Oil Painting For Beginners - A Simple Landscape | Sanel Busuladzic | Skillshare

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Oil Painting For Beginners - A Simple Landscape

teacher avatar Sanel Busuladzic, Oil Painting For Beginners

Watch this class and thousands more

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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

23 Lessons (2h 24m)
    • 1. Intro: What You'll Learn

      2:42
    • 2. Supplies And Setting Up Your Palette

      3:10
    • 3. Preparing The Thin White Medium

      1:13
    • 4. Applying The Thin White Medium

      3:04
    • 5. Let's Paint A Simple Sky

      5:21
    • 6. Distant Mountain: Mixing An Under Painting Base Colour

      1:51
    • 7. Distant Mountain: Under Painting (Block-in)

      4:57
    • 8. Distant Mountain: Highlights

      2:47
    • 9. Distant Mountain: Shadows

      8:18
    • 10. Distant Mountain: Mist

      6:17
    • 11. Distant Pine Trees And Mist With 1 Inch Brush

      8:54
    • 12. Second Mountain: Under Painting (Block in)

      4:37
    • 13. Second Mountain: Highlights and Shadows

      6:30
    • 14. Middle Ground Grass With a Fan Brush

      4:02
    • 15. Middle Tree Line With A Fan Brush

      11:38
    • 16. Foreground: Under Painting (block in)

      3:20
    • 17. Foreground: Highlights And Shadows Part 1

      9:28
    • 18. Foreground: Highlights And Shadows Part 2

      10:10
    • 19. Foreground Pine Trees Part 1

      14:26
    • 20. Foreground Pine Trees Part 2

      6:41
    • 21. Foreground Pine Trees Part 3

      10:35
    • 22. Removing Excess Oil Paint For Highlights

      2:17
    • 23. Highlights On The Pine Trees

      12:07
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About This Class

In this beginner oil painting class you will learn to paint a simple oil landscape using just a few colours and tools. This class is geared towards the beginner oil painter who has been struggling with oil landscape painting, or just wanting to try it out.


I would recommend watching the whole class all the way through before painting the painting itself. This way you will have a good idea of the process and you will make better connections of the process this way too.

This painting was done wet on wet. Meaning: the painting did not have the chance to dry before the next layers were applied.

This course is designed for:

  • Anyone that has a desire to develop and practice a structured approach to learning landscape oil painting
  • Anyone that is focused on improving their skill at the canvas
  • A beginner artist that is starting out and is overwhelmed and confused

What you’ll learn:

  • How to mix your own white medium aka: liquid white and understand when to use this and when not to
  • How to paint a simple sky
  • How to paint a distant mountain and a close up mountain too
  • How to create distance and depth in your landscape oil painting
  • How to paint pine trees using a fan brush
  • How to paint a foreground hill and grass
  • And the most valuable thing when painting in oils: How to manage your oil paint on the canvas

Let's paint!

Meet Your Teacher

Teacher Profile Image

Sanel Busuladzic

Oil Painting For Beginners

Teacher

I believe that oil painting is a skill that needs to be practiced in order to get better. I also believe that talent doesn't exist; only depth of your own awareness and how present you are when learning something. So give yourself the permission to quiet your mind and be still before painting... without judgment or expectations in your creation.

 

