Oil & Cold Wax: Dreamy Little Landscapes | DENISE LOVE | Skillshare

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Oil & Cold Wax: Dreamy Little Landscapes

teacher avatar DENISE LOVE, Artist & Photographer

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (2h 30m)
    • 1. Welcome

    • 2. Supplies

    • 3. A Few More Supplies

    • 4. Saving some ideas for reference

    • 5. Horizon lines

    • 6. Mixing paints

    • 7. Prepping your paper

    • 8. Big Sky Landscape

    • 9. Warm red and purple Landscape

    • 10. Blue Landscape

    • 11. Orange & Brown Landscape

    • 12. Stormy Sky Landscape

    • 13. Orange & Brown Cliff Landscape

    • 14. Grassy Landscape

    • 15. Finishing your pieces

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About This Class

Hello, my friend! Welcome to class.

In this class, we will be taking a dive into the world of oil paint and cold wax. I'll be showing you the supplies I use and a variety of small landscape projects to get you inspired. I like starting small to get a good feel for my supplies, colors, and techniques. I'm sticking to smaller landscapes for this class because I really want you to focus on learning your paints and techniques. I'll probably offer a later class on going bigger and working on cradled board, but for this class, I wanted to keep it simple and work with our supplies and color for our small landscape projects.

Using oil paint mixed in with cold wax has been one of my favorite mediums for several years now. I love how thick and creamy the paint mixture is, I love that it is a matte finish and that it dries much faster than typical oil paint. It is a yummy mixture that spreads on like frosting and lets you get creative with the tools you use to apply it.

This class is for you if:

  • You love learning new techniques for your art

  • You are interested in¬†small landscape painting

  • You love experimenting with art supplies

  • You love watching how others approach their painting practice

Supplies: I encourage you to use some of your favorite colors to do these projects. Get outside your comfort zone and experiment with colors. You don't need a lot of colors to start out with and if you enjoy color mixing - then you might just get a starter kit of colors and mix your own. I'm using a variety of colors and brands in class. I'd recommend you choose brands you can afford and some colors you like.

  • Arches oil¬†paper - this is the paper I use for all of my oil paint and cold wax pieces. If you choose to go with a different paper - like watercolor paper for instance - just keep in mind that you will need to prime that surface with gesso before it can be used for oil paints. In this class, I will be using small pieces of arches oil paper to show you how I go about painting little landscapes and play with color.

  • Silicone bowl scrapers. I like the¬†Messermeister silicone bowl scraper you get from amazon or kitchen supply stores the best. I also like the Catalyst silicone scrapers you can find at the art store.
  • Palette knives - we'll use these a lot. I have some plastic ones and some metal ones.
  • A variety of oil paints - choose colors you love in a brand you can afford. No need to have too many colors to get started.¬†
  • Gamblin Cold Wax Medium - this is the cold wax brand I am using in class. There are a few other brands out there that you can experiment with also. Dorlands cold wax is another one I have used.
  • A variety of mark-making tools.¬†
  • Painters tape or art tape - don't use masking tape - it will tear your paper
  • Gloves - you'll want to have plenty of disposable gloves on hand.¬†
  • Shop towels or paper towels
  • Disposable paint palette

That is most of the main supplies I'll be using in class. I keep it more simple with landscapes usually.



