I don't want a harsh line, I want it to kind of blend. This involves a gentle scrub with a wet brush and then I just dab it with a paper towel. While waiting for the scrub to dry. I went back in and added a second glaze of blue to the sky. I just wanted to deepen that color a little bit. If the paper's still worked after it's dried, don't worry. There are ways to flatten it after you complete your painting. I'll add a resource to explain how you can do that. Now let's work on the distant treeline. I'm gonna place a base layer for the Greens here. So according to our plan, I'm going to stumble the lights, mediums and darks. But when I stumble the lights, I'm not going to leave much of the surface showing. So it's not going to be a true symbol, but I'll use stumble strokes to do it. So in that sense it passes. You can see the paper's still a bit warped. It's not completely dry this time. But I think it's going to be OK because most of what we're painting has an add any paint put on it yet? It's the area around it that is slightly damp. But before I continue, I'm going to mix up a little more green. I'll make a light, almost a yellow green, a medium green, and a slightly dark green. The darkest darks will come later. Mixing in a touch of red to mute the darker tone of BIT. Muted tones help enhance the pure ones. Now why read? Well, it's the complement of green, complimentary colors mu one another in Mixins. I'll begin with a light green. I'm painting a direct line along the base of the green area because I want a straight line there. And then I'll stumble the rest of the paint bone. This is still kind of a glaze town and it's applied with symbols. Turks. I'll tell you though, it's really hard not to jump into your normal methods or to throw in another brushstroke. Limiting it to five strokes is really challenging. Now you can see that as I venture into the sky area on blending the Stumble stroke be truer to form, allowing a good amount of the surface to show through. I'm going to use a slightly darker green for the tree line at the very end of the road. It's a little more shaded there, plus the darker tone will help the area of recede a little bit. I'm still using the scalpel strokes, but I'm back to the solid application. Now. I'll gamble the green into the sky to represent the tall tree greenery. I need to be careful with my stumbling now as these marks will remain as part of the finished piece, this isn't an easy area to fix if something goes wrong. In other words, you don't want to dirty the sky color in the process of making a correction. Notice how I turned my brush. This is because the direction of the brush point influences the paint mark. And I'll add the tree greens on the left side as well. Same Proximus. And now for the third tree, I need to be careful when placing this tree. I don't want to equidistant to the other two because the viewers, I would pick up on that and see it as artificial. At this point, we have a nice base for the trees and shrubs. And now I'll take some of that same green and apply it to the foreground grass area. Still using a scum bolster. These initial layers are establishing the basic forms and providing a base tone. And you can kind of get that idea now canteen, I do need to be careful as I move along. I know that once you dark in a light area, it's hard to get it back again and still have the painting look fresh. Oops, I caught myself, I started to feather. I can't do that. I've gotta stick with stumbling and glazing and direct lines. And here I'm just softening some of the edges with a damp brush. I think I need to darken the green in that grassy area on the left. So we'll just add another glaze of green over there. So far I've been doing almost all of the brushwork with a medium round. Now I'm gonna switch to a smaller round because the marks I want to make in the next few spots need to be smaller. First, I'm gonna glaze additional color over the distant grasses on the right. It's just a little too panel. I'm using a goldfish tune, a Sienna, and I'll continue with that tone in the front of that area too. But here I'm gonna scum ball instead of glaze. Distinct grasses aren't distinct. The details blur, whereas grasses that are closer to the viewer will have some texture to them. Ask humble, some of that color on the left side as well. And I'm also going to apply a quick glaze along the road. Grass meets the road. Here, I'm doing some very small scrambling, some using a small round. Notice my brush angle, plus the fact that I'm really only using the tip of my brush at this point. I'm also stumbling a slightly darker version of the same sienna color. I took the value down a bit by using less dilution. And I'll add some greens gambles with less dilution as well. I'm going to use direct painting to place an initial line for the shadow in the grass on the left. I think that shadow is really important for breaking up the area of green, darken it later. I'll also throw in some initial shadows on the road. These are actually very strong shadows. And according to my plan, I'll paint them directly. But I am going to blur the lines a bit. So I'll go over the lines with a damp brush to soften the edges. My brush was actually a bit too wet. I'm losing a little too much of the lines, so I'll dry off some of the moisture and repaint some of the lines. You know, I'm just not thrilled with this area, but at this point I just need to let it dry and I'll address it later. Pop in some stumbles of less diluted green paint along the road edge to I'm purposely allowing the green