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Transcripts

1. Intro: What You'll Learn: Hello, everyone, and welcome to my first skill shared class and this classes for beginner oil painters. Welcome to oil painting for beginners with meets down elbows logic, and we will paint a simple landscape using a limited supplies. So this oil painting class is designed for anyone that has a desire to develop and practice a structured approach to landscape oil painting anyone that is focused on improving their skill at the canvas no matter where you are, if you're just starting out or if you're kind of painting here in there and a beginner artist that is starting out and is overwhelmed and confused, what we'll learn in this class. How to mix your own white medium, also known as liquid white in the what on with oil painting world and understand when to use this and one not to. So there are certain times when we need to apply a medium. Mostly, it'll be white medium, which is usually titanium white, that is thinned down with a medium. In this case, we will be using a medium called Solvent free gel medium, and we'll talk about that. How to paint a simple sky and learn how to paint a simple sky using this liquid white meeting will be mixing how to paint a distant mountain and also a close up mountain. I find that sometimes beginners are wondering how to create depth in their paintings, so we'll talk a little bit about that. Continue on with what you learn here in this class, you learn how to create distance and deft in your landscape oil painting, just like I talked how to paint pine trees using a fan brush. In this case, I'm using a six number six fan brush. It's pretty big how to paint a foreground hill and grass, also using a fan brush. And the most valuable thing when painting in oils is how to manage your oil paint on the canvas. You'll see me using shop towels to manage the painting process, so if you're up for it, let's get into the next video 2. Supplies And Setting Up Your Palette: Okay. These are the colors for this painting. Let's start with titanium white and then ultra marine blue here in the top, every black gonna have a lizard crimson. Next, sap green. It was more using lots of sap green and then cadmium. Mila late. There are colors, all right, And, uh, the solvent free Joe. And I'll be using these three tools here. Number six friends. I think this is will be equal a cool into, uh, number three palette knife and one inch bluff. Be there. Shop towels. There were new once, and they're the pain from there is Dr So basically, what I do is from a roll off shop towels. I will just make a new pile like this with clean shop towels, and I have it on here, and I just wipe my wait my brush or my knife on there. And then I just said it over or put on before or whatever. You use the floor to keep it nice and organized, and I let the paint dry, and then I just reuse them over and over. Why shop towels? And that paper tells people, tells when we're wiping off the pain from the camp of From the Canvas with the Shopped Out is way, way better than the paper tell paper towel leaves leaves a residue off pivotal shavings on the canvas. It's kind of it's kind of hard to contend with all that. All right, so those are the supplies. Let's get into the painting. 3. Preparing The Thin White Medium: that's mix up a little bit of, ah, medium without detainee White and the solvent. Free Joe. So something like this Maybe, maybe a little bit less titanium, But we can add the titanium. Wait, I don't want to add any more off the jail. So 50 50 or 60 40? I like the 60 40. Better gallop is moving everywhere. I'm gonna do slightly more white, so I like this. 4. Applying The Thin White Medium: all right. So again, we'll do. We'll do. Ah, the liquid medium. The liquid white medium. Probably up to, let's say, yeah, like I always do up to here. Then we'll leave the rest for a darker, fuller pigment down here. All right, So just mixed up a little bit of gel here and entertaining and white, so we'll just start using this. I'll just try and spread everything out. Throw my canvas. All right? I'm just trying to spread this around. Just holding the Kenneth. It looks like it didn't attached screws properly. Just move around. Really? Working that white medium into the canvas. I'm just gonna put a little bit more up here with this guy, - All right? I think that's good. Gonna wipe my brush off a little bit more and get some ultramarine blue here? Well, this guy, my mother will pull all these colors out 5. Let's Paint A Simple Sky: All right, let's get into the sky here. But the same thing. I was always just load the brush Nice. And even I'm still using the same brush that I had before I was applying the liquid white medium that I mixed with the gel entertaining and bite. Let's start here at the corners. I have to hold this canvas down. I don't think that I'm observing is if I have a little bit more of the medium. It blends