PAINT VIBRANT LANDSCAPES in oils | Maibis Navarro | Skillshare

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teacher avatar Maibis Navarro, Fine Artist - Plein air Painter

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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

9 Lessons (2h 48m)
    • 1. Intro

    • 2. Introduction to Open Impressionism

    • 3. Sketching a Landscape in Plein Air

    • 4. Techniques for laying Open Impressionistic Strokes

    • 5. Creating an Underpainting

    • 6. Composing a Color Note

    • 7. Painting Vineyards & Forest

    • 8. Painting Mountains,Sky & Water

    • 9. Final Thoughts

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About This Class


In this class you will learn how to paint a landscape with acrylics and oils.You will receive step by step instructions and techniques that will allow you to sketch and paint the landscape effortlessly.

In this class you will learn:

  • About Open Impressionism.
  • How to sketch a landscape in “Plein Air” (Open Air) using techniques like -phantom drawing-gestural lines-setting up a timer.
  • How to apply thick open impressionistic strokes by applying paint in mosaic tiles.
  • How to create an underpainting using fluorescent acrylics to set the mood.
  • How to compose a Color Note in a vignette painting, using a limited color palette.
  • How to paint various elements of the landscape: Vineyards, Mountains, Sky and Water.


By the end of the class you will paint a landscape with vibrancy and spontaneity, connecting to it emotionally through shape, color and motion.

You will paint confidently with thick meaningful strokes, not merely copying a landscape but feeling a part of it.

This class is suitable for Intermediate-level students. However, beginners are welcome to join up to lesson # 5.

Class Projects are different, according to your experience level.


“Dismantle” by Peter Sandberg.License ID:

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Meet Your Teacher

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Maibis Navarro

Fine Artist - Plein air Painter



Be warmly welcomed!

My name is Maibis Navarro. I am a Fine Artist and Plein air painter based in Switzerland.

I have been an artist for most of my life as I started painting in my early childhood.

I studied foreign languages at university that led me to Europe for a very unique opportunity where I have remained developing my own style of painting and sharing that style with others.