Meet Your Teacher

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Artist & Photographer



Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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1. Welcome: I'm Denise love and I want to welcome you to class. So let me show you what will we do it in this class. We're going to be making dreamy little landscapes. And I really love how a lot of these turned out like look how beautiful that is. And I'm gonna be using oil and coal lacks during this process because I love how it layers on. It's almost like painting with frosting. It's such a nice consistency and you get the yummy layers. And you can work wet on wet paint and get the entire painting done in one day. And you can work what on dry. You can let paintings dry in between your layers and add more cold wax medium to the top of that. And it just looks so beautiful and textural and you get the depth that you sometimes don't get with other paints mediums. And I truly love working on these fun little pieces in this class we've got pretty that is. So I hope you're going to love hopping into oil and coal wax medium with me. If you've never worked with this medium at all, it's definitely going to be a fun adventure for you. I have the Intro to cold wax class that you could check out if you want to dive deeper into this medium. But what I like about doing small landscapes, is there not so big, it's not super overwhelming. And you get pretty little pieces of art when you're done, you can give away, you could sell it, could use his cards, you could use as gift tax responsive, fun things that you could do. You could frame them up and hang them in a little gallery. You could do a 100 day project for something like this and create a different landscape every day. That's super fun. So I really hope you're gonna enjoy. I'm creating a few of these, I do think doing landscapes in the cold wax medium is one of my favorite way to make a landscape. So I hope you're going to enjoy this technique and I'll see you in class. 2. Supplies: Let's take a look at our supplies that we use with cold wax and oil paint. So first of all, you're gonna need some oil paint. And I'd recommend if you're just starting out to stick within a brand that you can afford because there's, you know, 15 or 20 different brands out there. And they range from anything from student grade all the way to super fine, high-quality handmade artists paints. And if you're just getting started and you're going to buy your basics, I pick a line that is within what you can afford and by either some of the basic colors where you can mix your colors yourself, or maybe pick out a range of your favorite colours for whatever project it is that we're working on. So with landscapes, I'm probably thinking more muted colors, things that are kind of like I'm looking through fog in the morning and day break that kinda look like they have that lower muted colors with fog. And so I may not be choosing like the brightest pink OK, and find. But at the same time, I can mix in some color with this paint to make it more muted or use it as a dab somewhere on there as just a tiny bit of accent colors. So if some of the brighter colors appeal to you, like I think sometimes orange looks really nice, layered under blue because it changes the tonality a little bit and makes it more exciting, especially in a landscape. You know? So if you've got a good orange to use as an undercoat, That would be fine. But you're just gonna have to experiment with some of these and maybe consider doing some color mixing as you go. And so there are several lines like I was talking about and, you know, academic level or student grade is one of the lines. And some of the main differences there in the quality is the amount that they refine it, the amount of pigment that's in there, the amount of fillers that are included in that mixture. So the lower the line, the more fillers and less pigment you're normally going to have. And then as you move up the line and they get finer and paints, then you're going to have more handmade, more refined, more pigment. They're going to be ultra smooth. And you're going to pay for those differences in the cost of that manufacturing of that color. These are artists law by Michael's. And I just got these because I like the silver and the gold and I thought that's fun for accents on things. So I do have a few student grade, but I tend to stick in the ones that I can find at the art store. I've got Rembrandt, Grumbacher, Winsor, Newton. Those are not the most expensive. And kind of price-wise not the most expensive. Got n-gram. Calea snowy A's going to be a little more expensive and Marvin is a little more expensive. And then I've got old Holland. And this is whole being. And Gamblin, Greenland's not the most expensive either. It's more medium price range. I like having a big white and I like having a big titanium buff, but we can make our own titanium buf with yellow ochre and white. So you don't necessarily have to have a big one and each of these I just do because years ago I got him and I'm still using them. And, you know, the problem will keep an oil paints for years and coming back to him and working with them after several months of not working with them and sometimes you can't get the lids back off. So now I'm more careful when I take those lids off to make sure that it's clean. In the screw area there is a screw and back on so that the next time I come back to these, I can actually get the lid off again because I've had to throw out tubes of paint that couldn't get the top off or that God, completely hard for some reason like this one I've leg you hoard. And some of them I've cut the bottom off and scooped pinout from the bottom just to make sure I didn't waste whatever was still in there that was good. So oil paints, I'd buy if you're just getting started, a selection of maybe a few of your favorite colors and colors that you're wanting to represent in a landscape. Some kind of colors for the sky and a few colors for our land part, which as we're going through class, you might watch the color sample or videos and see a lot like those in, maybe go for colors and those shades before you go out, buy and just to not buy lots of random colors that you end up not liking. But, you know, just depends on when you want to know art shopping every time I feel my art class like this, I've definitely take it as an opportunity to go to the art store and buy more stuff. That's not like on native at all. But I did take the opportunity to go and say, oh, what new colors might I need? I love buying art supplies more so sometimes and making the art. I think that's a separate hobby. So the other thing that we're definitely going to have to have an addiction to oil paints is the, the cold wax medium. And there's a couple of brands that you can get that are fairly popular and easy to combine. Get him on Amazon if you don't have a or store near you. But the gambling coal wax medium as well, I'll be using in this class. This is a 16-ounce can and it goes pretty far for, for especially like doing what we're going to be doing like landscapes and samplers and things like that. One can, will go along Y OK, keep this for a while. And then I have backup can in case I think I might need more than I got. And if you're really excited and love working in coal wax and oil paint, which I do actually really loved this medium. It's one of my very favorite personally. Then they sail bigger quantities that you can get. But I don't think I'd start out with a big quantity and to, you know, you'd love it that much and you'll really be using it. So I'm using the gambling coal wax medium. There's also the Orleans wax medium, which is just a slightly different formulation, but a very good one to work with to so few have access to the door lens instead of the Gamblin. That's just as fine. And the GAO kid light is an additive that gamble and makes that you can add to your coal wax medium because you know, when you mix coal wax will paint. It becomes a very matte surface. It's not shiny at all, it's super matte. And adding a little bit of Galerkin light will kind of work a little bit with the dry time. It'll speed the draw time up. This already draws pretty fast. It'll dry to the touch overnight. But this gal could light aids in the dry time and will give your paint more SAT and he finish. So if you don't want it as Matt as it comes out when you're painting, then know that if you wanted a drop of Galerkin light in each of your paint mixtures that will give you a more of a satin finish. And that's a nice finished too. But nothing's really going to take it back to the full shine, the oil paint. Because you just kind of lost that once you started working with wax so that you can get up to mock a SAT and you finish with. The Gaussian. Also have odorless mineral spirits or Gam Saul. Gam Saul is odorless mineral, mineral spirits by gambling. And I have that in a little brush jar so that anything that I happened to use for a brush, I'll have that cleaner available. You know, when you use these, you don't have to take this cleaner out and do anything with it for years really, you could just keep on using it over and over. And any thing that you clean in there and it muddies up the water. It just it just settles to the bottom and just becomes sediment down there. And some point far in the future, when you feel like you really need to change it out, then that sediment can then be wiped out and thrown in the trash rather than, you know, put into your sink or any any kind of plumbing like that because a lot of these oil paints are some of them are toxic and you don't want to put toxin materials down the sink and into your water supply. So and maybe get a jar with some spirits in it. Odorless mineral spirits is what I use, but you could use the GAM Saul to, I wouldn't use turpentine or traditional paint cleaners because they stink and they, you know, you might react to fumes and I just like having less toxic items around and then just let that colors settle to the bottom. You don't have to worry about changing that liquid out super frequently at all. Another thing that we're gonna be using in class is a variety of palette knives. So I have so many of these, it's ridiculous. If you see my little palette knife jar and I really like plastic palette knives. And for mixing and scraping Sometimes I like, I like this one with a square head for painting, so I might have that one out. I like a bigger one if we're doing a larger abstract, he kinda things that bigger. The bigger your knife, the bigger swash of color that you can get from it. Also have a couple of catalysts, blades, I'll set those right there. But there's a variety of knives and they each have a different kind of hid 2-ohm and a different kind of use may be. And so I'd be experimenting with the heads that you got. But for this class, I like the square head one. And then I like some of these smaller, kinda pie-shaped one sets what I'll be using and also have a little mark making tool. And this is a clay tool that you get over there for working with clay in the art department. And you don't have to have all the little clade tools, but I do like this one that does mark making. But you don't even have to have that if you don't want to invest in anything like that, you could just use some would skewers for some nice mark making that has a nice tip and this came from the grocery store. So a lot of different things there. I do a little bit less market-making in these yummy landscapes than I do regular abstracts and things like that. So I'd you kinda keep those tools to a minimum. I'm also going to be using some fan brushes. And so I have a variety here just to kind of experiment with. This is a safe, stable it fan brush. This one is a Red Sable. This one so old, it's sticky and I'm not sure what it was, but it's more of a of a of a thicker, rough one. And this is an old, old rich. But I'm going to be experimenting with my little color studies and stuff. You don't want the softer fan, want the harder fan. So we'll talk about and what works and what doesn't as well going if I'm using the software and I'm like, oh, that doesn't work at all, then you'll know, you know, not to get that one. And I could, you know, just kind of tell you about it and then you might not remember it. But if we're actually doing it in class and I'm talking about it as you're watching me do it, then you might think, okay, I remember that and that's not the one I want. And I kinda have a feeling. This one's going to be too soft. This one's a little bit stiffer, but maybe, maybe not too soft but maybe not too hard. And then these are definitely thicker and I think they're going to make I'm definite lines in our paint as we're going. So I've got a few to just experiment with and that way you'll know what you want to buy when you go to the store based on our experiments that we do. So over here I also have some catalysts, brushes, and a silicone bowl scraper. And this is measure Meister is the one I've got. There's a couple of brands out there. If you look up silicone bowl scraper on like Amazon, lots of choices come up. And there's a couple, couple brands I've seen that do this shape, but this is the most popular one. It runs 18 to $20 and it comes in a couple of colors. I like the orange because I can find it. If it were a more subtle color, I might lose it because I had things for myself and my art room. But this is my favorite scraper. It's got a nice kind of comes to a point here. It's not super thick, it's nice and thin. It's got a hard piece in it, so it's pliable at the end, but not the whole thing, which I really like. And it's got comes to a point. And it's just got different surfaces that I could use to do paint on. And even though I've let paint get right here, you know, as I go when I white paint off this surface, I could just take a little bit of oil like awesome. Vegetable oil or olive oil. I could just open that up a little bit and wipe it right off. Silicone tools, really easy to clean. And this is my favorite scraper. I'll definitely be using it and I got a new one a while back because I thought one day this is going to wear out and I'm going to need a new one. But he still hadn't wore out and so I hadn't taken this one out of the package in that funny. The other scrapers that you'll find at the art store is the catalyst brand. And