a lot quicker. The color is is mixed a lot quicker with the white crane. So I have to increase the saturation here. So perhaps being a little bit more of the blue going up to compensate for that I wanna I want to have this effect right now. That's why added extra medium. So work this way. Kind of being being aware of when I reloaded my brush so I can work in some of this light against the dark blue. I'm easing off the lightness as I moved towards the horizon. All right, so I'm gonna go for cleaning my breath. I'm just gonna wipe it on the subtitle here again. If you had another brush, I would definitely use that one here. So we're gonna do next here is likely just spread this around and move up and blend. Blend everything out. - Picked up some of these. - I like using this cross hatching on technique. Cross hatching is for for drawing, but as you can see, it's available here, too. Stooping a little bit more pressure here, looking for some white patches here for the light patches. All right, I think that's good. Said this. One inch down, we'll grab a knife and mix up a nice mountain color. 6. Distant Mountain: Mixing An Under Painting Base Colour: All right. So for this distant mountain, a little bit of a lighter later. Blue, if grace when you're at the crimson, it turns into a little bit of a lab in there. I want some of that as well. Don't bring in some boite and see what we have here. Just wait here that they attain. You wait. Not this stuff here. Just this to the side. Sometimes it confused the two. Yeah, that's a That's a nice one. I like that. So we use that one. Just gonna tinted with the white a little bit. It is distant. Maybe a little bit for blue and crimson. 7. Distant Mountain: Under Painting (Block-in): all right. Little drill the faint to see what happens here. - It just kind of composed something that you like. I'm gonna go for a little bit more of. You can have my distant hills in here. I mean, distant trees down here, So I'm gonna go. Just spread it out a little bit more. It's not a steep. I'm going to step back and see what we have here. I want to kill off this harf my care. We go lines brush the same one I used. Um, let's pull out some of these bridges here, coming from underneath here the bristles and then just kind of paying it out. I feel when I hold the brush this Wait, I have a little bit more control under on the on the edges here creating the edges. I'm just gonna blended out. That's a nice That's a nice base for mountain. If you have too much color, going with shopped out and just kinda remove some of that. You can also use the shop title to To get you are to get your contrast in between the mountain and this guy. Just take your time. Step back, see what you have. If you mess up, a line just kind of expanded a little bit, and we want to the next step. 8. Distant Mountain: Highlights: The next step is to mix up a I like the highlight. Let's let's go over here for the highlight. I got some of this. Wait here. We're gonna do a little bit of a crimson Well, that comes in this strong, too much crimson. I am going to dull the highlight a little bit with the color with the mountain color that I had something like that. I added a little bit of this crimson. I don't overmix and then roll a paint and then let's do some of this. How did I remember? I talked about the the cross hatching. So as I lay down my initial, there's a roll of paint. I start to manipulate that paint a little bit as the knife as the knife has less and less paint. And then I also I also start adjusting the the angle. I start off a little bit more this way, and then it's the angle papers, its knowledge of the knife, trying to get this lover I liked here just taking your time. I feel first frustrated with the painting Step away. That's always a good advice. Should be stepping away all the time, trying, trying to see what kind of composition you have slowing here 9. Distant Mountain: Shadows: All right, so let's do a little bit off. Um, a shadow color. So this so be more on the blue side. I like the blue ish side in the shadow. More white. Well, that's nice. Graze it down a little bit. Perfect. Let's work on some of these shadows. I'll start here just making out some of these crevices. - It's knowledge. I'm gonna go in here. Use this. Don't be afraid to use this knowledge. It's very cool. Get into these little parts. There we go. I think this is a perfect place for a little bit of a highlight. Get some the crimson in there, too. More More of this white. All right, I'm just gonna do a little bit of snowdrift. Too much good. Constantly wiping my life. The shop tall Always stepping back to see what I have You can take away But I can add We'll go live alone More, more highlight here Basically all you're doing is just playing between highlights and the shadows highlight over too much. That's better. Let's dio high like here. Good. - Misusing that a small part of the night shaping this a little