The landscapes of where I was born and ... See full profile

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1. Intro: welcome to paint vibrant landscapes. Maybe is nowhere in a very excited to share with you my techniques for painting beautiful landscapes with acrylic base and final painting in oils. In this class, you will learn how to paint the landscape with vibrancy and spontaneity. By the end of this class, you will paint confidently with fake and meaningful strokes. This class is suitable for intermediate level of students. However, beginners are welcome to join up to lesson number five. Plus projects are different according to your experience level. I'll start by introducing open Impressionism. Then we will create a lively sketch in the open air by using techniques like from controlling, setting up a timer and chest reliance. I'll show you how to apply figure strokes by Les Mosaic tiles, and you have emotion. Next will create another painting using for acrylics to set up the mood. You will learn how to compose the color notes and excited that you will learn how to paid various elements off the landscape, such as in York's mountains and water. A little about me. I'm a Latin American artist based in Switzerland, where I leave create on so my our work you find everything you need in the class material list. Don't hesitate to ask if you have any questions and please both some pictures of your paintings on the private gallery for everyone to enjoy and now let's get started. 2. Introduction to Open Impressionism: hi I made is nowhere. And these paint five landscapes. Have you ever see there how studying and exploring the paintings off that you love and admire can help improve your own paintings? I love going to use years and spend a long time in front of a painting that I love in. I studied. I study its composition 19 brush strokes, and when I leave the place, I take with me off that and I tried to implement it in my studio in my own way. Over the last two years, I was influenced by Open Impressionism, because for me, what makes this style unique on special, it's it's way to capture light emotion. This last, I will present you open Impressionism. You will learn about its creator, its main VHS, and I will show you some of my works that were inspired by faces. Opening pressure is, um, it's a contemporary painting style created by American artist airing handsome. Her early experimental paintings date from 2006 to 2009. In her book Open Impressionism, William to We discover how it Has He woke from its early stages, inspired by rock climbing in Red Rock Canyon Nevada USA. The best way to describe open Impressionism is by quoting directly from her book. Aaron hasn't has created a unique style off her own, bringing elements off classic Impressionism together with modern expressionism and adding a dash off playing there. This time, the purpose of open Impressionism is to capture the true experience off being outdoors, each painting more often emotional work, then a photographic re presentation. Some off the main features off open Impressionism are vibrancy of colors. Sick brushstrokes. Under painting the chills, open Impressionism catches the attention of ones as being a new style of painting. The colors are vibrant premix on a muddy. The thick brush strokes are left to exist as they are placed, which preserves every tiny rich in the paint left by the brush. By learning from open Impressionism and airing Hansel's unique approach, I've developed skills and techniques that allow me to create my own distinctive style. Off colorful on vibrant landscapes, mostly Swiss landscapes, is an artistic journey where you will learn how to go on a emotionally will ask a through James forms by sketch in its even playing there or in the open air. So I see in the next 3. Sketching a Landscape in Plein Air: Hi. Welcome back. Does it ever happened to you? Do you mean a special place in nature where you like to go on the landscape in front of you ? So mesmerizing that every single worry maids away? Because the only things that matter are those momentary glimpses of lights on shadows that wind blowing against your face. A nature being revealed to you with this blender. It just happened to me many times before I even decide on it being thing. Something extraordinary happens. And I am there in the outdoors and a wonderful scenery reveals itself to me. I'm very touched and something just me to quickly sketch that place to preserve that moment in time, when you sketch or decide to create the landscape painting, I advise you to go there to that special place. Your emotional connection to the place will be reflected in your work. Sketching special Ask. It can be a challenging task, especially after beginning. If you don't have any experience, you have so much information to deal with that you don't know what to start. So many trees, many mountain bakes so many water ripples. It's centered up. Set it up, Fortunati, Go there are ways to tackle sketch despite its complexity, by applying so simple techniques your sketches will prove will be lively and easy to make. And this is what you will learn these lessons. You will learn to see the basics off a landscape in terms off forms and shapes to learn techniques like phantom drawing, gestural lines and setting up a timer. By the end of the class. We will put all of this together, and we will sketch a lively landscape in playing there. One of the techniques I apply when I am in front of a landscape that I want to sketch is to reduce all the information around me toe. It's more simple fools and shapes in the What does that really me? Well, instead of seeing a forest or a group of trees, I see a drop is oy. Instead, off seeing a lake, I see a rectangle just on their delay, Klein, and on the lower part I see, they flipped over triangle instead. Over the mountain, I see a row off dry angles. Inside, a drop is oy. Instead, over amount into the right. I see a drop is oy instead of hillside terrorists is, I see a be trouble soy that contains many smaller trapezoid. In general, my composition strategy relies on the surge of geometric figures in the landscape, whether it be triangles, rectangles, Trappist, soy IDs, cones, cylinders, etcetera. Let me show you another example. Lex takes, for instance, this long skate photo that I took in River Additional Line off Lake Geneva, Switzerland. In this landscape, there is a lot of information, and I will reduce it to its basic shapes on forms. I could say that instead of a boat, I see a triangle instead. Well, the house. Whoa! I see erect angle. The lake is a big rectangle in the over half, with a triangle in its left. The house is a combination of rectangle. Triangle on the trap is oy. The poplar trees at the shoreline form a triangle. Viniar Terrorists is for a Trappist soy on the lower half. As you can see, any landscape despite its complexity can be refused to its most simple forms and shapes. I will propose to you the following quick actual size thank you pen or a pencil on a sheet of paper. Open up a window in sketch what you see, using only geometric figures, analyze how to decompose what you see to its most simple forms and shapes. And please Jerry winners in the private gallery with the second technique that I use is Phantom Joey. I use this technique to rehearse my drawings before I put anything on a paper. It allows me to understand the landscape in front of me. It will give me an idea off the wave off the elements, Easton says between them negative spaces and collect available data before sketching. In order to practice this technique, position yourself in front of the landscape that you like to sketch. Just close one eye. Extend your arm and easing your point finger as if it were a growing to start country the landscape as if you were drawing on your wide campus. Now start to rehearse your drawing to my left. I will put the hillside senior with a diagonal. Then how it is on a line will create a lake to the right in the area. No, I will create the mountain. Another diagram? No, I will create a sick a mountain. I will have a soft cloud in the sky. I will include some house says, and some Viniar terraces. Then it will put some bushes and some vertical wooden stakes off. My trail is in system in the vineyards. Now I keep my front on drawing in mind before sketching on a paper. Let's take these quick exercise open of your window. Lose when I extend your own on with the point fingers. Start country. What you see this will help you get started. Next, I will create a sketch using just a reliance. Traditional lines are the ones that helped me to describe the approximate location off things. I think they are great for sketching, stay. Describe things in an approximate way. Gestural lines are time savers as they have the attributes of speed. Gestural lines were used by the masters to pass quickly from a compositional idea toe. Another. No time. I have a favorite master for gestural lines, and that is the Spanish master Joachim Saraya. I first saw his work years ago in I looked for this purpose. I will be used in the book Brussels in Llerena released Oh, October 2014 March 2015 by Syria's Museum, Spain. Let's compare to drawings in order to see a clear difference in figure 11. Saraya clearly detailed drawing, he put a lot of time into the bulls in the landscape. All is clearly depicted, and maybe it took him 20 minutes to complete this throwing. However, figure 12 we see that the bulls are men with gestural lines and maybe took him one minutes In psoriasis sketches, we see gesture over and over, for example, this complex scene with people, boats, bulls or men taking out a bold from the sea, please. She called the Siri's off test and probes He did off where the main characters should be position and the kind of movement they are doing. Check the quickest sketches he made with gestural lines. Check for the speed check for approximation to describe men on a boat and take a look at fishermen cleaning in it. This book is full of examples off gesture in serious work. Malaysian women next to the bulls. Shit taboo. Should the women their position in space, their clothing from a sketch to the campus. I used gestural lines in the sketches when I don't have the luxury of a spending much time because people stop reading and go. People stop observing and go. Trains bust by in