they come in. Again. I thought I was going to wear it out at some point but I hadn't. So I have a backup. But these come there, there, there silicone. They don't quite have the same feel as this and they don't come to a sharp point, so don't use this one as much, but I do have it and I have used it. You can see how much paint there that I've got on it because I'll pull it out and experiment with it. These are the ones that you'll find at the art store. So if that's all you can get trained on, still a great scraper. And that's my catalyst. And they also have some cutouts on it. So you need a smooth one at the minimum. And then if you wanna do marks and things and your pieces later than some of the ones with the cutouts are fun to play with. And then there's also this bowl scraper that I'd found on Amazon I think. And it's it's silicone to and it's not a specific brand, I don't think, but I don't love it and I don't use it. If you only get one, get the orange, Get this one. Just choices that I have. And then I have some catalyst rubber brushes. And they come in different shapes and they're fun to play with. Also there's silicone, different sizes and then this is master's touch. And it's like a paintbrush, but it's a silicone paintbrush. So do you have some of those to play with? I doubt if I'll be using them in this project, but I do have them available. This'll be probably my main tool that I'm using in these projects, but they are just an option. So when you're out, look in at least you've seen them in kinda know what they are. Also have several different mark making tools that I might consider using in a lot of my cold wax pieces, but maybe less so today, but I just want to bring him up because you may find a reason to use a measure go And I like corrugated cardboard, so these are just torn off of a box that I had a package delivered in. And so are these, this has such a fun shape that it came wrapped around something that was packaged. Then I was like, oh yeah, I'm definitely keep in that look at that yummy shape that, that has. I mean, this was the most exciting thing in my package. Factor out unwrapped it. You get fun shaped cardboard in any of your packaging that you get delivered. Say that super fun, the mark making and lines and things in your work. And I usually use these in my abstract pieces, but just be on the lookout for fun, things like that. And then I also have, these are my favorite mark making pieces which I doubt I'll use in the landscapes that may be this one. And this guy, just really tiny thin ribbed lines there. And these are phone stamps. These came from the children's department at Michael's one day when I was hunting the store for anything that looked like might want it for my cold wax paintings. And plenty enough I've not really seen any recently, so that might be harder to find, but these foam stamp pieces, and I use these a ton, These are the ones I've put back to save. This is my favorite one and you can see, I mean, that right there, so Yummy, I almost want to frame it. But this is my favorite one right here. And then also like the dots. So have a somewhat dots that I use over and over. Fun and just keep your eyes open when you're out shopping and look in. 3. A Few More Supplies: The next thing I like having around is Delhi paper or wax paper. This comes out of the kitchen. I have it in a box of squares that I got at the Sam's Club. And this is no dry wax paper on and they sale and it's just a box I keep here in my studio. And I got to the Sams and it wasn't very expensive and I like it because it's an sheets, but you can also get Delhi paper or wax paper from the grocery store in roles and you can just kinda cut a role of cut a piece off the roll as you need it. This is really good because you know, with the cold wax medium, you're kind of spreading paint on like it's frosting, it's really thick. It's not like a traditional paint that you're putting on with a paintbrush normally. And so the layers can sit on top of each other. And then you can take a Breyer on top of your piece. Kind of smoosh those colors in together and it's not going to blend them. It's actually going to make all the colors sink down to the same layer but still be separated. And that's kinda fun because we may be doing that on some of our pieces. Submission those down to the same layer and fanning and spreading in softening, rather than having all the layers sit on top of each other just as an experiment to see what difference that gives us. So I do have wax paper in a Breyer handy over here in my cart of art supplies. You know, now I have a little carts of art supplies. I have this big table that I sit at. One of those folding tables that's two-by-four. And I like it because my studio is got lots of different things that I do in it with photography and stuff like that. And so I can pick it up and put it out of the way if I needed to find a space for something and then I have these Rowley carts where the supplies sit on it kinda sitting over here to my left so that as I need something, I can grab that and put it on the table. Whereas if everything was in the Cabinet over here, I'd be getting up trying to go to the cabinet every few minutes and it's so much easier to have things on need most right over here. So as I said that I just remembered tape. So we're gonna be using special paper for a lot of these. And so I also want to have available tape to tape off my papers. And I have a couple options that I use this as Artist's tape that you get from the art store. And it's good because it's made hopefully not to tear your paper. But I think it's a little more pricey generally then. Painters tape that you get from the hardware store. So the blue painters tape is my very favorite and I like this one inch size or three-quarter inch. Since three quarter, I think. No, no, this is one inch. One inch is my favorite size. Also found on my last trip to the paint store, this purple tape right over there beside the painter's tape. And it is supposed to be a delicate surfaces paint tape. And you know, our paper is a delicate surface view. Use masking tape on it. Later when you go to peel that tape off, you're gonna tear parts of your paper off. And so you want to use tape that's not going to be so sticky, it tears your paper when you try to remove it. So either one of these has worked out really well. I've used this on several pieces and been very happy with how it works. But the blue painters tape is the one I use the most. So just some choices on tape there, just don't use masking tape or scotch tape or anything like that. Now for a lot of my painting, I use a ceramic palate because it's more eco-friendly. And I've got a couple of them because one naught and they're eco-friendly and you can scrape the paint off and throw it away rather than washing pain down your sink because I'm a big believer in not washing paints down the sink because some of them are toxic and they get in your water supply and you're not supposed to do it. And this is a better way to dispose of paint, scraping the paint off and thrown away after it gets dry. But with the old paint. And you can definitely use something that's eco-friendly there also, you can use a glass tile that's made for doing something like this, and then use your paints and then you would let those dry bit and scrape them off with a little hand scraper. But for this class I'm going to be using disposable paper palettes. And there I like the grey, they come in gray and they come in white. And then also like because right here on the very top of it, it just kind of gives you a few color basics and talks about the shades and the tense and the color and kind of complimentary colors and gives you some ideas on colors. But I'll, I think grey because it's supposed to be more true for you when you're looking at it to view your colors, you're supposed to get a more true idea what those colours will be compared to being on white paper palette. But I have white paper palettes to, so whenever you can get your hands on, the paper palette is easier to use with this because we're going to be mixing a lot of paints and it's oil paint. It's not like acrylic paints, so it doesn't doesn't completely dry very quickly and I don't know, I've just gotten to where this is easier for the oil painting and my nice little pallets are easier for acrylic painting. So that's kinda the way I go. And then went to a painting. I tried to have like a trash palette, like a trash piece Piper or trash cradle board around and I call it trash because I'm figuring it's going to be the piece that I put all the leftover paint on because even if I have a lot of paint left, I don't just want to waste it and throw it away. Thanked expensive. I want something sitting around that I could then at the very end if I'm like, okay, I'm done but I don't want to throw this pain away. It's not really going to be good tomorrow. I want to be able to scrape that paint off and put it on something that can then be the under painting of a future painting probably. So we're trying not to waste paint if we can. I mean, once you go buy some of this paint, you'll kinda concept too. Got a couple of different surfaces that we can paint on during class. And for the most part, I like painting on paper because I can easily store it. I can, you know, they don't take up a lot of space. I discovered over the years with the different art classes that I have done that if I do a bunch of pieces on cradle board or on canvas, what do I do with those? Ran on a wall space? Do give them away to try to sell them. They kinda get in the way. And for some of the stuff that I do, I want to be able to pull them back out later and look at them or use them for samples or go have him framed. And so a lot of times I'll I torque on paper, especially if you're doing samplers and color studies and things like that. You know, they're easy to store. And I can just kind of put them in a cabinet that I have over here for paper pieces. So I love working on papers I'm using for this class, arches oil paper. And it comes in a couple of different sizes and it comes in big sheets. So I've got the nine by 12 pad and I have the 12 by 16 pad. And I just kind of keep a couple of these pads around because the, the oil painting in the cold wax is my favorite thing to come in and play with. So I like having the paper available rather than thinking, oh no, I don't have any paper and I can't do this today. You can also use watercolor paper, but you must prime that watercolor paper or whatever surface you choose. But I'd recommend at least a 140 pound watercolor paper. And this is a 140 pound oil paper. These are already primed for oil paint. It's a technique that they put in the pulp as they're making the paper. So it's kind of infused into all the fibers of the paper. And it is already prepared, ready for oil paint. If you try to paint on water color paper or mixed media paper or sketch paper or anything like that. It's not prepped for oil paint. And what it will do is very absorbent and it will leach the oil out of the oil paint. And it will make the panel make like a breezy ring around any oil paint that you've got on there. And I discovered that when I was making a little color palettes for little pieces that I was do not have a color palette on some water color paper of whatever piece I happened to have done so that I could save that and refer back to it later. And then a year on, all of those little paints have ugly little rings around them. Here's an example of that. So these were some color studies that I did with some different color waves and just kinda playing to see what I could do. And I saved my color samples here on a piece of just scratch paper. And I think this is just mixed media paper. But look how the oil leeched out and leech through to the back. And at some point to that paint could separate from that paper because I don't know, just leeches through and isn't, isn't a really good adhesion. Adapt pulling it when it's doing that, the papers oily and everything. So even for the color palette pieces now I'm probably going to cut up a piece of arches oil for that and save them on that instead of trying to save it on some other paper because this is what you end up with with oil paint. So if you do try to use some paint that you have, if you have some Gesso, like the Liquitex Jesu or whatever brand it is that you're using. You can coat the paper in several coats of Jessica one coats not enough. So you do a coat, let that dry, do a coat the other direction and let that dry. Some artists use up to four coats of Gesso on pieces that they're making that are serious, that they're going to put up for sale and stuff. But if you're gonna use watercolor paper or some other paper, you do need a prominent with just so or will not work for you very well. So the arches oil is what I'm using. And then you can also use cradle board. So I have several pieces. I went to the Dick Blick and just got like a Super PAC to play with. It comes in different sizes. If I'm doing play pieces like this, then I don't mind the thinner side. And then if we use these, these are unfinished wood. So we do have to coat this ingests oh, before we can use it because it will also leach the wood back out, leach the oil back out into the wood. And it just doesn't work very well either. So we have to just so that we would take the sides and then we'll paint the sides with any color that we want to finish our peace. It doesn't have to be oil paint. I usually pink decides with an acrylic paint in a color that complements so that this is then ready to hang up. But if I'm doing really serious pieces that I want to make a statement then are actually like the really deep sides. And so I might get inch and a half on the side panel if I've got some pieces that I've, you know, I've really been practicing and I thought, okay, I'm ready to do some serious pieces for a gallery or to sale or give away as gifts than I think when you do the 1.5 inch side, it looks so rich. And when you hang it on the wall and just make such a statement. And so if you get real serious about it and you're using cradled boards and you want it to look really rich. Get the deep sided cradle board for that. One last thing I meant to mention, because so many oil paints have toxic ingredients possibly that you might be using. Definitely make sure you think about safety and use some gloves. And so