bit better. We're running out of that father color snakes some of that up and it goes something like that. It's close enough. Whip the knife off. Get some of this highlight on the small ledge. Just gonna go and bring this out a little bit more. I like the movement here. It's nice movement here. - That's good. I like to bring in a little bit more of the darker stuff here. Maybe smaller edge of the knife. Most kinda soft in it by mixing it in with the other color. All right, I think that was good. Yeah, not all of it. 10. Distant Mountain: Mist: right. It's time to missed the mountain. I'm trying to wipe. This is not just possible. We'll be adding white for the missed Next. A little bit here. All right, I think. Well, work. See what we have here, folks, I'm fine. Gently work here. I don't have to wipe my brush again. All right. See, I automatically that became farther away. Police. That's how I see it. We're gonna blend out from the bottom. Mr is gonna go up next time to do the best. Just move this over here. I just want the right on tips of the bristles se see Viper in the birth so much. All right. Have to hold him the canvas here. Just straight forward. Start to create a little bit of this mist. Wipe off a little bit more here before we reload. And the same thing here just on the tip palace down. We'll see what happens with this one. It's probably gonna end up being covered anyway, though. All right. Just going to step back a little bit. See what we have here. It's taking shape slowly. But Charlie, - I think Okay, I think I'm good with the mist. Is gonna take a shop Talent. Remove any of this. I think that I have here. Then I'm ready for my distant tree line. 11. Distant Pine Trees And Mist With 1 Inch Brush: I'm gonna keep all these colors. Do another mountain here a little bit closer to us. But let's make a nice little space here to mix up some green. If for the tree go, that would be our base for that for the greenish stuff. Pine trees. Um, too much weight. See what I could do here for? That's nice. All right, friend Bluff. Go right into this. I know this full of color. All right. Needs to be a little bit darker. Keep reloading. - Nice to bring this up a little bit higher, you know, reload. Here both sides remember that bristle brush a state they tend to separate a little bit easier than and other brushes like this synthetic or any other ones. So reloading isn't very important. A little bit you can see when I reloaded my brush have different, different values here. It's perfect. Nice. I like that. Were you load here, Come up a little bit higher. Good. I like the death. It's not too far away. Also being kind of conscious of how much pressure using when you're putting these in right ? That only comes with practice. So paper shop title again. It's gonna take a little while for me to get used to. Not saying paper toe. Just take off the access here. We'll miss this, not get any of this paint on my hands. Same thing here. Right? Just on the tips, though. Do not miss this, can. This is moving around. I'm really pressing this in. I put off more of the clean white. All right, here we go. Let's start here. Here we go. Good. Is gonna take a shop talk quickly. Just get rid of this here. More messed. There we go. All right? 12. Second Mountain: Under Painting (Block in): All right. So let's take care of this mountain here. I used to see color here did it before. It's a little bit more of that Ivory Black. All right, This one's gonna go right off the page. I mean, Canada's more color one inch brush. I'm just gonna hold us down, - break this up a little bit. 13. Second Mountain: Highlights and Shadows: in a mix up a nice brown here. What the crimson and agree kind of like sienna color. Have a go. I'm gonna use that. The hype. It just put in a little bit of this shadow color. See how that works worse. It's working good, - having more white. - I can't let that that the paint underneath mix with the with the highlights you're putting on , it makes it much easier. Let's let the shadow go on moving the shadow color down hair. I want to much. I want to put a little bit of maybe land here and then we'll do a tree line here. You just fix this here a little bit more. Highlight shadow, step back and see what we have here that's working out nice. I like that. Good. Let's leave that 14. Middle Ground Grass With a Fan Brush: we'll add a little bit off grass here and then we'll just keep coming forward. Just remove some of this excess on the on the base. I think a lot. A little bit of grass now with the fan brush. Very light. Um, greenish. Not too much green. Don't be a little bit of this mixture here that we had for the pine trees in the back. What's at this? A little bit here. Not too much, but scattered it around. So get to mix it in with the other color with a lighter green. Go good into the yellow here without my printer breath. Get this nice, yellowish green and just kind of suggest a little bit