a second and are no longer there. Clouds form on these appear in the blink of an eye. The old shapes in Lake Geneva bus by quickly. Rowers roll fast. If flower buds in the hotel lobby, it's not eternal. When the summer comes, I think out my sketchbook in I sketch quickly, the Children in the lake and Children jump into the water. Lean over, put boat to sail, get wet stretch walk, descent, A leather splash. Blame and everything is so fast. I started to create my first gestural lines with the simple Troy off repair, and I would like you to start arrive here first in its preparation with our joint. Anything. Let your eyes move around the pair moving from its perimeter across quickly moving back and forth. Happen Damn asses. Your eyes will like a fly. Flying back and forward happened there. While your eyes move rapidly. Let your pencil float above the surface, tracking your eyes. Move across the pair's rounded shape or at the top, but off the bottom. What I decide like a fly. Flying on the pair is keeping across the diameter are this point to start making some mark some bits off lines you're getting in touch with. Measures toe the right toe, the left skip across with bits off line defined approximation. Where is the edge, or at the right or other left is keep across. This is a great dish size to start into gesture. Now, I would like you to start trying these on your own with this meeting exercise. It's very simple. You are going to sketch at Bear. You see gestural lines. Get yourself a pair. Put it in the table on sketches using gesture. Share your meeting exercise with us in the gallery. We will be happy to see it. The next technique that helps create a lively sketch is setting up. When I started sketchy, it took a long time, and I was frustrated because I was trapped into the tailing, getting on our trusted your size. I waas required to sketch something, and there waas a club in front of me, marking time in. It was at that moment that I started to develop spontaneity and starting to use a timer toe 345 minutes for a lively sketch by sitting up the timer I gained in speed and I developed an approach that allowed me to note, seems quickly I was able to move fast from one subject to another. At this moment, I am very excited because I can't wait to take you to a very special place here in Switzerland with an amazing landscape. Please come with me. Hi. I am bringing you to one of the most lovely places yet in Switzerland. On this is the vine, your region off level. This is a landscape that I love and that I feel very connected here. And we have beautiful vine York process, lovely vine growers houses Behind me is Lake Geneva and the striking mountains off three South's. Now join me in these playing Mary sketch first in its preparation without drawing anything on a paper. Let's start by reducing all the information around us to its basic shapes and forms. The forest is a trapezoid, the lake a rectangle on a flip over triangle. The mountain is a set off triangles that form a trapezoid. The hillside terraces are a Trappist soy. Next I will do a phantom drawing closed Wana and I extend my arm on with my point finger. I just to start to fund on drawing my landscape. I have a diagonal that will create the terrorists is to the right diagonal. Upwards will make a mountain another to the left for another mountain, some clouds on the sky. Some Viniar houses, some Trappist steroids for my terraces, some bushes and wooden stakes in the vineyards. Now I use my phone, go to work, set up the timer for one minute. I'm ready to go when I sketch in the outdoors. I like to make a small little sketches toe, analyze the landscape around me, and by the end of a sketch sensation in the outdoors, my sketchbook looks like this. To recap in this class, we have learned to see the landscape in terms off its basics. In falls on shapes, we have learned phantom drawing gestural lines on setting up a timer in at the end of the class. We have put all these together into practice by sketchy head in blame. There. Now is your time to put these into practice with a class project for your class project, you will need the ban a sketchbook in you have to go to a place of your choice, our doors, where you can connect with a landscape that you like and that you feel excited about. They could be cured of it. And sure it on the Prado gallery to show was the landscape that you love. Then practice, reducing the landscape to its basic forms on shapes, the composing it in geometric figures. Next practice phantom drawing, observing the landscape and when you are ready. If you are a beginner level of students, make simple sketches based on your front, um, drawings. Do not set up a timer, however, there in mind that the faster the better and post your sketches in the period gallery. If you are an intermediate level student, create simple landscape sketches using just reliance so that the timer for one minute for each sketch and post your sketches in the press gallery for everyone to enjoy. I can't wait to see your sketches. Next class. You will start to use some pains because you will learn something niks toe a blind Think open impressionistic jokes. You will learn. They will say motion yours drunks so 4. Techniques for laying Open Impressionistic Strokes: Hi. Welcome back in today's lesson, we're going toe cover the main brushstroke techniques that are used to create this painting from the vineyards off level the seas, a practice and repetition actual size less son to get you started with the kind off brushstrokes that better describe open Impressionism. As these painting was influenced by this contemporary painting style. In today's lesson, we're going to learn my deep for applying thick brush strokes, the mosaic tile application method, and also how toe apply mosaic tiles in motion. Follow this simple tip to get the most out of your paints before putting it on your canvas . For these purpose, you will need ballots. Two oil paints zero Liam blue in Cobo Blue. You will need a palette knife in a sheet off paper. Take some Kubel blue out off the tube and also some SARU liam blue out of the tube. Using your palette knife, mixed both colors until you obtain in darker blue. Take a sheep off paper, put the pains on the paper and let the paper absorb the extra oil in. Now wait for Dan 15 or 30 minutes, depending on how oily your pigment is when all of the excess off oil has bean absorbed by the sheet off paper. Your paint is ready to be used. I do this to take away every Ronnie oily property off my pains and have a more structured oil toe work with. Okay, here I have my mixture off. Cerulean blue, Cerulean Blue and Co. Babu. I like to let you know that a Windsor Newton are certainly one of my favorite bronze due to the high quality off their pigments for these actual size. Also, I have states a little canvas to a cup board. You can use ah, little canvas or just practice on a canvas board. Feel free to do us you like for these demonstration. I'm going to be using a flat bristle brush number one, The Chinese brush. Certainly nothing fancy. And when I speak about the mosaic tile application method, think of it as if you were amazing and you were laying mosaic tiles on the floor or wall that you create a shape as you go by position in them next to each other. I'll be creating one single shape, and this is the shape of the mountains. Reflection on the water Okay, let's get a started. I have here these lines to help me have an idea. This is the Randall to you now have here they're mountains reflection. I will also be using a paper towel to be removing any excess off pains. So let's store positioning our tiles. - Thous can be larger or smaller. Depends on your personal taste. A psycho. I'm trying to worry a little baby. The direction My tiles to Eva. Sensation off movements. I also like toe. Let some spaces white spaces. We care. Call negative spaces to let them show through. Okay, I'm going to call these mountains. Reflection. Ready. Remember, it takes practice, and sometimes you need to warm up to achieve the desire effect while precision in mosaic tiles. But in general, it is very easy to make. This is cobalt blue. This is the dioxin sign. Violet, this is stay low green. And over here, titanium whites. This color is the make sure off cool blue. A little bit off Dioxins sign violet bulls A little bit of whites. The second color for our mountain is and make sure off dioxide signed dialect A little bit off cobalt blue and white and the third color for our mountain. These one. It is a make sure off they look green with a little bit. Oh, the yolks assigned violet plus a little beat off white. And these are the three colors that we're going to use for our mountain. I'm going to put these on the palate. Okay? Now we are going to create the shape of a mountain, and we can take my painting A said referring photo to see and to analyze how we can pose the mosaic tiles in different forms. I just want to let you know that this step is not very important, that the colors are the exact match of these. It is on Lee on idea to guide you through these actual size. You can prefer these colors the way you like, so feel free about these. The most important is to learn toe lay mosaic tiles. You'll see how these colors, they complement each other, how they indirect, you know, very playful way with each other, and they will create the shape of the mountain for you. It could say that well, a mosaic tiles is very relaxing. They kill size. - Yeah , I I may live it like this. I find these very nice and every good example for you to get you to interact with this kind of mosaic dial application method. Now that you are familiar with the mosaic tile application method, let's take things further by positioning tiles that convey emotion. Mosaic tiles can cove emotion in different ways, and we're going to explore some off them in this particular painting with emotion by varying the positioning and direction off the tiles, for instance, in the water we can shake how the tiles go up down to the ride to the left. Motion can also be conveyed by varying the thickness and length off the brush strokes, for instance, in the mountains in the mountains. Here, you see the changes in the lands off the tiles, sometimes shorter or longer. Also, you see that the brush strokes sometimes are thicker or thinner. We can also see