the blue gloves or nitrile, if you get the the latex or another, there's another type glove out there. Those are fine too. They're the creamy color gloves. The nitriles nice if you are allergic to latex. And then this just happens to be the box that I found when I was out looking for a boxing gloves. So that's the one I got. But definitely consider wearing gloves every time you do these because you're going to get so much oil paint and stickiness on your hands from the way that we do this. Because we'll be pulling paint off of these and your hands will just get all go off death and sticky and you don't want to have all those sitting on your skin. So definitely get the gloves also keep handy. Some shop towels to be wiping things off my silicone pieces and stuff like that. You can these come from the paint store and I like them because they're thicker and they're really heavy duty. You can use paper towels if you want. Also have plenty of paper towels handy. These are also really nice for buffing your pace when you're finished because they don't have all the fibers and stuff that would stick to your piece when you're bluffing. So I love having the shop towels available. So that's why you'll see me using, but you can also use paper towels. And if you're gonna be using any powder pigments, pigments in your paint, which I'm not doing. But you certainly can mix powdered pigment in with your oil, wax medium and create pain that way. And then make sure you're wearing a mask so that you're not breathing in all the little particles of the pigment. Just wanted to throw out. They're worried about safety there. And you know, the oil paint and the odorless mineral spirits, even though it's odorless, you know, they still have a fume that they're putting off. So if you're fume reactive or fumes sensitive, then consider working with an air purifier in your room, maybe the window open and a fan going. So just consider some of these things. If you're ever working with art supplies and you get a headache, you are reacting to something and you need to have more air circulation in the room than you currently have. At the minimum, maybe turn your fan on if you've got a ceiling fan. I actually have some window fans that go in my window and pull air out because I like to work with several different mediums that need a lot more ventilation than others. So consider different types of ventilation if you're starting to work with this particular medium or odorless mineral spirits or what have you. And you start feeling like you're reacting or you're getting a headache, you need some more airflow in the room. So just wanted to mentioned a little bit about safety. They are just keep those things in mind. And I'll see you in class. 4. Saving some ideas for reference: One of the things that I've done that I want you to do too, is collect inspiring, atmospheric, Moody landscapes. So I have gone on Pinterest and I was just searching loot Moody landscapes, fog, atmospheric landscapes. And I went through and I've just saved inspiring pictures so that I would get an idea of color, composition, different horizon lines that we could consider. I just wanted a bunch of ideas. And even though these don't look exactly like our little paintings are gonna look, it does give me an idea of some colors that I could consider. Just, you know, a high horizon. We could have a high horizon with lake or water. We could consider other colors in our piece rather than just grey like fog. So I was just collecting some to just get ideas that I might consider in a moody, atmospheric kind of landscape. So I want you to look around on Pinterest and in magazines are go out on a foggy morning and take a few of these photos yourself of the fog. Because this right here is the perfect little landscape for what we're doing. It's Moody, it's gotta a horizon line, a little bit of a tree line. I'm moody, kind of sky there. Same with this one, with the ocean, where it's got a lower horizon and kind of a moody skyline up there. This one where I really love that. It's kinda Moody all around and we've got the center horizon kind of coming in on the lake. And this one right here will be very inspirational for me. And one of my pieces, again, very moody, were on some water. We can see our trade line going up and down Superfund. So RGB looking around and even consider going out on a morning at the fog. And you wanna kinda go early in the day when the fog is still there because after the sun gets up and it gets kinda warm and the fog burns off, you've missed your opportunity. And then of course, Look here on Pinterest for some good ideas that you might just be able to refer back to later. So something fun that I like to do that I just wanted to mention there, collect inspiration for your pieces. 5. Horizon lines: In this video, let's talk a little bit about horizon lines. And so this is just a sketchbook that I'm using here. It's nothing special for oil paint because I'm not going to be painting in it, but it's just a mixed media pad. But I just want to talk about different horizon lines that we might consider in our color studies. So I'm just going to draw some squares on here that look like what our color studies might look like. And talk about different horizon lines that we might consider. So I like to think in the rule of thirds personally, you know, you don't normally want something right across the center. It's a lot less interesting. So I wouldn't do 50-50 personally, that just is not my favorite. So I would either do lower thirds or upper thirds so that you have a little bit of land and a whole lot of sky, or a little bit of sky and a whole lot of land. That would be probably my first choice. Next choice might be lower thirds, but maybe we have a tree line or some hills. That would be really fun. Another thing that might be fun is lower thirds or upper thirds. Maybe we're doing this guy in lake scene and they're all kind of blending together. The sky is reflecting into the water. And so maybe I want to have some type of land kinda come into my scene, but not necessarily all the way across. And I could have that up in the upper third two, it doesn't have to just be that lower third. I can do that like in either way. So that's some, a couple of ideas there of horizon lines that we might consider. So when you're looking at landscape inspiration, I want you to look at what is the horizon line in the photo that you're looking at? And why did you like that photo so much? And what are the colors? What's inspiring about that inspirational piece that you saved for whatever reason? And keep in mind, you know, some of the different horizon lines that you might consider for a piece that you're painting. So these are some of the more popular ones that I'm going to consider. I don't I definitely don't want a 50-50 line right across the panel because it's not very interesting. So I'm going to be thinking personally probably lower thirds, lower thirds with maybe a treeline or a hill bump. And then I really like when the landscape kinda comes in, but maybe not all the way over. And i like that lower and upper third, how fine the great big splotch of land with little bit of sky. That looks good too. It really depends on how you do it as to how that works out. So I'm probably going to stick with lower third, lower third with the tree line and maybe some of these coming in, but just different things to experiment. And if you would study some of the pictures that you love, maybe draw out a square and draw out a horizon line that matches that picture to say for yourself for ideas later, I like having adios to refer to so that when I'm looking at, you know, a piece of paper and I'm thinking, okay, what am I going to do? Now? I can refer back to something and be like, oh, I think I'm gonna do this one and I get excited rather than just sitting there with a blank mind. So consider horizon lines and make yourself a little cheat sheet of some ideas as we're going. 6. Mixing paints: In this video, let's talk about mixing our paints. So you'll notice in the very first color study that we do, the landscape that we do. And I'm starting out with some colors that I already had mixed up on a pallet and said, yeah, I'd been playing and I was already working with the colors. And that was this little landscape where I've used yellow ochre sepia, transparent earth, orange, yellow, blue, terahertz a in titanium white. Apparently, when I was mixing the colors to show you how to mix colors, I didn't hit records. So in that first video you're gonna see me working with some colors that I forgot to record. So in this video, I'm gonna show you how to mix the paints. But it's going to be a different set than I had originally started with. Just because I don't want to duplicate that. I want to make another little landscape in a few different colors. So always use a little bit of titanium white. So I went ahead and put the titanium white out here. And then I thought maybe I could test out all of green, which is a color that just got and this is whole being. And I thought this would be fun to play with. And I have realized that when you're getting your paint out of your container, if you leave any paint up here that can then squashed down when you squish the lid down, it basically glues your lid shot for the next time you're coming to get paint. And if you will, do that where you flatten it out and don't get extra paint on the side and even consider taking your your extra towels or whatever and cleaning the top of that off before you put your lid on, you will not glue your lid shut because let me tell you that becomes a problem after a while. And then you just can't get anything open when they're glued shut. You just have to be real careful about that. And so I'm actually going to be a lot more careful now than I have been in the past. I'm also going to try the sepia. This is also a hole being color. I like the CPI because it's a really nice deep brown, similar to Van Dyke brown almost but a little bit different shade in maybe a little tiny bit of the thaler blue, but a little bit of that out there. Let me tell you this blue is intense. If you get it on anything, it just keeps on going. And then it may be transparent earth orange because I really like this orangey tone. And then I thought maybe I'd try this senility, a cool gray. And so the landscapes, I'm trying to limit my color palette. I'm looking at my inspiration photos that I collected on Pinterest and just seeing what colors are in that, what can I do with that? So I put a little bit of the coal wax down and I'm aiming to mix the put a bit of the oil paint down and I'm aiming to mix the cold wax medium with the paint. And I want to do it at about a 50-50. Paint to wax ratio. And you don't want to really go over 50% wax because it starts to break down the consistency of stuff over time. And you can do as little as say, 30% wax to paint. If you want to do less wax because you know the more wax it does feel waxy. Or when you're using these paints, the paints themselves for a wax year. And then always seal my little container backup immediately just so it doesn't dry out. And I do all that first. That way I'm not mixing paint and sticking my dirty palette knife back into my paint bucket and contaminating my wax. So and then I will come and mix everything. And it's at this moment right here where you can then, if you want to try the GAO kid light, and this is an old paint medium additive. And what it does is it ages the drying time in this stuff already dries pretty fast. You'll help. It'll be drawn to the touch in 24 hours. But this will also give it a little bit of a machine and you just want a drop or two, not hardly any at all, just a tiny amount and gamble and says, you know, up to 1 third if you have to, but just a very tiny amount. And I think I'll put it in my color palette this time because I don't put it in the color palettes of any of the other ones that you're watching. That I do. And it just might be fun to experiment with. I don't normally use this. This actually makes it a little more Premier, like it's I don't know how to explain it until you're mixing it, but it's a little less waxy feeling even though it's full of the wax. So it does change your consistency a little bit. And it will give our final landscapes that'll give them up a little bit of a sadness Xin, rather than being completely flat. So that'll be kinda interesting for you to just experiment and play with consistencies, but quite a bit different, actually. Mixing them in. If you mix a few with just the wax and then mix the one and or so with that additive, you can really feel the difference. It's a, it's a lot crania in the way that it feels. So I'm just getting everything ready before I even move on to doing a piece. All right, so now that we've got all our paints mixed up, we are ready to start. I always put on a pair of gloves when I'm working in the oil paints, which I should have had it on mixing those, but I was actually very careful not to get it on my skin because lots of oil paints have toxic materials in it and you don't want to get this on your skin. So I definitely recommend wearing some gloves when you're working with this and painting. And then I'm also gonna show you in the next video how we prep our paper and then we'll get started. 7. Prepping your paper: So in this video, let's prep our paper. So I have cut out some five-by-five squares just because that gives me an option on how big I want these. And I was playing around and seeing, you know, you don't want it larger than I want it smaller. And you'll see even in some of the landscapes that we paint that I'm testing out. You know, how do I really want to do this? So I'm actually going backwards and now coming back to record this. And I need to move that paint out of my way because I just stuck my tape in the paint and I the habit of checking my arm in paint. I'm right handed, so put it on the right side, but then everything is then sitting in paint. So I've cut five-by-five sheets. If you're using the arches oil paper, I've used the largest pad and decided to cut it into smaller pieces because I've got a bunch of pieces out of that. And it's already prepped for oil paints, so I don't have to prime it. If you're using like a 140 pound watercolor paper, you do have to prime that before you can paint it because it's just not prepped for oil paint and the oil will leach out over time. And then the paint will flick off. It's just not prepped for oil paints. So you want to do two to three coats of Jesse on your watercolor paper, and this is Liquitex, Jessica was what I use. So if you're using something other than paper that's prep for oil paint, you need to prime it would two to three coats of that. And then you can paint on top of it with oil paint. So I'm just using painter's tape that we get from the hardware store because that's usually the most economical way and it's less likely to tear our paper when we peel it. And I decided I wanted to do little landscapes that are landscape in format. So we'll be making several that are in this kind of format. And then I trim the paper off at the bottom when I'm done because I was painting on the bottom of these accidentally. So I want to do little landscapes. I want to tape it off about the shape that I want. And then it gives me enough paper to trim later. And that's how I'm going to be doing my little landscapes during this workshop. 