the crest. Maybe a little bit later. Just having a little bit of this mixture here. Just a light. Head up some you can just If you don't have this, you can add a little bit off white. Do it. - They're stuffing back and seeing what I have here, that looks good. I'm gonna have a little closer tree line here. I'll do that with the fan brush as well 15. Middle Tree Line With A Fan Brush: I don't think I need to be misting anymore, because this is a little bit closer to us. Thunder one here. So just leave this soft. I will start making trees here. So this is work practice What the fine brush comes in. You just scoop some of this up on a light. Not some of this color something. I just have variations of green through the dark green. Even doctor here, as you know, already running out of paint here. But I'll wait until I need it. Then I love get some more paint. All right, so let's do some pine trees here. A little bit more distant ones, but they're also close to us. Oh, start with a few suggestions here. When you're doing these farther away ones, it's important to load your brush fully. And then I just using the a tip of the brush to suggest pine trees still a bigger on here. You just nice and easy, Nice and slow. See what the brush does and what this is all practice. You don't have to get any of you have to follow my lead just that back and kind of assess where you are. What you're painting once. Here, get this pile off pain a little bit more and closer to guess. Aiken, you know what the brush properly it is when it's spread out. Over when it spread out Too much too far. Then I don't get as much paint on my brush. I'd like to something like this. So we're gonna step back a little bit and see what we have here that's working. Well, maybe come in with a little bit of a highlight. We'll see. - Good . All right, this makes up on nice, even bigger. Batch off. Pine tree color in black and sap green. Lots of sap. Green. Good. I'm just gonna load up the corners here. Is there some bigger ones? The biggest thing here is to have enough paint. When you do this, who will take the paper towel? I mean, the shop towel. And, uh, take some of the Saxon excess off access paint off, and then we'll come back with some highlights. - Try not to space them out. If you do just kind of work around it, step back. Space the note evenly so that they look like tree tree, tree, tree tree. Kind of like mine. I'm just trying to break them up a little bit now. Some of the trees are going to be slanted. Just going to take off a little bit of this thicker paints. I can put my highlight on again. You can. You can use painting or two in the paint when you put on this next layer. If you don't wanna do this step, All right. Like my brush somewhat. You can leave some of this paint on there, mix nicely with the yellow that I'm gonna go through now. And I'm just gonna pick out a few highlights. Not too many. No, they're still tent greenish black. A tent in my breath and I'll be picking up some more of it off the canvas to just a little bit. Just a few a few suggestions here and there, because these are these are kinda in the shadow, but not fully step back and see what you have here. - Good shop tile. Again. I'm just gonna remove this on the bottom. It's coming out good. I want to add a little bit of late Catania Wait here on the bottom and I'll do that with my fan brushes. Well, You know what? The breath First, we'll go through some of the detaining. Wait, I think here. I think I'll use some of this medium mixture that I had for this particular purpose because I don't want to be thick. Start moving all the paint around. Just add a little bit more to Tini and White with a mixture, and then I'm just gonna load it on one side. They're gonna have to be cleaning the pressure again very soon. Just on the bristles. Very light touch. Just kind of lift up. So I'm pulling the paint down this way very lightly. So to get a nice nice, um, on even load off paint good, I just soft This turned to pressure around soft on it a little bit. That's it. That's what I want. That's all I want right now. Good. 16. Foreground: Under Painting (block in): So now we'll have the land going through here. It will be mostly dark. First layer is dark and then we'll start working more and more playing, playing out our land. So in that the dark color pile that we had here before the grain just load the brush evenly and then try to get this color nice. And even So this is the reason why I left this without the light medium. I get this nice dark contrast when I had the highlights. Try to use the fan brief. He gets a little bit more practice with the founder If you feel that you good with the Find Russian and use the one inch working as you can see and working from from the bottom up and then I'll start blending into some of these lighter colors that I have just taking your time to put this on. Now I'm blending in with stuff about it here. What good. I have a