how airing Hansen uses these in her paintings. Let's take a local one of her paints. This painting is called morning Mist. Please shake how she varies the left on the thickness off her brushstrokes. Her tiles change sometimes short, long seek thin, leaving the negative spaces to show through can also serve the purpose off movements. For instance, in this particular painting, leaving the negative spaces around the boats, reflection on the water can display movement off the current of water around the boat. Leaving the negative spaces is also very important in the painting or are in answer you this painting called Coast Line. We can see the red under painting that shows through and add a sense off movement on off waves. They're coming and that are going. Movement can be a ship in so many ways. We can also create movement by placing the tiles in social way that you will be leading the eye. Take, for instance, the charge at overs by Van Goga. In this painting, we see how the brush strokes are leading the eye. I think you look at the path at the left. You see how the brush strokes are leading the eye, especially to the left We could, reinforced by the presence off this character. Now let's at movement in this guy. We're going to use titanium white. Well, he's in my case, it's Rembrandt, and we're going to use wind sore lemon. This is my winter. Lemon, I want to let you know if you don't have winds or lemon. It's okay. You you can't replace it with yellow lemon. And I have these two make yours the seas titanium white and a little bit of wind Store lemon. A little bit on this is the same. Make sure win so lemon. But this time, a little bit of they Daniel White. I I just want to let you know to remember that this is a practice sexual size toe Handle the brush strokes and to sharpen Europe Steals if you want to use this kind off mosaic tiles application method in your own work. Well, now I'm ready. Here I have the to make sure is I've already prepared. I wanted to let you know that the artist airing Hanson, the Creator, off open Impressionism She gives a great importance to movement in the sky. Open Impressionism, William, Tow em. I would like to show you the following painting. Take a look. At least this guy I think you look at all the movement that is happening in these. This guy, isn't it a wonderful Also the great master Wrong dog used a lot off movement in the skies. For instance, in this painting, it is called which feel with Cyprus Shakir, disguise off long ago. How wonderful! I also like to give movement to my skies in some of my paintings. For instance, Here, in this this guy, I apply all of these styles given all these kind off motion circular motion. Okay, we're going to add some movement in the sky So I will call my sky painting Done as we have seen one of the fundamentals off these landscape painting from the vineyards off love. Oh, is this kind off mosaic tile application method? I use it often in my paintings when I am going for a more open, impressionistic approach. However, it is not exclusively the only kind off brushstrokes that one can use in these kind off paintings. It may vary from artist to artist. My advise to you is that you consider if these at something to your work and if it will incorporate something positive to your creative process. I think the effect off mosaic tiles in a painting it's really beautiful. And if you're willing to try it with some practice they will become natural and also very relaxing to make. To recap in this lesson, we have learned my deep for applying thick brush strokes, demos, a Kyle application, messa and also how to apply mosaic tiles in motion. And now it is time to be creating to have fun with a class project. For these class project, you will need the following oil paints cerulean blue cobalt abu dialects, assigned purple Taylor green wins or yellow or yellow, lemon and titanium whites. You will also need flat bristle brush number one canvass board mallets, palette, knife, other less mineral spirits and paper towel. I have added in the downloadable material worksheets that you can use to practice the mosaic tile application method with the examples used in these lessons. If you are a beginner level, students apply simple mosaic tile strokes on the cameras board toe exercise this kind of open, impressionistic application technique if you are an intermediate level student applying as a tile strokes on a canvas board, create emotion in the shapes as a reminder. I go like to tell you the GCC class project issue size I recommend, but remember that the painting is your creative process and you are free to experiment and try things the way you feel them. So have fun in the process. In don't forget post your products in the private gallery. I'm excited to see where your creativity and found will take you in your class project. In the next class, we're going to start painting on canvas by applying the under painting. This is an important step where we will capture the mood on the vibrancy off these landscape painting, so see in the next class. 5. Creating an Underpainting: in the previous lesson. I share with you the process on technique I go through to prepare on lay down mosaic tiles on a white canvas. However, in order to create these landscape painting, I even start with a white canvas. In fact, I began firstly by blocking ing the white off the campus with some bright colors. And then I moved on to lay mosaic tiles above these color surface. Therefore, now we're going to concentrate on preparing the surface with bright colors. Then when you just ready, let it on. In the next coming classes, we will apply the mosaic tiles. Hi. Has it ever occurred to you to have a bare white canvas on your easel kind off staring at you and asking you the question? What are you going to do with me now that you got me out of the artist storm? I've been confronted with these interrogations many times. I know the landscape. I go like to paint, but I'm a struggling and I don't know how to start it. Having these white canvas in front of me. It's kind of making me feel nervous. Fortunately, though I have discovered I can remove these intimidating feeling with a simple, actionable step that is to lay a simple other painting that serves as a foundation for the landscape. And this is what you will learn in these lessons. In this lesson, you will get familiar with the under painting its purpose on its benefits. You will learn to select the colors that captures a vibrancy and mood off this landscape by using for acrylics, and also you will learn how to create another painting. The under painting is the first layer off pains applied to a canvas. It functions as a base for the subsequent layers off Bates. Another painting can be simple, but it can have a major impact on the final painting. It can set right away the mood, the atmosphere on the tone off the final painting when I am about to create a landscape painting and I need to decide on the mood. I like to think back to the experience that I had in the field when I went outdoors in that I sketch it and I ask myself these questions first, how thus these landscape make me feel what kind off thoughts, memories, emotions. Thus this landscape provoking me When I go to the Green Yards, they make me feel happy. They allow me to dream for me. Visiting this place off Lavoe in Switzerland is is inspiring. It's encouraging. It brings me, also relieve comfort and hope. Now comes the third question. How can I call away that moon? Those feelings in my other painting using color Certainly the colors that we use to create the under painting will have a major impact on the final painting. The selection off these underneath colors cannot be overlooked. For instance, a blue tone. Other painting using cerulean blue, cobalt blue, ultra marine blue thank away a cool feeling to the overall painting. However, colors like magenta purples, burnt sienna are great to convey warmth in a sense, off energy in a painting, the colors that I use for the under painting very in function off what I would like to express and also about the general feeling that I want the painting to convey, for instance, in this painting off the vineyards off some some forum, a small town near Lake Geneva, I used magenta to convey warm and also provide energy to these landscape in these other painting off the vineyards off Lavoe. I used more colors for the under painting. I used reds, oranges and pinks to convey warmth in a joyful atmosphere. Moreover, complementary colors can work very well us and all their painting. I know an orange under painting will work very well if I am going to paint a bull sky in this painting, I wanted to paint many green trees, especially pines. Therefore, I made the choice off using the color red as an under painting. Because red is the complimentary color off green, I suggest you to take a color wheel. Andi. They can look at it on. Decide on complementary colors when you are going to create another painting. Using the complementary colors can give your painting these extra step off vibrancy. And also remember that in open Impressionism, the other painting is very important because it will show through in your final work. That's a summary. Keep this in mind, but feel free and experiments and put some unexpected colors as us under painting, and then put some colors on top off them and and see what happens. Experiment and be happy about your creation for the last two years, creating landscape paintings influenced by open Impressionism. I have developed my own techniques who in creating on under painting, and I have opted to use floor acrylics, however, airing handsome the Creator off open Impressionism, she uses oil paints in her other paintings. In my case, I I personally love flu acrylics, and I think they're great for other painting as they have the capacity to express the power on the energy on the emotional impact off this landscape, painting over full acrylics appear brighter than other colors because they have these extra glow that will convey more energy to a painting. So I wanted to let you know that is totally possible to use acrylics, weishar water based to put them as the base and put oil paints on top off them. However, the other way around, it's not possible if we put on top off oil pains. Critics critics will not be able to stick to the oils on, and they will