to seep into the gray shadow line for visual interest. And we'll put a few more symbols in here. Well, at this point the painting was able to dry overnight. So although it's still a little warped, this surface is fully drive. I can start anywhere I want to, but I think I'll begin by stumbling medium greens along the tree line. You'll notice that I'm lightening my brush load and that's so that I can get an element of dry brush in my stumbled. Too much paint will prevent me from skimming the surface though I want to. I am using the scrambling to imply leaf texture as well as the shadows. The placement of the stumbled and the dilution level are the factors that determine whether the scum will acts as leaf texture or develops form definition. Now, I wouldn't normally stumbled this spot, but since I'm limited on structs, I'll make it work. I'm stumbling the very dark, basically trees and then working it upwards. We'll add the very dark values a little later. This is just one step darker. I'm also stumbling a darker green along the bottom left sides of some of the leaf areas. Our light source is coming from the right. And so the shadows, aka the darker values, will fall on the left side of the forms. This will imply some dramatic lighting. I'm also popping in some pure yellow greens wherever I feel it's needed. The End of the Road needs to come down a notch to as far as value. So we'll add another layer. For me. This is a very slow process of gradual value depth, with some exceptions. Sometimes I like to throw in a dark, dark ahead of time. Another thing I'm doing is rinsing my brush and then using it to soften some of the edges. If all of the edges were hard, it would just be too much texture. Just kind of overwhelming. Also, it's kinda pleasing to the eye to combine soft and hard edges. It's a little more like nature. So I feel like it's time to add the very, very dark values. So I'll mix up a very dark green and a bluish neutral tone. Looking at my reference image, I'm going to start placing the darkest darks in the most shaded region, which is basically the left tree line base. Now I'm painting this part directly, a straight line that works into an unusual shape. And then I'll soften the tops of the paint line. Again using my reference image, I'm zeroing in on the darkest values. Painting the shapes directly. Values help give paintings dimension. They push shapes forward and help others received their really important. I'm going to use a damped fresh again just to soften a few edges. I am also continuing this gamble throughout the foliage, as well as selectively to imply greater value contrast. In the shadows of the foliage clumps. So on the bottom left edges of some of the concepts of green, I'm going to throw in some of the dark, darks. Morris gambling in the shadows. And now let's work a little more on those shrubs. They need more definition for sure. It's amazing though, how just adding those very dark values can make things pop. When I look at the reference image, I'm thinking purely of shapes and values and then stumbling or a direct painting accordingly. I knew when planning that with all the foliage in this image, stumbling would be key. That area at the end of the road needs even more value depth. So I'll scramble the darks there as well. Now, it's not quite as dark as the darks on the left side along the tree line, but it is darker than it was. And while there, I'll paint some very dark shadows on the road. This area is where I want the viewer's eye to go. Stronger value contrast will help lead the eye. And that shadow on the left grassy area needs deepening. I think we can do this in one bold direct line. The prior line just kinda set the location for us. Yeah, I like that. I decided the foreground area on the right needs something. So I'm going to add in the shatter that I see in the image. For this, I'll continue with the combination of direct painting and scuttling. I'll even throw in some real darks. While I'm here. I'm gonna take that bluish neutral dark and paint a few of the shadows on the road directly. Know softening this time. And that works better. And now to define the greenery on the right side of the image, I'll use the same process that I used on the left. So we're stumbling in some mediums and darks. And I'm making it darker on the left side of the tree to imply the direction of the light. And even for these trees over here, same thing. I try not to be too patterned in where I place my darks. Now I need to define the grasses and the front. Those nice rest tones which are really important for balancing out the mass of greens. In this piece. I'm using a fairly undiluted paint and stumbling with a kind of a tapping motion, almost a dry brush scandal. And I'll do that on both sides. You can see how necessary those reds were. The painting really needed it read is a compliment to green. And so it kind of gives the piece balance. And now I'm going to paint the tree branches using directly painted lines according to our plan. I'm using a rigor brush and a small round to accomplish this. And again, going with a reddish brown to offer visual relief to all the greens. Rigor brushes are wonderful for fine lines and I actually prefer a synthetic wrestled for this brush. The original plan was to scrape the trunk and the lower branches in the tree on the right. But I like it the way it is. One thing I've learned over the years is to be flexible. If the piece suddenly works before you finished your plan, let the plan go. Sometimes you just need to stop. At this point, I'm only going to use three of my five strokes. I've decided not to scrape the tree or splattered the road. But I am kinda step back and just see if there's anything else we need to do to make this piece complete. After examining the painting, I do feel they own the place. And that really means something is right by that strong shadow in the foreground. It needs to make sense why those shadow there. So we're gonna vary slightly imply that there's a shadow coming from the right side of the painting where you can't see. And I'll accomplish that with some glazing, end some very dark scrambles. And that's it. Before you go ahead and try this on your own, I suggest you watch the next two videos where we walked through the same process, but with oil paints and five different brushstrokes. 