few hills here on a nice little medal here 17. Foreground: Highlights And Shadows Part 1: So we're gonna do a little bit more off the of the foreground here with the lay of the land and how the land is going. It's kind of formed that. And then we'll start on the pine trees. So enter cadmium yellow light here, maybe lighten it. I mean, Darknet a little bit more. Let's That's blocking some of these later, later colors. And this was gonna go this way? Yeah. Remembering toe. Hold a brush at the back here so I can get the whole whole composition in what I'm trying to do. Possibly something like this. Reload. - Good . Have a nice little hill here in the foreground. Probably a tree here. Yes, the mountain be covered, but you can. You can start to kind of plan that out right now, as I'm doing this to planning out where I want some of these bigger trees in the foreground . Maybe leave this a little bit open. Maybe have ah, smaller tree here so they don't color up the whole mountain. And then some bigotries over here. One here in the middle and we'll see what happens. Just just working nice and slow. Okay? Reload. Every time I reload that every load differently, right? And I don't go into the same pile here. And I have a few different values off this screen. Darker green later green. And then the yellow is up here. So here in the distance, I want to have a as much light as possible. I just pulled this over here. Just use I'm just using kind of one end of the brush here to get this. I don't want I don't want because you can use the brush. U C l How I have old kinds of colors on here have the darks on the bottom there. Perhaps the knife here ducks on the bottom greens here later, yellows. Everything's on the brush. Here we go. It's a utilize. Utilize a top play when you need to, creating the hills and in the meadows. And I want the dark to remain dark in the in the corners. Here for my I wants to go flowing in the middle, possibly to the side here. Okay, I don't want to talk too much about composition or any of that stuff. Let's just focus on the technique. That's what this is all about. Making a little reminder for myself. Very nice. All right. Candice is becoming a little bit wobbly spray, but some water on the back to tighten it up. All right, let's move forward. It's gonna move this off of here. I'm gonna need this. Embarq Green later. - There we go. Leaving some of these darks. You want to leave somebody surks in there too? Leave this line going. It's very nice. Good. Let's move forward here. A little bit more light. Just on one corner here. Just the same as before. See how light How tight the canvases. Now step back and see what I have. It's a nice meadow going here. We'll do a hill here. My guess. Break it up a little bit. 18. Foreground: Highlights And Shadows Part 2: it's keep working. Mostly as you can see, I'm just using this half off the fan brush as I have it angle. Just pay attention to my ankle weights. If I'm like this, then kind of the whole. The whole fan brushes is exposed, you know, on the street you don't have to do this but demonstrate. You see, the angle is straight on. It's kind of it has. Ah, it has the fan brush shape. But if I do a little bit of an angle, just that half of the the fan brush is exposed. So just kind of manipulating that with the angles under the same way. When we do the pine trees next, you'll see that as well. And then I'm just kind of as I as a They put some paint on this kind of work around it and fix the shape. If I need to just move it side to side, changing the angles, you can really control it really good. Put this good a Z paint. More and more, you'll understand how how all this works experiences in actually the practice itself, so practice as much as you can. Don't worry about getting it all the same are I don't know, whatever. Whatever comes to your mind, right? It takes a little bit of time to get this. Just patients and practice, Of course. Enjoying it. I love the the silence off painting, the calm, always stepping back. I'm gonna add a little bit more light over here to bring this into contrast. So you have dark hair and then another. Another piece of land. Right here is the same thing. Using the corner of the fan breath here also sometimes using the other side where I don't have as much paint. Just kind of soft in this a little bit, so that it's not harsh blobs. Something like this, You might have to introduce a little bit more dark later on. Right. Let's see what we have here. It's pretty good. Keep moving forward. Good. Darker green Here definitely will be. I'll be looking to fill this end here. There you go. Made a tree. Ready. All right. Yeah, You go that way. I won't forget to put a tree in there. Good. I like that meadow. It's coming along. Well, Um all right, so what I will do next? Lights coming for them rate. Bring out some of these things that happen. Naturally. The sunlight just might hit them with a little bit more month. My