flake off using a critics as the base is very handy because acrylics drives very fast and it's totally safe toe put oil so top off them. I guess I enjoy the properties off. Both type off paints in my paintings. Okay. Here you can see the colors I'm going to be using for the under painting. We are mostly going to be using the simile abstract brown, weishar, the forests and colors. And also we're going to be using Honest on the red from the royal talents. Amsterdam, Siri's here. This is the 6 48 for Ascent Orange. This is the 604 The four isn't red. We are also going to be using the full pink the 6 54 and I swear Red, this is cool. Beatle Beatle ran. Okay. Here I created a kind off chart to help. You better understand the colors that I'm going to be using for the under painting for the hillside terrace on this area. I'm going to be using the floor read from simile in this area where we have a shadow and also here on top off the hillside terrorists, I I am going to be using the pittle red for the under painting. I swear this guy, all these area, I'm going to be using the full orange, the mountains. We're going to be using full pink now for the mountains. Reflection on the water. I'm going to create a make sure with full Redd plus full orange in these area. I'm going to be using for these last section off the water and mature off full pink and four red. So now we're going to create our other painting. He and I have a basic kabas and I wanted to let you know that these landscape painting I created it last four and someone loved it and bought it. So I don't have it anymore with me. That is why, for this lesson, we're going to make on original recreation of these landscape painting. I promise I will make it with the same love and the same passion as the 1st 1 But they will not be identical, however similar in brush, strokes and texture in other. To create this landscape painting, I will be providing you with two reference photos. The first reference photo is the photo off the landscape that I took when I was outdoors in that I waas sketching. It is a really depiction off the reality you can see the colors are green. Bulls graze now. The second reference photo is a photo off the painting. I created and these landscape painting is an interpretation off the emotional impact off these landscape in me. Therefore, the colores are the friends I chose breads, yellows, beings. I decided to provide you with both referent photos so that you can see what a really landscape looks like when taking a photo and what a painting looks like when you interpret reality and you translate it into an emotional work. I suggest that beginners use my landscape painting Assad reference photo so that they can have a better guide. When she was in the colors intermediate level, the students should feel free to use one or the other reference photo. So here I have my color set up on my ballot. I'm also going to be using a jot off water to clean up my brushes. Here I have my acrylic paints. As for brushes, this arm, the brushes, I'm going to be using angular or flat brushes. Just soft big brush will do the work. Okay. Also, it is handy to have your sketchbook personally for me. I am going to draw directly on the canvas using these brush as if it were a drawing tool. However, you can use any method that you like to transfer your throwing into the canvas. You can use tracing paper. Or you can use a projector to project the image on the campus and trace it with a permanent marker or India ink. Just feel free. Teoh. Transfer your drawing the way you like it. And now let's get a thoughts It Okay, I will start by loading my brush with some floor red. Now, just using the teeth off the brush. I'm going to loosely transfer my drawing into the canvas. I'm using the red flu acrylics to do the first marks that I used us A guy. It doesn't have to be decorated or perfect at this moment. We're just laying down. I were drawing wear. You seem for red tow. Cover the hillside terraces. I used a painting directly from the tube. You can see I'm not concerned about any detail. I'm just laying down colors. I am feeling the areas off the hillside terraces. Now I'm going to low my brush with reds Casey Spero red going to cover the shadow areas off the vineyards with the same color red. Also uncovering the group of trees. War at the top of the hillside terrorists. Now I'm loading my brush with some floor orange in with four orange. I am painting this guy. Notice how little by widow every white off the campus is being called work. Now I'm loading my brush with some full pink with will think I am doing the under painting for the mountain. I think this is an under painting that allows for a lot off picture and and color to come through later on independent ing. I just keep on recovery amount. Now I am mixing some think with some full red on. I'm going to use this color for the mountains. Reflection. I use a mixture off orange four red for the mountains, Reflection on the lake. Now I'm going to mix some think with some floor ran and this is the make sure I'm going to use for the water Now that my under painting is almost done with the tip off my angular brush, I am going to roughly lay down the boat on the lake. I like to paying, decides on let the viewer have a lateral view off the painting. To recap in this lesson, you have become familiar with other painting, its purpose and its benefits. You have learned to see like colors to create another painting that conveys the mood and the atmosphere off the landscape, and you have learned how to create another painting. Now I invite you to practice what you have learned with a class project for these class product, you will need acrylic paints, flu orange who ran for being on p role ray. You will also need a large soft brush flat or annular Gamba's ballots, jarred with water reference photos and sketches veces a class project both for beginners on intermediate level students, create an under painting on your canvas, using your sketch in or reference photo as a guide. Remember, you are free to create these landscape painting or any other landscape painting off your choice. This class is meant to bring you inspiration on the joy off, creating a landscape that you love and don't forget. Post your under paintings in the present gallery. I will be very happy to see your painting coming to life at this point, I wanted to let you know that from the next class on it is a more intermediate level student oriented class, it will be advisable to have some previous knowledge about oil paints or maybe half work with them before and to know the basics about oils such as color mixing, for instance. But if you are a beginner level students and you feel motivated with this class and with creating this landscape painting, you are more than welcome to continue the journey and follow along and try to learn as much as you can from these class, I'm sure that every effort will be rewarded. The next class is an important step to help you decide on which colors toe put on top of your under painting. And for these, we're going to create a coal note in a vignette painting with a corn oat. We'll analyze the arrangement off colors, shapes on rhythm in the batter's to create a viable landscape. So see you in the next class 6. Composing a Color Note: Hi. Welcome back. Have you ever bean into museum and happened to see from far away these room feel with paintings and for no seemingly apparent reason? There is these one painting in that room that is kind off calling you and you actually can't help being drawn into eats. Wait, is it so? This is because of the big arrangement in the shapes, colors and read, um, in the patterns off the painting. And these is the idea behind the color notes. When you think about the color note, think of it as if you were in this museum and you were seeing the painting from far far Away. I also like it's analogy with music in the same way that a musician uses musical notes to compose a symphony. Painters use color notes from the brushstrokes to create a painting, and creating a car note is the main objective off this lesson. In this lesson, you will learn how to use a value plan, how to compose a color note in how to add vibration in the colors. I always do a color notes before I commit to any painting. It really doesn't matter the subject. I am going to paint. What I am interested in is to analyze different components like you value Kromah and see how these components will interact in their relationships between them. I like to compose car notes because they allow me to come to a painting with a plan with an idea of the paintings, so I don't feel lost in the process. Okay, here is where I normally start. I normally start with a value bland to analyse values on this particular landscape, and I am using brush and ink by taking color out of the equation. It simplifies the process off judging landscape, Onley in terms of value. After exploring different possibilities, moving values around and being playful with my brush inning, I have decided to stick to my fourth value study. Maybe other value studies might have worked as well, but I'm more pleased by the last one. It's the one that corresponds more to the idea I'm looking for. I have decided to put more visual weights to the senior here on the left corner, also on the top of the hell in on the mountain, because this creates a kind off triangulation that I like very much and also I have decided to put my lightest lights on the sky above and on the water reflection. Normally, I do different color notes from the same landscape that I would like to paint, and here you can see some off them by looking at the three different color notes. You may wonder, what is she trying to accomplish here? Or what is the point behind all three different color notes? And the answer is quite simple. What I am doing, basically, is using the same composition. I'm trying to affect a move on a way to convey different moods, using different colors in various colors, combinations. Having various color notes gives me the luxury of choice in many possibilities to decide on just notice how each color notes is communicating something different to the viewer. I'm particularly pleased with the last color note for me is the one that better represents my emotional connection to this landscape, and it's the one that has more vibrant