5. 5-Stroke Oil Demo - Part 1: Switching gears from watercolor. Now I'll plan out my five stroke oil painting. I'll begin with the same sketch setup as before, but I want to show you different strokes. So I'll cross off the ones that I've already used, such as glazing. And we'll cross off blended two very similar will also cross off scrambling and direct lines and stippling and scraping, even though we didn't actually use those. Okay, now let's sketch out the basic elements again. By doing this, I'm creating a kind of map. And at the same time, thinking through the composition on a whole. Have that tree. It's again, one of the key elements, really part of the focal point at the end of the road. And we've got the greenery around it on both sides. And those two additional trees. This sketch is a little messier, isn't it? That's okay. And we've got the grasses here to ask for the brush strokes. I usually like to block in my base colors, but I don't want to use glazing or blending. I could use gradient strokes. But I think instead, since its oil, I'm gonna do it with impasto knife strokes. That should be fun. So if I use the impasto knife work to lay the base colors, and unlike watercolor, these will be my darker tunes. The question is what strokes to use for my mid and light tones? I have to consider what look I want for each section. I think I'll use non brush dabbing for the foliage since I can get kind of unusual marks and feathering for the grasses. So we've got 123, you've got two strokes to go. I think I'll use a different one for the tree branches. I'll use perverse strokes for that. And it dealt with the road. Yeah, I have one stroke left. I think I'll smear the road. The smooth texture will offer a visual relief to all the texture around it. So that makes five. Once I know the strokes I'm going to use, I then choose the colors. I like to make these Swatch cards for each of the colors I earn. They make it easy to mix and match, determining how various colors look together. And once I've selected my color palette, then I squeeze out more paint than I think I might need. And now we can move on to painting the image. 6. 5-Stroke Oil Demo - Part 2: Now that I've sketched out my image, selected my five strokes, and chosen the colour scheme. It's time to paint my five stroke oil demonstration. You'll notice that I'm mixing up my pre-planned colors on the right-hand side. My plan for the sky, as well as for the bass tones in the main elements, is to use impasto knife strokes. You can see here I've picked up a good amount of paint with the side of my palette knife. And also notice that the paint isn't mixed on the palette. I thought about making a cloudy day, but decided to go for a sunnier feeling. So I went with blue for this guy. I'm smearing some white in with it. This should give the impression of wispy clouds, an interesting sky, as opposed to a simple blue sky. Now, I add a little red to the sky color in order to create a gray tone. And that's what I'll use for the road. I'll spread it on with my ninth, just like I did this guy. Remember my plan was to smear. So I've included some white and we'll need to make sure it's not completely blended. Now, I'll take my dark green tones and block in the mid ground. This will establish the greenery elements acting as the darkest value. Again, I'm allowing mixing on the canvas in order to create some visual interest as well as texture. Now the dark values in this section aren't very dark. That's because it's an area of light grass. I'm applying a fairly thick paint with my knife, but this time I'm using and we're smearing lotion and more of a stroking kinda of a padding technique. Now notice that I am varying my colors. I have spots of the yellow and if you looked closely, you can see areas of blue. I'm just kind of letting them mix on the canvas. And I'm still using impasto knife strokes to block in the farms. Remember with impasto knife, you can do almost anything. It's just a matter of getting that thick paint onto the canvas or surface using your knife. Now one thing you'll notice is the knife work for the grasses is a bit choppier. And that's because grasses are choppier looking. Match my strokes to the form. And you'll notice here that I'm blending in some yellow ochre to change up the colors a little bit. There's a lot of grain. So just like in the watercolor version, we need to throw in some warmer, even read leaning tones to help break it up. Now I'm still using the knife. I'm stroking and dabbing with it in order to set up the trees along the horizon line. The foliage that's in the sky, even though I'm still applying it with a knife, is laid down sporadically. Once I have the basic shapes established. I'm gonna go ahead and proceed with my plan using a sponge to dab on some