dad Some of this here? Not too much. You see how I loaded the pressure? Could I leave that? I don't touch it anymore. Reload again and a little bit more yellow. It's working right now in the distance here. Good. I'm gonna assume that the mountain would be blocking some of this light here, which I already kind of have in mind when I was doing this. This tree line, which I feel I need a little bit more practice with that. But I can I can focus on that next painting I do for myself. You might want to focus on something different. Whatever you feel you need to focus on. Okay. So lighten this up a little bit more was about. Gradually blend this a little bit. I think, you know, nice gradation off. Like back to the light yellow color it Bill of repetition here with these. Wanna break some of that up? More light here. Got a little bit better to some more late here. The sun will be definitely hitting here. Good 19. Foreground Pine Trees Part 1: Let's start with some big pine treats here already. Kind of made a line for myself last time, so let's continue on with that. Just given mix up a little bit more of the dark green school. Pull this up. I got some on some of this yellow and blue, so give us a nice green. Might as well use it up. I think that might need some more black here, so we'll get some of that. Tarkin it some more, - right ? Clerical? That's nice. And burke with the brush full of color. It's still fine pine trees here to go. One thing that I missed as I wanted to put in, put in a trunk that's a little bit more brown, so I think we'll do that. Just mix up a little bit of, uh, kind of a Seanna color with crimson and green. I don't want too much of it. It's going to use it for that for the trunk, Definitely to the green. I need more crimson here. I'm gonna switch Teoh. One of these brushes bristle around. Foundling. Run this perfect size for creating a trunk, so I'll use that instead of the fan brush. I think that will work better. All right, so it's dull. Just comes and down with some more green. Wow, that crimson is powerful. No, Obviously, mixing it like this won't help. So it's bring the quantity down. Go something like this. Remember the right. Go. That's nice. It's a little bit tip here. I think this will work. Let's see. I have a few gradations of color lightly moved. But here. What? It off? A bit of the darker mix. All right. Safe. This will work loaded, full of paint. We'll start. We'll start that with the corners here and just kind of move out. Start from the center. Many more votes reload. The corner treat gets wider and wider towards the base. All right, go. I might have to do a few of these to get the hang of it, so don't worry about it. If you don't get it right away, push up a little bit. Created a little bit of a different branch. - Something like that. Our first pine tree is done. All right, so let's do a few more gonna do. Maybe a smaller one here. This one will be warren distance of the truck trunk is not necessary. Do this one on the side a little bit. Something like this. Okay. All right. That's reload. The brush. It's a variety of strokes. You see me manipulate the fan brush, changing the angles. I like the variety. Just like these trees have a personality of their own. Harry, Go Saleh's. It's very nice. And express it. I don't do a few little ones here in the background. Just making sure I have enough paint here. It's nice and sharp. It is very important. Have you reload Trying to keep this start here. Good to feel them here. Take your time to reload. Kind of speaking to myself. Well, here, because I'm so guilty of that, not taking the time to reload my brush. Then I start running out of paint on my tree. - This was gonna be under side a little bit. I'm telling this. Okay, reload. He's gonna try and reload both sides here. Nice to another straight one. Here. I don't necessarily want to cover up the the mountain, but we'll see what the composition tells us. When I stepped back. I just want to break up this even the low of it. The few branches sticking out. Here we go. Good 20. Foreground Pine Trees Part 2: No. So what I see here is I can either let me take a brush. That doesn't It's not gonna mark up my painting. So what I can do is I can bringing, um, another pine tree here a little bit bigger and canned. Break up this. This stuff here, they didn't come out as there was a good and then I don't have a nice balance. So let's do that. Let's bring in another tree here. Right about here. Possible. Yeah, Let's do that. Could this one out? What do you Some of this brownish CNN that I mixed up. I will stop here. We'll stop there. Came out, not straight. My case. Little seyval we can do here. Straighten it out. I try to make it straight on the top, but least try to make your straight this one not come out. Good. All right, for the branches will cover most of it up. Pick up some of that brown color. Sometimes it just paint what you have here, which I'm doing