in warm colors. Therefore, this is the one that we're going to be using, and this is the one that we're going to be creating in this class. And now let's go over to see the color palette. I like to work with limited ballot. Otherwise it gets very confusing, and I like to use a cooler and warmer version off each primary color. Basically, my bad. It has titanium whites, yellow lemon or wins or lemon community alot. Can you read Salazar in crimson Taylor green Coolbaugh blew several in bloom in dioxide sign purple. I also invite you to learn about the colors used by Erin because she uses a swell, limited palate, mainly composed by ultra marine, blue and yellow lights. Salazar in Crimson Taleb Green and you can go in depth by by reading her blawg on her website, and they have taped these little cameras with the under painting. So let's composes Governor note. Okay, He and I have my cooler set up on these row. I have, uh, all the colors off my limited palate and noticed I also have probable nearing the sacharow . I have all of my premixed colors. Okay, lets the stops. Let's start by establishing first, some darker values. Let's make some Taylor green in some a lettering crimson, and this is the darker value that is coming out of this. Now let's make some Alistair and creams in and some kobo. With these mixtures, I'm goingto be establishing the darkest orcs in the area where they Viniar. It's located in the shadows and noticed I'm not using any medium, Um, just using some other less mineral spirits to clean up my brush and also some paper towel. Okay, now let's have some Kuba blue with Cuba blue. I'm going to be describing some being yards in the shadows. Now I'm having some Taylor green in as likely Leichter value. This is to describe trees on the top off the heel. Okay, now let's have some taylor green and let's add some yellow lemon wins or yellow in. Let's a neutralize it a bit with some rand to suggest trees on the top off the heel and a little bit off my premix off cut red and Cappiello to describe some Morenci. Fully edge. Now let's make some dioxins. I'm purple with some cobalt blue and also some dioxin sign purple with some Taylor green, and it's established the dark values on the mountain. With these green, I suggest the presence of trees, even the mountain. Now let's add some white to the previous mixtures and use them to describe the mountains. Reflection on the water. It's to adore color but slightly lighter, then the mountain itself. Okay, now let's have some Kati Allo and with got alot, let's describe the vineyards. Notice how I vary the direction off the strokes to create some kind of interest in the vineyards. - Now on reaching for my premix of cat yellow and cut red with these orange ical or I'm a dean. Some interest in the vineyards. Okay, now let's let's use some Koba blue with Cuba Booth. We're going to describe the paths on the roads that go around the heel and also with these cool color, we're going to create some vibrations now for the base of the Swiss Alps. I premixed two colors in meat range values the ex design purple and cobalt blue, creating two versions, one that is more violent version in one that is more a bluish version. Okay, now I'm going to create three different values with cerulean blue. By adding some white with the door corporation, I will establish the Alps reflection and with the meat range version, I will create the some water on the rights Okay. Now I'm going to establish my light values. Located on the top off the mountain. I am using some bio design Violet unworried in a light value. I'm also going to be using a laser in crimson in whites and the seas. Some neutralized yellow lemon on white to establish the tops off the mountains. Okay, let's make some Windsor, lemon and white on. Let's makes some Kati, allo and white with the tip of my palette knife. I do. This does note just to worry. Five if the value is correct. And I make this a small mark on the campus, Charles to judge value. Okay. For the lightest part of the sky, I'm putting down Ah, yellow lemon on whites. And here I'm putting down Cutillo and whites. OK, here are my Premix is off cerulean blue. I'm using the palette knife to do it s note to judge value. And yes, it's right. So I'm going to use these light version with cerulean blue on white to represent the water way and with yellow lemon on whites, a little been neutralized. I am going to establish the lightest lights on the lake. Yeah, I think my car note is ready. My advice is that you work first with the darker values and then meet range values. And then the light values in my second advise will be used sometimes notes before you put the color on the campus and judge. If the color works well or not, and to help you out to compose your core notes, you can use his chart off the reference of the colors I used in my color. Note. Who and I think about having colors by Brady. I am mostly concerned about the interplay between warm and cool colors. I created this chart in which you are able to see when using different on their paintings and different color ranges. There is this interplay between warm colors and cool colors that creates a lot off vibrancy , like we are actually pushing the colors. I could say that I don't need much information. Toe have gray effects off vibrancy on a painting. It is mostly about creating vibration in the areas off light, the shadows and on the focal areas off your interest. It's important to remember that the power of the color depends on the cooler next treats, and we have to use the power off complementary colors to create vibration. I proposed to you the following quick exercise biggest small cameras like mine and complete the last study of color. You feel inspired, create different on their paintings and put on top off them different colors that will lie braids. To recap in these lessons, you have learned how to use a value plan, how to compose a color note and how to add vibration in the colors. Now it's time to practice what you have learned with a class project for these class pre, it's you will need some oil paints yellow, lemon or Windsor yellow cadmium yellow lettering. Crimson god, red taylor green cobalt blue, cerulean blue dioxide Sign purple in titanium whites. You will also need a small canvas is more bristle. Brush ballot, ballot knife, other less mineral spirits on paper towel. Create a color notes off this landscape or any other landscape that you like to paint. Also feel free to try different corn oats. Studies about the same landscape and explore different ways to convey the FRA moods. And though forget post your products in the prayer gallery for everyone to enjoy in the next class, we're going to start painting with oils in our canvas. In fact, I'm really excited because you will be learning how to paint vineyards using vibrant colors . So see you next class. 7. Painting Vineyards & Forest: hi. In the previous lesson, we have learned how to compose a color note, which is a very important step. These lessons do build up upon each other, so I strongly recommend compose these color notes before painting on your cameras into these. Listen, we are going to add color in the under painting. You learn to paint wien yards. In these lessons, we will focus on brushstrokes and color application. Your class project at the end of thes lesson is the paint vineyards hillside process and the forest. So see you in class. Here I have my two reference photos, and over here is my car notes. I will be using my color notes to see if my colors are working well. I use my value study to make sure I'm using the right value. Today we're going to paint the following areas. We're going to paint the vineyard in the shadows also the hillside terraces and the forest . Here you can see the brushes I will be using. Normal decides off the brush I use corresponds to the area. I will be working on Michael. A palette for this painting is the same that I used to compose a color notes were. Here is my limited core palette. Then over here, my two premixed colors. And now let's get assaulted. First, I will start by mixing my dark colors to establish my darkest of values. I will start by mixing Salazar in crimson in Teh lo green. Next, I'm going to be mixing Elazar and Prison and Cobalt Blue. I've decided to make two versions off each, mixing one leaning more to ELISA and Crimson and the other leading more toe the co Babu. It gives me more variety in order to establish my darkest while years with my angular brush , I'm going to roughly establish the vineyards designs on the shadows. I will dig my brush in the mineral spirits just to send my paint a little bit. I used some a lettering crimson, very thin, and I start by establishing the orientation off the rolls off brave lines notice that I used my angular brush as a drawing tool. Next, with the same brush, I will roughly define the woman's takes off the trail leasing system. Eventually, this area will be covered by paints. However, at this stage, I use these marks as the road map Okay, let's establish the nurse in the shadows and noticed that my oil paints are very well structured. I have removed every oil excess. Can us? We apply our paints in the campus. Try to hold the brushing in different ways and try different pressures in order to get so variety way as you paint. Remember to leave some nagel gives the spaces to show through. This is key. Try to stay fresh and spontaneous. Your brush strokes whenever you need it. Use your paper towel to clean up your brush. It's important to know the more you practice this kind off brushstrokes, the better you get. I keep using different dark colors. I'm always chief. Do try to create the illusion off picture with your brush strokes painting wieners. It's simple. For me, the most important thing is to get variety off brush strokes before moving on. I want you to notice that my vineyards are not the rial depiction off vineyards. They are the abstraction off a gray vine. So I'd like you to take a listen to account when you start approaching the vineyards in the shadows. And second thing I'd like you to notice is that I'm not using black. I don't like to you black in my paintings at all. I would say this is a version of black and I create this affair by mixing colored fishes, reds and greens on bulls. Okay, Now I'm going to establish the bath right here in the