8. Big Sky Landscape: So in this project I'm going to be using some of those colors that we mixed up. I've already been out here experimenting a bit. Didn't paint on my table. It's really good if you cover any surface you're gonna be working on. With some type of surface, you don't mind getting dirty. And then I've taped a piece of paper. I've cut up a bunch of five-by-five pieces of paper out of a big piece of paper. Just apply on because here's an older ones, so don't don't, judge. But I've tried it like this where I've taped off several days and just went back and played and to see what I could get. And they found that if I did them all wet and I went one after another, I was putting my hand on them. So I kinda decided that I find it easier to work on one little piece of paper. And I can move it around and then I can set it to the side. And I've just taped this smaller than the five by five. So I thought I want these to be little fun or abstracts that aren't too big. They just easy to accomplish doesn't take all day to do. And I have taped it to just the back of a mixed media pad that I had the very last pages, that thick cardboard thing. And I thought I'm going to save these in lead, be able to use those as my surface for some of this. And so part of what makes an atmospheric landscape to me is like maybe worth Lake and were looking were there early in the morning or we're looking through the fog and so everything's kind of misty and kind of blink blending together. And so I kind of want my piece to do that to, I want to have a horizon line in there. So I'm just going to start laying some color in a little bit. And we can go dark, light color on top of dark color with this technique because we're working with such thick paint medium that we can layer right on top of it without a problem. And I think I'm going to take a little tiny bit of blue and make a really light bluish color. And maybe a little bit of this sepia that was more than a little and try to get a blue-gray like just a rural soft blue gray kinda color. To start off up here. And maybe I want a little bit of this white, some of that sepia and create just a warm, grayish tone in there too. Because I almost want this to be like I'm there early in the morning. And part of what makes these atmospheric is the paint to me is that the paint gets rural, soft and smudgy and blended. So that very first layer, I'm gonna work on some of that softness. And then the layer I put on top of that, we'll add in some details and stuff. But I really wanted to just start off real blended and soft, kinda like that. And we can start working a bit on some upper layers and stuff. You know, because then I might come back and add some more detail for this white cloud area. And I can add a little more detail for our bottom landscape area. And you can see how to begin with working small. Definitely going to be much easier and save your sanity than starting with a big piece. And it lets you experiment and play with colors, which I really like to do. And then trying to be when I do this rural soft with my palette knife, I don't want to do the palette knife so heavy that I am smudging what I've already put on there and digging into the wax that I've already done. So I'm gonna zoom in some inlet that focus a little bit on what we're actually painting maybe. And then, you know, as you work your colors, I'm going to do several times where I blend and add color and come back and blend. Just to give it depth. You know, as we're working to give a definition to kind of add to the interest. I don't want to spend days and days on little pieces like this, but I do want to spend some time working in each piece a little bit. And this is my fan brush. And I have discovered that the software, the paint, the softer the brush is better because the real heavy thick brush tends to just dig way too much into the paints. But I'm, I'm just here market-making. Maybe giving a little mood genus two. The clouds and stuff. I want to be real careful not to pick up that bottom colors. So I am doing the wife off of the brush, kinda like I do with the light off of the soft silicone scraper. And then to be real careful not to do this right in the middle like I just did because you'll get weird lines in the middle. Might be easier if you start at the edges and swipe from there, and then build and grow your piece from, from that. And I find it fun to mix the colors here on my knife too, because then I can, you know, have some interest in some differences go and in that layer that maybe, maybe we didn't have otherwise thought, do you like mixing and doing that? That's fine. Maybe adding some marks into our landscape. And then smoothing over some of those and leaving some of them. And we might come on back up here to our top, might do a little bit of blue. In that top part again. Kilo interests going in our sky. And I did pull it down into that part that I just did, but I might just layer right back on top of it because I wanted the sky to really come to that horizon, not sit above it. Like I didn't want it to look like they were a separated as I felt like I just had them. And then maybe one more sushi here of what we're adding in. Just mixing a few colors on my brushes to instantly adds some other depth in there with out extra layers. Maybe I'll come back with a little bit of a cloud cover. Now that we've kinda got it where I want it there. And I'm just being real careful too lightly smooth that in so that I have kinda interesting stormy little sky they are going, it's not really stormy, but like more interesting cloud movement, I guess we could say. And I might just tack a little tiny bit more into the bottom and you're so maybe with the brown and green, not Braille, but this is that orange Earth ochre and that tear a birdie. And just because I think it's fun, I like those colors. And I might do a little bit of the sepia in there just for extra omitted darkness. Oh yeah, that's beautiful. Alright. Someone than that. So let's just see what we got. I would normally wait overnight to feel that open, but I want to work a little faster. All nice and I don't wanna spend so much time on it that I work and work and work and rework it. I just want to play with color, get my swishing this, go in with my silicone scraper there and see what I can get. Oh, look at that. And as soon as you peel the tape, but instantly gets way more fun. Look how pretty that is. Oh yeah, love hat. So I'm gonna call this one like looking out at the mountains on a clear day because that ended up really pretty. And rather than overworked and I think I'm going to stop that when there and maybe play on a color study with some different colors. Because that was, That's very pretty, I'm very happy with that. Alright, so I hope you enjoyed this quick little painting and in atmospheric feel, getting those first Muji layers in there to really make that atmosphere for you. And then adding on just bits of color above that, some clouds and some landscaping and seeing what you can come up with. So I think I'll do some more cut color studies with you in this same vein because they're fun. And it lets you see some other colour ways that you might want to experiment with. And so let's get to it. 9. Warm red and purple Landscape: So I've gone ahead and take down another sampler piece here. And I've added some more colors to my palette. I've added this green earth by old Holland, which is another oil paint brand. I just randomly thought, oh, that's a pretty color. When I was at the Dick Blick, I've added in a ivory black by that old Holland company, added in a whole lean, neutral gray, which is this one, that's the green, that's the black. This is an m gram in-company turquoise. And also added in someones or Newton cadmium orange and quinacridone violet just because I wanted to experiment with more little color studies and I don't want to keep going back and forth mixing color because it just kind of slows down. So if I want to experiment with, say, a sunrise that looks all pink in magenta with those light Misty colours. I want to have a little bit of that color available. So I'm gonna go ahead and get that first layer kind of started. Probably with the brown. Maybe a little bit of this orange Earth. Maybe not. Maybe I'm going to just rethink this. Hang on. So maybe actually want that under layer to be the magenta. Let's go ahead and do that. Magenta feel that I was just talking about. And then that'll just be the undercoat. That won't be my final piece. But it might be interesting to see what that does as we go. And so let me just see if I can spread that out over here. And again, I've just taped the paper to a shape that I like. I don't want it square. I want it to look a little more Landscapes in the shape. So I've just taken that little bit larger piece that I had cut and just made a larger, just fill it in large ups kinda wanted to. Alright, and I'm just kinda scraping some of that extra paint off and we'll just say that over there. And then we can kinda come in nail with maybe some lighter colors, maybe white and gray at the top. And let's just see if we, as we blend this. Because I want it foggy. I want that slight undertone of some color. I'm going to start by just getting the paint on here. Limb will smooth it out with our with our silicone Bowles Great for. And then once I smooth it, then I'll add in some landscaping and then clouds and stuff. But I want to get these first, initial soft layers go in. I like that. I almost want to have the Landscape come in, but not all the way. Kind of like maybe we're at the lake and it's kind of a grey, misty morning. So I'm just going to start adding in some of these layers and I'm going to zoom in a little bit for you so that you can just see what I'm doing here. And I'm just kind of mixing the white and the gray for the moment. Yeah, there we go. I like some of that movement there. And we could come in with our brush and we could add some movement in here too. As, because as we go back and smooth that out, we'll have a little extra movement in here. And I might add a tiny bit of that. Maroon and white Bu, like as a bright color. Just a tiny bit, we could add in and then maybe we'll get some of that in our swipe the clouds too. And then be careful not to set your piece right down in the middle because that, that'll make fun lines, not fond lines, it'll make lines that you're not happy with. So let's, let's actually go in and maybe add in some landscape here. So I think I'm gonna do in the maroon color, but also mixed with some Brian and maybe some of this orange Earth come back in and lay in a horizon here. And I'd like you to have in the maroon in it because our overall picture is kinda maroon. Like having some of that in there. Kind of wanted that point to be a little steeper business. Okay. Let's see if we smooth in some of this. It's not doing exactly what you want. You can do exactly what I just did and swoop some of this pipe back off. We can come back and add more to the sky because that wasn't quite where I wanted it. Maybe. I'll get this a little swoosh year with the sky. Pull this back in a little tighter. That's I wanna tighter in there. So let's work this in a little bit more. I'm just coming in with that sepia, that magenta color, and a little bit of orange. And then I just tacked in a little bit of that black because I want a little bit of the darkness. Not so overwhelming. Some of these other colors to shine through, but did want some of that in there. And I might come smooth this out and then we'll see if we're ready to be in our final layers. Because I still want it to be very dreamy. Smoosh. Like we're looking through the mist on a foggy morning. So I want this bottom layer to give me that impression. And that top layer and another layer on top of that to give me my definition in my texture. Now I'm just being super light here with what I've got going on, barely skimming the surface to give myself some interest. Somewhere, I picked up some orange, which I don't necessarily want there on that layer. One is the oranges in there a little bit, just not overwhelmingly everywhere. Just kinda mixing in the gray and the white here on this layer. And I might do a little bit of smoothing in here. I didn't come in with my fan brush for a little bit of movement here. Very softly. Like that movement down there. So mark this guy a little bit more work. I'm just kinda mixing to that little tiny bit of paint mixture that we had, the white and the gray over here. I'm just mixing those a little bit with my palette knife. Just to give some differences there in the colors that we're seeing as I rubbed goes on. That's pretty. And then I'm going to pick up with my paint and I can zoom out if you want to see a little bit of that. Ahmed, I'm thinking I'm going to pick up again this magenta and a little bit of orange, a little bit of CBS, and a little bit of lack. And then just come back in here and add that layer in there. Yeah, I love that. Fall. Super-happy with that. And I could continue to try to really switch that out for the really smooth atmospheric. But I really thing on this one, I like that little bit of texture that we've got going. And you know, as you pull back from an abstract, that's when you really start to see the colors mesh. And so I'm gonna take my gloves off and pull the tape off and just see what it is that we got on this one and