right now so easy to get frustrated with this, But I'm just gonna embrace Okay, that's interesting. After every frustration, there's a breakthrough. So got out I learned to embrace that. Just gonna trust it. See what happens. - Gonna make this a separate piece of land here, Make a little bit of a shadow for these trees. Picked up some of that green color. - Good . And I have some I don't left to. So it's all good. Now your branches here. Something like that. It's good. A bit more shadow. Here, take your SWAT. Expand this point tree a little bit. He's in just 1/4. Have a go that has a nice base. Now the rule is not always, but the bottoms of the pine trees are low that wider than the top. 21. Foreground Pine Trees Part 3: All right, so let's balance this out with a few more over here. This is gonna move some of this color so that I can load the brush Easier. Go. Let's try this brush again. If the trunks I do well, one right here. I start from this side here very lightly. There's my trunk trying to keep this straight. Good. I worked out better than the other one. Depression, both sides, both corners. It was gonna help it out here with the final Enge. Then let's make a pine tree here, but a new liver or a shadow on that's I remember our lights coming from the rate to close. Step back with a couple of listing ones here, but I need more color. Black, green, I'm blue, a little bit less blue, Thanks. Its power is getting worn out more green. - It's going dark in this up a little bit. Well, we'll do a subtitle again. Take most of this off most of the heavy paint off, so I put the next layer on. You don't have to use the shop tell you can just thin the paint when we do the highlights with the paint thinner and you'll be fine too. I don't like doing it amusing. I just want to use the painted on when I use the dinner. - If we go do a better trail, the closer here. Reload my my brush. Glove it more paint another one here. - Okay , let's do maybe two here that are a little bit on the side. Look like they're set in this part of the valley. Got together some more of this paint for easy loading. Oh, my breath. Have a go. Gonna put to them here. - Good on this one. Good. I have another one here. A little bit smaller One. We're sticking a time. I'm just settling in. Just soft, soft strokes. 22. Removing Excess Oil Paint For Highlights: start putting in some highlights now. But my yellow before I do that. And here's the shopped out. I want a lift. The thicker paint. Let's work this side here lifting a little too much. Have some paint back in there. That was way too much. I still this one here, okay? Trying to find it. Shop told, doesn't have much paint on it. Dried up paint. It starts producing this kind of effect, which is very interesting. But that's not what we're looking for right now. Work what? We have something to keep in mind. I'm just gonna bring some of these back in here. That's the only thing with these. The oil paints with the clip acrylics weaken. Let's try and then you can put the next later on with the oils. We have to manage the amount of pain you put on there. 23. Highlights On The Pine Trees: I'm gonna load both both sides here fairly thick and just got Take my time and slowly work to this end. I'll start over here. Just use the corner of my brush. Initially, I want to move down. Then I'll come back up soft in any. Any yellows that come in really strong. Really? Just taking my time here, trying to follow some of these strokes and not overdo it. You can overdo this. It starts blending way too much. Just take your time. The brush will tells you if it needs more paint. And right now I need a little bit more paint here. Good. We'll keep this shadow puller I and just way like here soft in this good. I think that's going to the next few trees for this one. Just a little bit the same for this one. That's good. Keep this in shadow. I want to this tree here even less on the zones. The same here. Nice and soft. Highlights. Good. Like my brush offer. Kill some of these lines. Her Flynt's. I don't have to kill them all, but just some of them. Perego, step back and say what we have here. Yes, that's coming out good well like this after? Because that's it's like calling me toe the light in all this up. Let's just finish this off and then weaken. Start to work on that. I'll start what he's here. Make sure you leave enough dark to show these lights and the same thing here. - Good . Might have to guard dark in this a little bit. Let's finish this highlighting, and then we'll work the pressure. Good. I'm gonna pick up a little bit more yellowish color with the highlights there, but even use some of this. Why dish crimson? That's what I'm looking for. That's Parco. - Just gonna soft turning this something like that. I'm gonna add some of these grass type of things to finish it off. Just using that the fan brush sideways. Bring it out with some highlights. - Good . I think we're done with this one