medium tunes and some light greens too. I normally wait for the first layer to drive. But since we're doing this alla prima in one sitting, let's see how it goes. The wet paint is causing the lighter dabs to blend into the darks. So although it's creating a little texture, it's mixing a little too much. So I'm going to try dabbing with plastic wrap. It tends to pick up more paint and leaves more paint on the surface, then a sponge and don't seem to be working a bit. You can see I'm getting some lighter tones and it's not quite as light as I wanted it to go. So we may have to do something different. Well now we have a lot of texture, which is great, but I'm gonna take a break and go ahead and paint in the distant branches using prefer strokes and a small round. So I'm just going to try to work them confidently and quickly. You'll see that it's a little less precise than what I did for the watercolor version. It should show a little mindfulness. Now for the tree on the right, I'm going to use a very light neutral term, almost white. I've decided to scrape off a layer of paint from the front shrubbery and apply the light tones on thinner paint with less paint in my bass, my lights will stay a little PR. Notice I'm using a dabbing motion with a short palette knife in keeping with the non brush dabbing stroke that I chose. These strokes vary between dabs and just kind of regular imposter strokes. I'm going to use regular impasto strokes to define the shattered edges of the road. Basically just using the flat side of a small pallet knife as well as the edge. And now I'll smear some of the dark tones into the road. Smearing strokes was part of my plan, especially for the shadows on the road. Now those shadow tones are a little light, will have to try to make that darker. And kind of doing smearing and a tiny bit of lifting. Now I'm going to dab somewhere with my palette knife. I like how I'm getting these light tones with it. And notice the intense texture. It's quite dramatic. Now I'm going to use my final stroke, feathering. And I'll use lab for the front grasses and load my brush and just put the brush down and you pull up in as I pull up and lift away, I'm feathering on warm tones using a flat. I'm also feathering thinner strokes with the thin side of my garage. I'm putting down a variety of warm tones. And now I'll pop in some feathered darks for variation to lose a little of the road edge line. So thinking through my five strokes, I decide to use a brush and just smear it very slightly. Those grasses on the right could use a little additional variation in value and color. So I'm going to throw in dred tunes. Remember red is the compliment to green. And so just by popping in to our painting, it'll help balance out the green a little bit. Get smart feathering in there. At this point, I'm just going around the painting with my palette knife, touching up some spots hearing they're trying to keep the motion to a dabbing at this point. And the result so far is a pretty impressionistic painting. Broken strokes naturally lend themselves to impressionistic painting. I think the shattering of the road could be darker. And it would also help to balance out the heavy dark in the back, especially on the left. So will smear on very dark bluish. I'm spreading the very dark color and then smearing it in the same tool. I reversing my stroke, I can pull in some of the white to make sand or cover some of the darks if it went too dark. So I'm actually kind of smearing both ways, trying to be careful not to actually totally Blend. I'm actually not sure about that right edge of the foreground road. It's very straight, a little too straight. So what I'm gonna do is feather some grasses right onto the road to break up the line. I'll put a few dimensional strokes in as well. Now of course, I could fiddle some more if I wanted to. I could fasten pick at the painting. But it reached a point where I was satisfied and I felt like it captured the sunny feeling. And so at that point, I put my brush down. It's part of knowing when to stop. And that's about it. And now it's your turn. Once you have your image and you select your five strokes as well as your colors. Then try your hand at creating a five stroke painting. 7. Combining Brushstrokes: Now that we've learned and practiced all 22 brushstrokes, let's finish up the course with a brief discussion on combining strokes. Constructing a painting is a lot like constructing a building. If you're an architect, you start with the foundational elements, the broad support features, and then you build up from there. Once your foundation is set, you move on to building your structure. And then you end with some detail work. Building a painting is very similar, depending on how you paint. And generally speaking, you lay down your foundational paint layer. In each subsequent layer builds your structure until you finally end with your detail. Let's take a look at some masterpieces and examined how the master's integrated some of the brush strokes we just studied. The first painting we'll look at is this oil by carapace from the early 15 hundreds. When we zoom into a section of the woman's role, we can save that the artists began the form with a seamless base color, tone. It looks like a blended layer to me. We can also see what looks like a layer of off-white stippling. And then the blue embroidery design was painted directly. He also used gradient layers to communicate the shadows. Base layers were also used by Picasso in this piece from the early 19 hundreds. If you look closely, you