then I will set this to the side to dry. I had my gloves off in between and I touched something that was blue and I got blue everywhere. I think it was that fail, I blew that, did that. Oh my goodness. And you gotta be real careful with touching your paper. That's why I made these a little bigger so that I can come and trim these later because I know I'm gonna get that paper dirty. Ha, look how beautiful that one is. Oh my goodness. That's really beautiful law than that one. So I'm gonna make sure real quick that I saved my color palette on this one. And then we'll be set. So I did that on that first one, but I didn't show you that I was doing it. So let me just do a color palette real quick with you on how I'm doing these. I just have the little piece of leftover Arches paper because I used to do these on like mixed media paper but they don't, they, they, they get that little weird oil halo in it. This is what I will do and what I got all over my hands. But they get that really weird oil halo lighter and then the paint starts blinking off because it's not really securely on there. And I'm just going to take my palette knife here. We'll create a little square of each color. So like with the first one, this is what that ends up with. I create a little square of each color, or I'll write down the brand and the color that I used. And then I store that away with that piece of art. So that later, I wonder, how did I get that? Now I know. And I used a little bit of sepia. There we go. Alright. So then what I'll do is I'll just go ahead with my pencil. And I will go ahead and write an acronym violet. And then Winsor Newton, cadmium orange. And then I've got the old Holland Reebok got titanium white. And I've got a neutral gray. Hi, this one's whole being. This one was sepia. So that is holding sepia. So then I will set this up on the back of my table to dry. And I'm gonna set this right with it so that I remember later, this is what colors I used to get this pretty atmospheric looking landscape. And I could revisit that color palette again if I really, really love it. So I'm gonna set that one up to dry. And then I'll probably do another color study because the color studies really are the most important feature for learning how to work with your paints and seeing how the wax mixes and trying to get, you know, different composition ideas and color ideas and just seeing how things work together. And really you should just do hundreds of these. So I'm going to try another color palette. So I'll see you back in class. 10. Blue Landscape: So ready when another color study, I've got my piece taped down. And I have the same colors here on my palette that I was working with by thought. What if we did one that was mostly Blues and why you can kinda miss D. Like I'm out in the ocean and it's foggy out there. So I'm going to work with maybe the white and the gray. This yellow-blue, not diluted blew this turquoise. This is m gram turquoise, that's the neutral gray and the white. Don't worry, is this one by holding 2p and the white. Better clean that up before. I have a tendency to do, I'm a messy painter. And I'm going to maybe add a little black. This is that I've realized that I've got out by old Holland. Blacks are, I think pretty common from every brand, but some of these other colors may do kinda change from brand to brand like that ogre changes quite a bit from brand, brand. What I might do is go ahead and lay in kind of a white and gray top here. Sky. And maybe have the blue kind of common around, but not be as dominant on the whole composition. I wanted to kind of leaf in from the bottom there. And I might even makes a little bit of this white and a touch of that gray in with that blue blue going on in there. I don't want it to be so vivid. While the lighter I give, the more till it gets, look how pretty that is. I might go ahead and lay a little bit of this color up here. I was thinking dreary day that as I lay that teal up there, it's less jury and more cheery. So let's go ahead and get that soft and squishy and do that with my mobile scraper, just get real soft and wishing there. I really want this one to blend way more than some of the other one says blended. I want it to just be very atmospheric. Sound will come in with some of our turquoise color. And I'm just almost want it to just be a sweep at the bottom. I don't want it to be overwhelming to the whole piece. It almost looks like see there, then it will come and start getting some of this to beam or wispy. And I'm wiping my thing every time because otherwise we're going to end up with weird paint streaks. And I'm trying to avoid weird paint streets. Let's see. Let's go back here with this grey and white shade. And I might even want like a little bit of the black in with that turquoise UDL on turquoise up there I was pull that back out. Let's be real careful. What you have on your night when you go to pick up your paint so that you don't have tons of other wrong color makes on top of like the white. Just like I did right there. Sorry. So might take my fan brush, pull some of that down. Little textural layer in there with some of my clouds around maybe. Then I'm a common smooth back. Some of that texture I'm lead and some other very soft amount there will come back with a little bit of blue and maybe little bit of black. Just pull my landscape a little and see what that does. Homos were a little more of that gray in the sky. I might take a little bit of white mixed in with just a tiny bit of black. And Micah gray rock admixed more of that neutral gray, but I might want some stormy gray out here. And with our Just kinda working that a little bit in real soft here with the gray and the white and the clouds here. And then I might push that back a little bit. And unlike in like inwardness is sad little loop and here with our fan brush. And I might just go ahead and push that back a tiny bit and we'll see where we're at. We might be there. Oh yeah. So for some of these, I'd like you to try doing something like this where you don't overwork it. We get a little bit of sky, a little bit of movement in the sky, softened out your pieces. And then call that a day and just see where you're at. With that piece. Some of these, you know, we can weigh over work it that almost looks like it needs more though. It's kinda thin right through here. And if we weigh over work, it doesn't know. It's almost too much. But I do want it to actually have enough paint on there not to just look like an under painting. Maybe some extra details right in there. Oh, I love that. And I was just mixing a little tiny bit of that blue and black. And then I'm just softening and I don't want it to be super-duper textural. Coming in rural solved. Getting some of those details soften right here at the horizon. Like super-duper solved. That was not a soft design. Tend to hang onto. Oh yeah, I love that and we'll add a little more texture right up here to the sky. And I think I'm going to go with this all clicked back. Yeah, yeah, yeah. Super-duper soft. I'll pull this back just a tiny bit. My Sure. This is clean. Wipe it each swipe. Okay. Oh yeah, that's beautiful. I think before I overwork this 20 times, I am going to, well maybe I'll add a tiny bit, a textural element like right in here. But for the most part, I'm gonna go ahead and call this one done. Oh yeah, like that. Alright, well, I fought my tools peel doesn't see what we got before. I'm tended to keep on adding to it. So this was the teal in gray and black. Basically there's not lots of color in this one. We get fat. And exactly why I should have gone ahead and taped this down here, but I plan on Truman these up, so that's OK. Ooh, look how pretty that is. Just one tiny piece right here. I hope I don't ruin it. There's like a blue speck. Now. Yeah, right there. This driving me a little tiny bit crazy. Oh, there we go. Who don't touch it again? Don't touch it. And there we go. So that's what we've got with a little bit of tail and gray, some love in that one. So before I forget, let's just make our little color palette here. And I used this turquoise, and I used this Gray. And I use white. And I do believe I used a smidge of this black. There we go. And then when it's dry, I will trim that up so that we don't have a splash of color down there. And then I will write next to all my colors what they were. So this was him Graham, turquoise and this was hoping neutral gray, tiny white. I robotic. And then I will just set these mock there to see what we get and let it dry. And so I love that one. I'm happy camper with that. So let's just keep on work in color studies and I will see you back in class. 11. Orange & Brown Landscape: All right. I've got another one taped off. It's time I taped off the bottom so I don't paint on it with my random movements. Still got my color palette over here and I thought maybe I could experiment with the ochre. Again, I like the yellow ochre. I'd kinda like that to be more dominant in this piece. So I'm just going to grab my palette knife and think you're, I think I might do a bottom layer of Orange, which a lot of people do orange under blue on. That's really fun. I'm gonna do the orange. Really good here under this. Dust out, pretty good so that it's not left. That thinking will come back on top of this with some ochre and white. Just experimenting with some color here. So I want you to get creative and kind of think of colour ways that you might not normally have thought and see what, what can we get? And I think I'm gonna do this one with the landscape swooping in from the side. Or I could do it more landscaped, less sky. I might be interesting to. So in that case, I might want, Hm, now that I've thought of that, let's do something completely different than what we've already played with. I might want to go ahead swaption some of these colors and get it with my nice little dreamy back, back ground. Go in here. Look at that. So pretty. And maybe we want more foreground and less sky just to see what we get. I don't have as much boil mixed up though. I've got a little bit of this sepia and this brown. Let us just kinda come in like this. Oh, look, look like we have a cliff right here. Let's start like, ooh, yeah, yeah. I get so excited when I'll put something down on paper and then I'm like that's exactly what I was kind of imagining in my mind. Got something, catch it, paint there. Let's see. Now I think I'm going to need some more bet sepia and mixed up though. Cause I'm gonna need that to continue adding layers. But look at that. Let's go ahead and watch this nails. Yeah. I love it. I love it. Well, you mean to do that I wanted to get a little texture but not quite pulled a paint off, so let's smooth that back out. And let me zoom in for you a little bit while we're painting. Alright, and so I actually am going to need some more CVA. So let's pull the sepia out and I will mix a little more of this sepia with wax while we're going. Alright, already mixed up some CBF force. So I am ready to go. And I think I'm going to blended the sepia, this transparent earth orange and maybe some black. So I get different shades as I'm lightly putting that into my foreground. Like how they do their own blending with the wax is you've got some other colors go went in there with it. That didn't mean to do that. And there we go. I want it to still be kinda dreamy. So let me see if I can all that back a little. And I'm just going to continue adding some layers here as I'm working this. Come in with my fan brush for a little bit of texture. We can just see we like it or not. Oh yeah, look at that. Adds a little bit of excitement up there in the sky. Very softly, barely, barely touching, pulling some of that back a little bit. And then I'm like come back here with my yellow ochre and some white mix together and create a little more interest in our sky. Hero. Careful that you don't get a weird color of paint on your palette. My visual walk and I just touched that down into that maroon and men, that's a bright color. I don't know that I want that maroon in this painting. So I gotta be real careful about setting that palette knife down. Or I did not intend. Just getting some smooshed paint, go and hear a little more of the black and orange there. Light come back up here a little bit to give me some interest up here. At the wrong angle, soft scraping my painting. So don't be afraid to turn your painting as you're working because I'm at the wrong angle and I'm scraping paint off that I don't intend to. And here we go. I don't mind if I have a little bit of that orange background peeking through. I just don't want it to be so stunningly obvious. Looked back. Oh yeah. Just super duper light here, just as light as I can possibly do it. Here we go. And I want a little brown and orange here at the bottom. Oh yeah. Oh my goodness. Will go ahead and smooth that tiny bit. For some reason I have this stubborn pisa orange hanging out up here. I'm happy with the whole thing, but that one piece a orange, the orange under it. I just don't want there to be a whole swatch of orange that looked weird. As I pull out some more orange. Alright, got that weird magenta on my scraper. Here we go. Push that back a tiny bit. Alright, I think I'm going to call this one Good to go. So I like that. So let's go ahead and pull the tape off. This time. Not smart and type the bottom part there. Even though I'm probably going to trim it. I do like it when the whole papers clean. Look at that when we peel it off, look how pretty that is. O I'm like in that. Now that I see it though, almost wish I had pulled that a little further in. So a very interesting little experiment there on what we've got going like almost wish I pulled that in a little and there was little dip. But I think and we'll go with it. So I don't want you to think too hard about these. I want you to, to just get some under your belt, get some wins, get some color palettes going and some texture and just see what it is that you can create. So let's just go ahead and mark our colors on here. Smoker, I do like this color palette quite a bit, and then that white. So I will go ahead and write our colors next to that one and set it to the back and let it dry. And then I might play some more. 12. Stormy Sky Landscape: Alright, so back to my color palette that we did in the mixing video, because the original mixing video I apparently didn't record. And so