middle. And the other thing I want to let you know before moving on to this is Teoh. Make sure to use this kind of mosaic tile application method to suggest the vineyards. And now let's establish the path over here. And I noticed that these broad she's way too small. I usually like to work with a brush that corresponds to the area I like to paint in the days the sea is really small So I'm going to reach for another brush. Li see certain four bristle brush from rosemary I Yes, this is perfect. Let's use this one is go about the same that we used when we composed the color way. Now let us continue to paint the vineyards using the same techniques that we applied before Now that are green yours are established. I look at it and I kind of like toe a little bit more definition. And to do that, we're going to use very handy tool, which is the ballot knife. With the palette knife. We are going to scrape out some bait to define their roles. Off grade Violence in E If you don't get this right that the first time, don't worry oils. It's such forgiving medium. You can't repaint it again on scrape began. Make it all over. So let's scrape out some pains. You scrape out pains, try to follow the for. Imagine that you are creating numerals rose off grey vines. It helps to have a sharp palette knife. And last but not least, let's harmonize these area a little bit, you think cobalt blue way. So now that the seniors in the shadows are established, let's move forward to paint these area. The terrorists Vineyards off level stretch for around 30 kilometers along Lake Geneva. Solder is a lot of information in these area. By taking a look at the referee photo, you will notice that our many small parcels upheld by miles off a stock stone walls, so in a lose way, I will establish the terrorist, says the small parcels off. Grey vines also the trees. Divine Growers House says. I will use my angular brush with thin pains in, I will use a lettering cream sin. So let's establish the terrorist vineyards. Make sure to senior paint with all the rest mineral spirits or any other solvents. Take a look at the reference photo to establish the stone walls and different parcels suggest with the brush different kinds off trees, for instance, cypresses. Poplar trees binds with your Braasch defined the rose off ray vines on. Leave a space between them. I use a rag or paper towel. If I want to erase something as you notice I don't Don't be exactly what I see in my reference photo. I use it. I see God continue toe work, suggesting forms, patterns, the idea off vineyards way with my brush. I am suggesting divine growers houses in the vineyards off Lovell. We find small villages, hiking trails, different kind of trees. And don't forget to paint the side off the canvas. Now that the terrorist seniors have being established, we're going to wait until eat fully tries. It should not take longer than 30 minutes because the paint was saying with other less mineral spirits. So I proposed to you to move forward and work all these area. I am going to establish the forest, and we are going to work a wedding to where we are going to create textures. And one thing to notice is that we are not going to establish in the Bible trees. We are going to suggest trees. And now let's take a look at the color palette. These three premixed colors are the same that I used to compose the color note. However, I create it and you make sure using God yellow because I I wanted to bring more warms to the forest. So these make sure is Taylor Green and cut yellow as a demonstration. I take some Cappiello and some Taylor green, and I'm starting to makes notice that they are the same color. Now it's time to test these new color and see how it works. Yes, it's very nice. It's got some warmth. If you take a look at the reference photo, you will notice that the trees in the forest have a shadow side and the light side. It's important to pay attention to this toe. Define the form with a look green. We establish the dark shadows. These green is created by mixing daler green, a yellow Limon mutual ized way. Establish the meat range of values. Off the fully edge thesis are light value, which represents the areas where the sunlight hits the trees. Therefore, it is lighter on brighter notice. I'm working, wetting toe wet, which is perfect for blending with a simple stroke. Use these orange created by mixing. Cut red and got yellow toe. Add some vibration in the fully edge and don't overwork it. I use a paper towel if my brush gets contaminated now that the forest has been established, we're going to move forward and we're going to concentrate on the kerosene yards. I will start by restating some off the stone walls and I will be using transparent paint in these gays. I decided to use my reds. I have, um, Allison Crimson, which is a transparent, cool red, and I've decided to add a semi transparent warm red, and I've decided to add a permanent red which I happen to find in my oil paints. But in any case, any other transparent or semitransparent guar rib will do the work. I think that adding, um, transparent or semitransparent warm bread will make these stone walls too low a bit more. I will be using different brushes to have variety and create different effects when I paint . My color palette is exactly the same that I used to compose the color note. I will approach this part off the painting as if you were kind of bustle. You will see me kind of jumping around and filling in the blanks on off course. I will be paying attention to the referent photo to have ideas about the different patterns that we can find in the terrorist vineyards. Okay, let's get it started. I will start by restating these stone walls and, um, here in my palette, I have my two reds a cool, transparent, red and warm, transparent tread I restate to bring those values back, continue to restate the stone walls in some rose off grave fines here and there. Now that the stone walls have be restated, we're going to add color. We're going to approach this part of the painting in the following way. First big. The vineyards located in small parcels, remember, The vineyards have a shadow side on a light side. Who are the so light heats? Devyn Yards first defined the dark value, which she's this shadow sign with a Lazarus crimson. Next you find the light allow you, which is the light side with cadmium yellow. You use a thick application off God yellow. Define the light side off the vineyards where the sunlight hits them. The way the mosaic tile technique that you've learned in the previous lesson to describe the vineyards using these model continue to develop the vineyards located in every small parcel, build up the pictures off the vineyards with orange, the orange that comes from mixing. Kath read in cab yellow. Whenever I feel I'm losing the form, I need to come back and pretty state. In thes case, I'm restating some of my dark values toe. Bring back the form way change to a smaller brush. When the parcels are a smaller the size off, the brush should correspond to the area you are painting. This is a number one bristle brush. Use the mall stick or walking came to steady your hand while you are painting the vineyards on the lower and upper part off the hillside terraces will be painted in a very abstract and lose way. With simple strokes. The's creates the illusion that they are far away. We should paint elements in the systems with less detail. If we are employing atmospheric perspective way, use your angular brush. Next, we're going to develop divine growers houses. Notice that the houses have a shuttle side and allied side. I will be fine. The shadow side with cobalt boo in for the light side. I will use orange, these orange links more to yellow. With my angular brush, I will develop the shadow side. Next I will be find a light side. I paint the shallow side off the rooftops with Elazar in crimson in the light side, we've permanent red. Finally, I have details to the houses with a fine brush number one or number two round brush. Wait going to develop the trees in the vineyards. There are different kinds of trees. Poeple of trees, cypresses, pines, bushes. Notice that the trees having shadow side and allied sigh repartee, same colors that you used for the forest. In order to paint the trees first, mix a few greens if the heart value and me train travel you any light to value. We find the shadow side off the trees with the dark value. Next, defined the meat range values. Pay attention to the nature off the form off a tree and just defined before Fine has a different kind off edge Danny Popolare Tree or the bushes. Use the cheap off the angular brush to define those edges way. Highlight the trees with the light green way in the vinyard that are many past and hiking trails. Define them with kobo blue. Use your angular brush and use your most take to steady your head, take a step back and shake for final adjustments and paint this side of the cans to recap. In these lessons, you have learned about layering colors and techniques to create vineyards. I would love to see how your painting is coming along, so please share your progress in the product gallery. We can get inspiration from each other in the next lesson. We're moving forward to paint mountains, this guy and water creating interest on excitements. So singing the next class 8. Painting Mountains,Sky & Water: Hi. Welcome back in this lesson. We're going to further our painting and I'm going to show you how to paint mountains, this guy and water. In these lessons, we're going to focus on developing different textures and expressing May shows beauty. Your class project at the end of this lesson is to take your painting to its completion to help you along the way. I strongly recommend you watch the lesson some composing a color notes and blame away tiles . So see you in class. Here is where we have left stuff in the previews lissome on today we are moving forward to complete these painting, we will develop first the mountains next, the sky and finally the water taking into account the water reflections. The technique that I will use will be the mosaic tile application method that we practice before the color palette that we're going to use to paint these elements is basically the same as we used to compose the color note. Now let's review the color palette for the mountain to the right. These