can see that invisible strokes per used throughout the painting. And notice how Picasso uses blended strokes to add a layer of ivory to her skin tone in order to indicate light. Some of the white very impasto. These are the only spots in the entire painting that are heavy with paint, which was likely intentional to draw your eye. Most of the forms in the piece, though, are defined using directly painted lines. Some of them are borderline Rivera. When used to depict the firm, the shirt, the direct line becomes a directional line. And notice the scraping Picasso uses to convey the texture in the shirt. There's no getting past that. Broken strokes can be used selectively, as we can see in this large-scale abstract by Joan Mitchell. You can see she incorporates a number of dabs and dashes in this section, but she incorporates a number of other strokes that we've discussed as well. For example, notice the drift lines. They helped give the painting a feeling of action. Here's another section with dripping. The top area is painted with but looks like blended strokes. And then the artist aloud areas of the paint to drip down the canvas. Other drips appear isolated. You can tell that the artist must have stood above the upright Canvas because the drip lines show a wide area that indicates. Downward impact and that flows into a narrow line. The same painting has areas of unpainted Canvas, thick impasto paint, and feathered strokes. The streaking lines of paint push it from a dry brush mark into more of a feather. Broken strokes can be used in just about any kind of painting. But they're especially impressionistic when used in mass. As we can see in this piece by John Carlson, the painting involves dabbing, dashes, smeared, as well as directly painted lines, and some dry brush strokes. And they all work together so beautifully. The piece almost has a point realistic feeling to it, especially the upper-left quadrant. Now let's look at this watercolor by Sergeant. Notice that he uses base coats of glazes and gradients. And then he uses both wet and wet and went on dry. But he uses the wet and dry particularly to define many of his forms using direct lines and prefer a strokes. The face is the focal point and was more carefully painted with direct lines. Whereas the fluid lines of the dress are painted with Barbara and some feathered strokes as well. And finally, let's look at how a formal portrait uses the strokes. This one by friends house. You can tell that How's must have laid down a neutral skin tone, blended as a base layer, and then added glazes of pink and a yellow green to perfect the town. He also used gradients drinks to apply an ivory color to give the face dimension. Many of his features are defined using direct painting. Again, with a confident hand. His handling of the brushwork is one of the earlier versions of porifera. Especially his streaks of pair. Also noticed a little dab of ivory, then a couple other dabs as well. And again, these direct lines become directional when painted side-by-side for the mustache. And let's look at the color. It shows a light gray base tone. Perhaps it was glazed or blended. And then the artist paints broken sweeps of lights and darks with a feathered or a river or touch to define the form. Even the hair shows evidence of feathers strokes. So a common thread among the paintings is the use of an invisible stroke, base layer. The formative or structural strokes are varied and created. Oil painters need to be aware of the fat overline rule. But other than that, I recommend you judge your choice of stroke by the shape and the texture at creates the rest. The artistic voice comes from inside of you. What is it that you're trying to say with that piece? We'll close out the course with a few final comments in the next video. 8. Wrapping It Up: I really enjoyed teaching this course, and I hope you enjoyed taking it as well. Don't forget about my three-part YouTube series. It covers the history of brushstrokes and the masters that made them famous. Now, even though you've completed the course, you may want to repeat exercises or use a different object painting and go through the exercises again, especially for those that have challenged you the most. And if any, strokes are particularly challenging, I recommend periodically practicing them. Small practice sessions over a period of time can have a very strong impact. Even more so than one long session. If you feel you need more work combining strokes, or perhaps you felt extra challenged by the five stroke exercise. You can go back, pick a different five stroke image and try painting that with three of the brushstrokes. Work your way up slowly to the five. And of course, once you finish this course, you can integrate any of these strokes at any point when you're painting. Remember the importance of planning in your mind. Whether you dive right into a painting or engage in serious planning beforehand. You still need to work out how your brush work will communicate what you want to save a piece. Knew or intermediate painters will benefit from planning. Even experienced painters, if adding new skills may need to increase planning until those skills become second nature. And finally, if you'd like a better understanding of the house and lies of watercolor painting. You may want to take my course titled foundations for mastering watercolor painting. And lastly, if you have any questions after completing this course, please feel free to message me through the course page. And I wish you all the best in your painting.