I've already got my paints mixed up with the paint and the oil, the occult wax and a little bit of the Galerkin, which is our paint additive that's going to make this dry even a little bit faster than it already does. And it's going to give us a tiny bit of sheen to our painting rather than completely flat and Matt, like just using the wax would, um, so it's fun to experiment both ways. And let me tell you this galaxy goes a long way, so don't go the paint store and buy a gigantic one by the smallest quantity you can possibly find. Because if you keep it long enough, it dries up and it goes bad. So tiny, tiny bit of this is all you're going to use per mixture and bada, smallest container of it that you can find. And then if you decide you love it and you need something bigger, you can always add to it later. But I've already ruined one of those where I didn't use it at all, but it was open. And so that paint I mean, that galaxy just dried up to real hard surf stuff, liquid that didn't didn't pour out anymore. But I'm I'm just using transparent earth, orange, yellow, blue. I've got some sepia out here, I've got some all of green. I've got that cool gray and titanium white. So I'm just gonna play around with these, these two were, by whole being. This blue is a Winsor Newton. This is Gamblin. So you can kinda see this is the nilly AAA. I'm not really stuck to one particular brand. I just go by the ones that I think are something I might like. Then I just end up with a lot of stuff. So I'm thinking that maybe we might wanna do a grassy morning on a gray Mourning Day or assumption. I don't know. So let me try out this cool grey, maybe some white. I'm just going to start throwing some paint. They don't cause on this first layer we're doing are under painting here. And let's just see what we get. Love to experiment. Maybe I'll just go ahead the hallway with that. And, you know, I'm kinda lie in thin layers. I don't want to lay a super heavy layer to begin with because then I'm big and write down in that when I start lay in some of these others. Let's do some of this orange and maybe a little bit of this green. Maybe we'll start with some cloud cover up here like that already. Maybe a little bit of this sepia, really like in the landscape part. Love, really blending those colors in good. I'm going to zoom in so that you can really see better what I got going on here. And I'm going to start mass mushy layer. I loved the first layer to just be smart. She and dreamy and kind of get you started your laying the colors you're giving the foundation. I don't want it to be personally really heavy. And look at that. And I want it to be super heavy. I want it to be real slushy and dreamy on that first layer. Just my preference, Definitely. Start getting the paintings going and see what really works for you. Let's go back with this grey and white. Maybe I want to come down a little further into that landscape. That's fine. And then I'm gonna put a little bit of the orange and the green and the CBO all on my paint at the same time. And because I like it to kinda just blend even as I'm putting them all one, i like that. Just kinda natural blending that it does. Two might type one of our fan brushes. And you know, as I've discovered the software, the paint softer, the brush needs to be. But I kinda like the real soft stable one and then this real solved kind of orange one. The real stiff one. When the pain is this, when the paint is this wet, this real stiff one just digs right down into it and I don't love it. So if I'm working on wet paint, I have discovered that I really prefer these two fan brushes, the software one, This is a fan satellite by Ulrich, and this is a Red Sable scholastic Bullock brush. And this is a four and this is a six. And these are some good sizes. I'm going to use this one I think, and just pull some texture into here. And then I'll layered on again and you know, I like the different layers. That's why I go ahead and paint it and then layer it in and paint on top of it some more. And I like those under layers in there to just kind of add to the interest. And I love to slow them back out. And just build until I get a final look that I'm just super excited about. It. It's not all about getting one layer and being done for me. And be real careful as you're putting stuff on with a palette knife that you're not straight on. You're kind of at a slight angle because if you go straight on, you pick up paint just like that. And you're wanting to kind of avoid just randomly accidentally picking up some paint. And when we can also use our brush, let me actually let me, I want to do this last I think so let me come back up here to the clouds and work that sky a tiny bit more. I love that when you get that random paint spread like that, it just looks like a wispy kinda cloud out there. Come down. So oh, look at that. I just like smashing the paint around really. I mean, this is like the most fun, just like you're playing with cake frosting on. Uh, yeah, let me get that really yummy smokiness in there. Oh yeah. I'm back with my, you know, I know you think I'm doing the same thing and I'm kinda doing the same thing over and over, but I want the underlayer in there. I want the light and the color variations that those layers add to something. So that then when we do finally come up with our final layer, we have that depth and interests to RPs. Alright, so back with the orange, the green, and the CPO. And then this might be the final little layer here. Let's see. And I'm just kinda going up and down and smoosh it all on. And given that impression of many layers in there when really it was like one that we did here with our knife. Capillary. That is, oh my goodness. So this'll be the fastest one. You know, the more of these you do, the faster they get. Oh, I think I might just stop right there. That is pretty look how pretty that is. Because the more you do, the faster you'll get, you'll get in your little rhythm. You'll kind of figure out, oh, colors you love and what do you want to shine through? And, you know, if you decide to do something like a 100 day project and do a little video landscape every day. If you look at the picture you got from day one to the picture you got at day 100, it'll be drastically different. You've honed in your skill, you've honed in your technique. Let's peel this tape off on me. Just peel this tape off and see what this looks like. Because that I know it was the fastest one I painted for you. Oh, look how pretty that is. Oh, my goodness. This might be my favorite. Let's say that every time I paint something because they're all my favorite, but I just like so many things and whatever I do last is my my most favorite At the moment. Oh yeah, look at that. It's like beautiful mountains. I was gonna do a totally not what I had planned. I'd planned on doing grassy, but look how beautiful that is, all my goodness. Alright, so before I forget, I definitely want to save our color palette. So I'm just going to take a piece of paper because I'm not sure where I stuck my little scraps. Let me set this on the way before I ruin it. And I want you to always, always, always save your color palette because you're going to love looking back at these and seeing what color did you use. Okay, so I know I had the fellow blue on my original paint palette over here, but you know what, I didn't even use it. So I use the white paper towel here. When I go through a bunch of towels. So if you want to just pick up several roles of cheap towels, you're going to be using them, so just have them available AND that use this orange. Kinda wanna do another one with the same color palette, but maybe focus on something else in the sky. So might do another one. You know, I don't ever like to. And then we've got the gray and then make sure you write what those are. You're not going to remember that lighter. So we're definitely got titanium white. And then I use the whole being sepia. I used the whole bean. Olive green. Did not use the blue, but I did use the gambling earth. Orange. And I used some LEA Cool gray. And then I will set this with this as part of my future reference and as part of my just can't wait to go back and revisit this color palette. I love saving color palette. So I'm gonna set this one to the side. Look how beautiful that turned out. And I may use this exact same set of colors because this is a lot of paint left over and I don't want to waste it. Don't waste your paint. Pain is expensive once you start buying these nicer brands. So you want to have a trash palette or something sitting to the side or a few more pieces of landscapes ready to go so that you don't waste the paint that you had there. Don't just throw that out. Keep some extra things to the side and experiment. Alright, I will see you back in class. 13. Orange & Brown Cliff Landscape: I've got another piece prepared and ready to do another little landscape. And I'm doing another one because I had some paint left over from our last project and I've kind of moved him over all my color palette over here, so I'm still going to use them. But I also thought it might be fun to play with a pink. This is called blush tint. Must know LEA. And you can easily probably get that pink with like a one of these raw CNRS are robbers with little bit of pink and little bit of white probably mixed in. You don't have to get one of these expensive ones if you don't want. But I do like the smelly colors, but I thought, wouldn't it be fun to have maybe some paint in that sky rather than gray or blue. Like it was, you know, a sunset and the sky was lit up with the pink and stuff like that. So I thought that would be fun to maybe have that is my under tone and have pink in the sky. Just to mix it up a little bit, I think it's fun to explore other colors. You might try orange in the sky, you know, some type of ochre, yellow, just all those colors, you know, go out one day at sunset when it's particularly colorful and just see what colors are shining in that sunset. I'm just going to get that laid down on here. And then I'm going to lay some sky here. And I did mix these also with that Gaussian because on that last one that we did, which is still sitting back here wet so I'll try not to mess it up. I did actually like how crazy that made the paint mixture. And I enjoyed using that GAO alkyd. And I've been doing the cold walk stuff for quite a long time and I'll be honest and say, you know, I've just been in my mind, why don't use the gal kid all that much. But after, let's mix some of this and let's just go crazy. This is that transparent earth oxide. But after using it on that last painting and here on this one, I like how creamy it is and how yummy. It's making this paint. Very, let's just start layers. So I'm just starting that first layer and getting it smushed in there because I like this machinery. And come back with some of this pink, maybe some more cloud cover. And maybe I want to be in the mountains and I want to make this a cliff and come down, maybe similar to that Oakland one that I did earlier in class. I wished I had a little bit better orientation of my Cliffs. I believe I had talked about in there. And so let's just go back for that composition and see what can we get this time. But I think I want to get my sky pretty much late in here the way I want it for. I lay that cliff in there. So let me just zoom in for us. Better. See what we got going on. And I like how, you know, using that fan brush gives you some movement in that color and changes things just a little bit. And then I might smooth some of that movement out, but it doesn't take it away. And I'm I'm almost what, you know, as I get wider and wider, I'm layering light in there. So like, you know, when you're all done and you get that almost light effect as it's coming out. I like the layers underneath it. Yeah, because then you start to really see beautiful, beautiful designs behind the stuff or love that. I'm trying to be real careful not to start, you know, quarter inch down from the edge there because you don't want it to look like all your cloud cover started at a weird place I want it to go off into, but not so often to it that I get a weird white line at the top either. But I want the top to still be part of the painting. I don't want to tear the tape off and then think, well, what did I do with the very top there? Why did it do that? Because after that, before too. I really love With the skies do and let's just get our sky down pat. And then we will do or yummy mushy, two or three colors in that cliff part. And rather than overworking it because that first sampler I did earlier with the ochre. I have it over here. Let me see if I can get it without with this this one right here. I feel like I'm overworked it early on. And this one, let's get the sky set. Let's come back and add in our cliffs maybe and just see if we can get some mixing. The orange, the, the green, the olive green, the transparent earth orange and the CPI mixing that, Oh my knife again altogether so that as I start to do my little squishy landscape marks here, they, they just naturally blend as I'm going. And we'll just see what we can get a one and maybe more of like a like we're at the, like there's a mountain over here may be or might end up reading that I did that, but we just can't see it. We can get really liking it. I'm not sure I like what I did right there with that little swoopy part. But maybe I like it. And I'm just continuing to kind of mix those colors on my knife here and then just work in it here. It's almost like I'm getting to where I really like doing the sky, getting it were exactly where I want it and then filling in the foreground. So that might be, you know, as you go in, that might end up being the technique that you like. And we're like that. And it's almost like we have a little bit of sky that's coming through maybe that some water that Escalade that's reflecting from the sky. I like that. So I might not even clear that out. You know, I'm kinda you kinda want to work on a little bit of your mark making when you're doing this, maybe, maybe you're going to have some treeline and maybe want some little extra mark in there. You just want to experiment. I really like that now, but I did that actually, it kinda gave me that extra little bit of blending and movement that was nice. Look at that. That's got some fun stuff going on there. Just a little bit of the mixing of the three again, just kinda come in back, maybe some final touches here. And then we just might peel this tape and see what we got. Because you don't want to overwork. I like that. You don't overwork it, but you don't want to you definitely want to get it to a place that you love it. Ok, I just totally did not mean to do that. Let's just put some movie either we go but put some paint, I get there. I don't think too, too hard. Get to a point where like whew, I think I love that and then go with it. He went fuel lines and here, a love that just very softly with the tip. I'm just adding in a little tiny bit of lines and texture there. That's fine. Alright, I do love that. Maybe I want tiny more texture with the clouds. And again, this will just be Yomi layer on top of everything we've got Google and I love those layers that you see through the layers. I love that. All right, let's, let's call this one appeal a tape and just see what we got. And then don't forget to of course, save your color palette. Fell love when you finally peel the tape, you reveal everything that's not covered in. C. I like that one. It gives you that crystalline and you didn't don't have that pain outside that I love that. Ooh, look how pretty that is what the Pate, the tape peeled. Super pretty. Alright, so I'm really happy with that one too. Now might've been fun too. If we did. Maybe streaks of color get creative with your, with your colors and you're maybe just throw a horizon in the front with some nice dark shades. But be creative with what you do up there in the sky. And we, how fun is that? All right, so this one I use the paint, just make sure you get your color palette in. I've used this earth orange. I used this olive green. And I still have a ton of pain over here. So I should definitely and I use this boron and I used titanium white. So totally different loads using a very similar color palate as the last one. But alone we have going on there. And I'm going to write my colors on my color palette and set this one to the side and let it dry. So hope you enjoyed this little painting and I will see you back in class. 