mountain waas painted with the mixture off the yolks, assigned purple Coolbaugh blue on white. This galore also, we mixed dioxins sign purple and Taylor green and out of weeks mixture. I will create a new variation, one. Any more violence and one leaning more to green and I will ease in order to create more variety and cola ranges for the mansion to the left. We used dioxins. Sign purple with cerulean blue and white with two versions. One version. Lenny Moore toe violets in one version, Leaning more to blue of these points, I have decided to create a new mixture toe. Add more loan says in the mountains by mixing cerulean blue Taylor green on white, and I will make a quick demonstration severally on Blue Taylor Green. I'm titanium white. Have some self Julia dash of green gonna make their and just tiny touch a white. And now let's does this color are you? Is to say, the colors that we will use to paint the top of the mountains are the same that we used to compose, the corner wrote. In the same way. The corners for the sky are the same us. When we compose the color notes yellow lemon whites, it got yellow on white. Let's start by taking a look on the reference photo, and we're going to look for color variations in the mountains. Call a variation is so true to nature on makes a painting more interesting. We will develop the mountains by taking color variations into account on They happen at the base of the mountain. This lobes off the mountains and the peaks take a closer look at the decent mountain range of the suites. Out there is a clear difference off cool colors at the base and this lobes of the mountains and warmer colors at the top of the mountain, where it is covered by snow. As you hate, try to follow some of the angles created by this lopes, and don't try to paint exact shapes, just laying mosaic tiles off colors. I will bring excitement to the sky by allow win the under painting to show through. And now let's get a start. Okay, I'm going to start by developing the mountain to the right and be my palate. I have my premixed colors, and I will start by establishing the base of the mountain with dioxin sign Violet mix with Kobe below. Continue to develop the baby's off the mountain with Mazzei tiles off color. Take a look at the referee photo toe paint following the direction off this lobes off the mountain. Next, load the brush with your premix off dioxins. Sign purple and Taylor Green defined the dark masses off color in the middle section off the mountain. Next, developed the fully edge at the top off the mountain, the way the angular brush defined the edge just off the boats mast. Use your mole. Speak to a steady your hand. Next defined the edges at the base off the mountain. Now it's time to make some final adjustments, filling in the blanks on painting the side off the canvas. Now that the mountain to the right has been established, let's move forward to paint the mountain range off the sui's ops way, going to clearly define two zones. The days a middle faction off the mountain range with cool call arranges and the top off the mountains with warmer accents. Start with your premixed off dioxins. Sign purple Global blue whites with its two versions. Violent version on bluish version to define the base off the mountain. Bait basic shapes on defines lobes. Next, apply your bluish premix to continue developing the base off the mountains. Next, develop the middle section. Define the edges off the mountain range with the angular Braasch. Continue to build up the textures off the mountain range. Now let's develop the peaks off the mountains. Let's take a look at the referent photo to clarify the direction off the song lights. The sunlight is heating the right side off the peaks, so the light side is on the right side. Off the mountain. Peaks in the shadow side east on the left as you paint. Clarify where the light is coming from. Apply your mix off Dioxins. Sign purple and whites to define the shadow side off the mountain. Speaks you paint. Make some edges softer or harder as you like them. Teoh next defined the middle section off the peaks with your premix off a lesser and crimson on. Dwight, apply your premix off yellow lemon on Dwight, neutralized to brighten. There is no coat on the top off the mountains. Continue toe work. Move edges around to further the compositional idea. Make the most of working wetting toe wet because the wet paint can easily blend if you like to. Now that the mountains have been established. Let's move forward to paint the sky. The sky covers a small section on the upper part of the canvas. Nevertheless, we can add some interest to the sky by Lame O's a tiles Emotion lo the brush with your premix off Kati allo and whites in apply mosaic tiles. Emotion. When I paint that I use a reference photo. I can copy everything, exactly a cities. However, I can also make decisions that are separate from the reference. Maybe I change the colors. Maybe I move elements around. Maybe I make this guy warmer with more with less clouds with no clouds. It is your painting you decide. Define the horizon line, ask you bids. Next, apply your premix off yellow lemon whites to define the oper part off the sky, finally being the side of the camps. Now that the mountains and the sky have been established, we're going to move forward to paint the mountains reflection and the rest off the water. Water is an amazing subject to paint because it can take on so many forms of fury ALS or calm. Generally who and I pain water. I lay simple mosaic tiles especially in calm water. Short strokes with physical pains. Also remember that the water reflects anything above its surface, including this guy. Now let's review the color palette for the mountains. Reflections and the water the coolers toe paint. The reflection off the mountain to the right are the same colors as the mountain itself, adding just some white. These callers are the axe assigned purple in cobalt blue with a touch of white. And these two colors. Dioxins sign purple and Taylor green well anymore to Violet and one leaning more to green in adding white the color to paint the reflections off the mountain to the left. He's cerulean blue in a rash of whites. I decided to keep that reflection off that mountain. Very simple, using a single color, the colors that we will use to pain the water on the lower half are the same ones that we used on the color note. So please review that. Listen, we're going to use the rule. Young, blue on white in two versions. Darker version lighter Russian and yellow lemon on white. Neutralize a little bit. Four day highlights. Okay, Over here is my color palette. And with my three premixed colors. I'm going to start by establishing the mountains. Reflections. Just one thing to burn in mind is that water reflections are a little less intense than they object itself. So let's bear this in mind and really keep it simple. They're more movement, the racing water, the more distorted on objects. Reflection will become my advice to you when painting water reflections is to keep it simple. If your rendering off a war reflection is too complex, it will actually look less realistic than loosely painted and suggested water reflection. OK, now let's get a started. Start with your premix off buyouts. Assign purple and Kabul and whites to define the reflection closer to the mountain. Next, defined the needle section. Apply your British premix toe, their reflection that is, a father from the mountain. Switch to your angular brush to define various edges, paid the side off the canvas. Now let's define the mountains. Reflection on the left side defined the surface off the water's reflection with short and broken strokes. Taking a look at my baiting, I noticed there is a lot off lights coming from the under painting in. I decide instead off painting these area with a highlight using yellow lemon on white, which waas my original intention. I will actually allow all the lights come from the other painting. Apply a few dabs off cooler to add a few highlights to the hall off the boat. Now that the reflections are established, let's move forward to pain. The water on the lower half, using cerulean blue on white, continue to build up the water and don't overwork your brush strokes you find just with the annular brush. Finally paint the side off the camps. Now that the painting is almost finished, it's time to step back toe, assess the painting and make some final adjustments. I have decided toe. Add a few highlights to some trees in some rose off. Great fine used yellow, lemon or winds or lemon toe. Add a few highlights. You'll be surprised how really stay, kans. I brand the every soul looks when you take a step back 9. Final Thoughts: to recap in these glass paint, vibrant landscapes you have being introduced to open Impressionism, a second temporary artistic movements. You have learned how to schedule an escape in plain air by applying techniques social as reducing the landscape to its basic forms and shapes. Front of drawing just your lines, setting up a timer. Also, you've learned techniques for applying open impressionistic strokes, such as the mosaic tile application method and how to apply mosaic tiles Emotion. Furthermore, you have learned the purpose of main benefits off another painting and how to create an under painting using fluorescent acrylics by Lesson six, you've learned how to use a value plan. How to compose the color notes in a vignette painting, using a limited color palettes in how toe add vibration in the colors, buy less seven and eight. You have learned how to paint various elements off the landscape, such as vineyards, mountains, sky and water. Take you this painting to its completion. I really hope you have enjoyed taking these class and that the techniques that I thought you will really help you to pain, beautiful and vibrant landscapes. If you run into any problems, don't hesitate to ask I will be happy to help you the best I can If you have enjoyed taking this class, I can t ask you to share a review. And I would also love to see your painting So please upload your projects If you like to learn more about my work let's be friends on Instagram. Here is what I share what I am currently working on my our work and also visit my website Thank you for take you these class and the most importantly have fun and enjoy the process with way.