14. Grassy Landscape: We'll do another little painting. And I thought, since I was already going to do it, I might as well film it. I had planned on not filling another one, but I said that paint left over and I just hate to waste it. And so all I'm doing, I've got the same color palette that we had out from the past couple of paintings. And I'm taking this yellow, blue and this blush tint and mixing it together for a rather pinkish, grayish, dulled down kind of color here that I thought might be really interesting in the sky. And just see what we can get. I just love these little landscapes. Even if you just get into one little rhythm. And you do the same landscape over and over, changing the colors. They end up so different each time you do on that. It's definitely worth just playing and practicing in they're like come back with some white now up here. I'll go ahead and do my little kinda get it flowing and blending here. Just real soft getting that under layer, getting some movement in there. And I can see it in Psalms and you can see what I'm doing. One, hate when I zoom in there, you can't see the color palette at the same time, but what you're really be able to see the painting itself not so little that you're like, what are you doing? Might take my fan brush here and It's some of that color movement going in there. And rather than that being a white cloud, maybe I want that to be more of a slightly gray clouds. So maybe over here on my color palette, I can mix up a little bit of this cool grey with some white and maybe not have a white, white, maybe have a slightly grayish white cloud. Looks a lot like that may be so that it's not white, white. And then starts moving some of that up here for some of that cloud cover so that it's not so stark. So consider that too. You know, you're clouds don't have to be white. If you look up in the sky, Clouds are all different shades of white and gray. Gets some movement here with these. Ooh, look at that. Well, what all the layers adds to our painting so that we really get that depth. And I'm just barely skimming over the surface there so that I get that paint to give me this yummy texture that we get in there. Just a tiny bit of paint here on my palette knife. When I do that too. Ooh, that's some fun movement now. And that cloud and that sky just lying a little more and a little more paint on here, just really getting some depth. And this guy, you don't be afraid to spin some time. Once you've gotta direction that you like, go and spend a little time perfecting that little area before we come in with that foreground. Or then you need to do that. Unless you want to be real careful not to gouge the paint back out. All right, so let's come back over with one little skim here. Really liked this depth and color. I think I'm going to go ahead and smush it in so that I can do it again. Not do it again on purpose. But because I lost some of the definition I wanted in some of that, some of those clouds I lost a little bit. The definition I wanted up there. I might come back with the white because that'll actually give me a little bit color tone difference from that grayish white that I've been using. However, the subtleness that I have in the sky now, look how beautiful this is. That subtleness that we've got going on in there. I love that. You can tail to that. It's been layer after layer after layer. It's not just one light year on there. I love that. I think I do want this to maybe be a little more with the green and the sepia. I don't know. Maybe I'll throw in a touch of this pink, this flesh color. Ooo, yes, look at that and build our horizon line right here. So just a kind of a snap of an unusual color. And maybe it implies there's flowers on the field. I mean, maybe that's what I was feeling here. Maybe they've got some flowers out there and that little bit of pink count against me that and I like it when there's movement. The ground, not just straight. I do really like it when I've got some movement down there. So maybe some scrapes, maybe some little taps and we'll get a little more movement. Maybe we've got some lines in there that we can scrape in with our knife and then kinda tap back over those, just kinda get some color variations. I'd like there to be some interest in there. So you're not just looking at just applying line for your horizon. Look at that color with that green. Green is yummy in it. And I like there to be like a couple of spots that are dark and I like some lights so that, you know, it kind of implies there are some depth. Then there may be a little more of this. Throw in some pink flowers. And I'll work this one for just a minute till I get it right where I want it. And I'm just going back for a little bit of the green or the CPA just to kind of now the paints awful thick and now you've made it too thick. And you can work on your landscapes. And yeah, over a couple of days to, you know, if you if you want to work dry on dry paint rather than work whet paint like I'm doing. You know, you could let each layer dry and come back to it tomorrow and just see, you know, what what it feels like to work each layer. When the layer under its dry, that's kinda fun. Don't, don't do that. And I'm just going to put some brush marks and just see what that does for our, you know, so some market-making in here with these high like that kind of grassy look that we just kinda created. And I might come back with my silicone tool and soften that out just a little here and there. Oh, I like that little bit of we might even come back and do something that we've not done before. Maybe tap our fan into one of our paint colors and see if we can tap a tiny bit of color in our landscape. Like it's a field of flowers and those are a little flower beds. So think of some of that too. Like maybe you want to tap in some flowers here and there and just get something completely different. And this could be something where you're doing it on a dry layer, like maybe you come back tomorrow and tap a little bit of that into a dry layer to really get defined. And we'll come back on here and smooth and a little bit. That's one reason. Heinz, few lines in here for some mice mood a little bit of it. I just want some depth and interests go in there. Just see what can we create. Maybe swoosh our brush around Psalm, that's pretty like in the little squishy brush marks here. To you overdo it. Yeah, that's real pretty dire. She's tap a few flowers in here. Oh, very pretty. Alright, I might go with that. Let's just take a look here. I've got a little bit of movement there. I've got tiny flowers kinda brushed in. Let's just go ahead and see what we got from ight. Now that I've said that I might come back with just a tiny bit of the green and brown. Give myself a little tiny bit of darkness that I've worked back out of here. And then I promise I think I'll be done and I don't want to stay on the foreground forever. I just want to make beautiful little pallets and then just see what I got for the day. Who seen I like that, that I think that did it for me. That little bit of extra with the dark movement in their very pretty must tell us take the tape off. Alright, let's peel the gloves off, see what we got. And then I will save my color palette on my little piece of extra paper. Ou see the peeling the tape is really want completes it. I'm, a lot of times I'm not happy with what I've painted and until I feel the tape off, then I'm like, look it up. And I get so excited. That's what brings me back again. That excitement that would, that magic Nas of peeling that tape off. Look how pretty that ended up. Now that we pull a bunch of the tape, there we go. The cup, beautiful, that is. And I like the little bit of bits that we've got in there because it kind of made it like we're looking at a field with some flowers in it. So super happy with that one. And then save your color palette. And I'm gonna go ahead and cut off a little piece of, I might just cut this one off, but I think I'll cut a little piece of the arches and saved my color palette. And then I will see you back in class. 15. Finishing your pieces: Let's talk about finishing our pieces. So once you have painted one of these pieces, how do you, how do you finish it off? Everybody wants to know how to finish the painting. So, you know, with our traditional oil paint, they take so long to dry that you can't put anything on top of them for about six months. You've got to let that fully cure before you then add something like a varnish. With these, they dry to the touch the very next day. But you don't want to be adding anything on top of that as a finish at this point, you want to let those cure for several weeks, at least before you consider anything else. But do you even need anything else? I mean, to be honest, this is a finished just like it is. You don't have to do anything else to it. If it's a paper piece, then you can frame them. If it's a piece that you have done on cradle board there ready to hang, you know, paint the sides in a paint in a color that matches your landscape. And then the finished sides and it's ready to hang. If you do want to add something else on top just to make sure that it's really protected. Then what they recommend is a clear coat of your cold wax medium, just a real thin layer of that. And then you let that dry for many, many days up to like say, a week or so. And then you can come back with a soft lint free brush and buff that surface. And then that's done. You know, you've got your clear coat on there. You want to not be Buffon it before it's fully cured because it'll pick up the lint of your towel, even though if it's lint free, it'll still pick up a texture of the cloth you're using. So you wanna make sure it's dry way before you try to Buffett, but you can add a clear coat right on top of it. Let that sit for a while and then come back and buff and that could be your finished coat. Some people also want to know if you can varnish these. And it's, the answer is kind of yes and no. If you contact gambling and you ask them about their gam var, varnish for oil paints and stuff. And I will tell you if you're using a mixture of paint and wax, the wax has to be less than 30% of that mixture for you to be able to use the varnish on top of it. And if you use just a tiny bit of wax less than 30% 70 is paint. You've done your painting and you want a varnish it. I'm gambling says the GAM var works great with that. If you use a mixture like I'm using, which is more 50-50 waxed paint, you cannot varnish it. The varnish has solvents and things in it that actually start to break down the wax and stuff in your painting. And it will actually ruin your piece. So you don't want to varnish it. If you have a 50-50 paint mixture, in that case, the leave it just like it is or later go back with a clear layer of the wax and then call that done. And you can frame these like a regular painting. I'd mad it so that there's space in between the glass or a space filler so that this is not directly on the glass. You don't want this touching the glass. You could also, you know, if you're using cradle boards, if you're painting a little cradle boards, you can just paint the sides and they're ready to hang. So there's a couple different options there. I would definitely mad it and frame it and just see how beautiful your, some of your pieces are. Pick a piece that you love and see what you can do. Like, I particularly love this one. I really love this one. So these may be, I really love this one. So there's some really good ones that we've done here in class that I'm really pleased with and happy I even like quite a bit my flower fields that I created. I like that. So super several that I have just fallen in love with. And actually my want to hang him art room here as inspiration for later for days that I'm feeling discouraged because nothing works out because there's plenty of those days. So I hope that gives you a good idea how you finish it. You can only varnish it if it has less than 30% of wax or it will break down your painting and ruin it. So at them at the least, leave it just like it is. You don't have to do anything to it at the most clear coat, let that cure and then you can buff it to a little Xin after it's cured. All right, so I will see you back in class.