Paint Your Own Landscape Inspired by Monet | Jacquie Gouveia | Skillshare

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Paint Your Own Landscape Inspired by Monet

teacher avatar Jacquie Gouveia, Abstract Landscape 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

14 Lessons (1h 5m)
    • 1. Introduction

    • 2. Tools

    • 3. Monet as Inspiration

    • 4. Paint Colors

    • 5. Underpainting

    • 6. Sky - Layer 1

    • 7. Tree Line - Layer 1

    • 8. Field - Layer 1

    • 9. Sky - Layer 2

    • 10. Field - Layer 2

    • 11. Tree Line - Layer 2

    • 12. Field Highlights

    • 13. Grand Finale - Poppies!

    • 14. Finishing Touches

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About This Class


Are you ready to paint your own Monet landscape painting?

In this video artist Jacquie Gouveia will walk you through the steps to create a landscape painting inspired by a classic Monet masterpiece. She will explain her steps along the way and keep things very simple. The painting uses minimal colors and Jacquie will explain how to mix colors and the different ways to apply the paint.

This video is perfect for a beginner just learning to paint and wants some easy instruction. It is also great for someone with some painting knowledge just looking for some ideas on how to make a classic painting their own.

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

You will learn:

  • How to keep your colors fresh and clean
  • How to mix paint colors
  • The basics of color theory
  • Various paint application techniques
  • How to layer your paints to add depth
  • How to build the layers and color to support the red poppies

Tools Needed:

  • Stretched Canvas (small like 12x12)
  • Spray Bottle (keeps the acrylic paints wet)
  • Gesso (white and clear)
  • Brushes
  • Palette knife
  • Acrylic paints
      * Cerulean or brilliant blue
      * Cobalt blue
      * Sap green
      * Cadmium yellow deep
      * Olive green (or a dark earthy green)
      * Cadmium red light

To see Jacquie's paintings and prints go to:

Student Feedback:

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

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

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

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

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

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

Meet Your Teacher

Teacher Profile Image

Jacquie Gouveia

Abstract Landscape Painter


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

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

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

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1. Introduction: Hello and welcome. I'm Jackie Cova. And in this painting video, I'm gonna teach you how I painted this painting from start to finish. In this video, we're gonna use a Claude Monet painting as our inspiration. It's gonna be a good challenge, Forest. And we probably both gonna learn a couple of things along the way. Let's get started and have some fun. 2. Tools: So before we get started, I just want to talk about the tools that I like to use when I paint. Um, obviously I have my easel. I've had this easel for several years. Um, and it's nice and sturdy, but when you get started, you can use anything. This happens to be a little bit more expensive easel, but you can buy things that are just tabletop. If you're getting started, you can buy things right at Michael's that aren't that expensive. Um, my canvas. I tend to like a canvas that has a lot of texture on it. It's a heavyweight cotton canvas, and it's wrapped its gallery wrapped with voter inch and 1/2 thick. Because I paint the sides that way, people don't have to frame it if they don't want to, because I use acrylics. I always have a spray bottle on hand. The room that I'm in now tends to be dry, so my paints dry quickly. Um, and you have to kind of keep your environment in mind if you're painting on Ah, um, rather muggy day, your paint a Ghana. It's gonna take longer for them to dry because they're going to be a little bit superior. So when I'm if I'm painting in a dryer environment, this spray bottle comes in handy because I can keep my paints wet, and I can control the consistency of them. Um, I also use two types of Jess owes when I pain, I use a clear Jess Oh, which is clear. It doesn't really affect the color at all, but it helps me to kind of get some fluidity with the pain and the clear. Jessel also has a small, tiny grittiness to it again gives it a texture that I like to work with. The other Jess. Oh, that I work with is white Jess. Oh, I tend to use Jess. Oh, as my white. I do use a titanium white, but especially when I'm working on big paintings. I use Jessel as my white because it gives me that ability to really mix up big the big spots of paint. So that way, when I'm working on a large canvas, I can move the painting. I can move the paint around, so I like to use Jess. Oh, as my white. You know, it's acrylic base. It mixes well with my acrylic paints, so my paints themselves. My favorite brand is M. Graham, and Graham makes both acrylics and oils. Um, this it's more of, ah, probably a pricier acrylic pain, but because I sell my paintings, I like to have quality products. Um, and M. Graham. Their colors are gorgeous, there really vibrant there, really rich, and they're great to work with. My palate might. So my palate is basically I think it used to be in a picture frame at one point. It's just a piece of plexi glass. Um, and it's Aiken. Clean it really easy. I spray it down, I can wash it off. I keep my palate nice and clean. And when you see how I mixed paintings, I only mixed one painting one color at a time. I don't have a bunch of different colors, so I mixed the color that I'm gonna work with. I use it and I clean my palette off. So I like to keep my palate nice and clean because it helps me keep my colors nice and fresh. I also use palette nights, so I used the palette knives to both mix pain and also apply paint on my canvas. and I'm gonna show you that in the video later. How I actually apply some paint on my canvas with a palette knife and then last but not least, my brushes. So I buy really cheap brushes. I know when you can go and you can spend a ton of money on brushes. I used to do that, and it just didn't make sense for me anymore that with the way I pain So I buy these brushes at like a lows are Michael's. They're super cheap there, like maybe a dollar. Um, and I really work my brushes hard. As you can see, this little study brush used to look something like this, but I like using both of these brushes because this is this brush is really soft. It gives me one sort of technique that I like to use, the way I apply the paint and this brush that's really gone worn down and stubby helps me really kind of scrub in areas. If I want to lighten things up, if I wanna kind of pull some of the paint off, you know, I get to use these kinds of brushes. This will wear down to a point where I really can't use it anymore, So I throw it out. But again, I use really, really cheap brushes. 3. Monet as Inspiration: So as I mentioned for this video, we're going to actually use a Claude Monet painting as our inspiration. So this happens to be a poppy field at Oh, boy, are genteel. I don't know if I'm saying that, right. I'm sure I'm not. I'm sorry if I'm butchering it, but basically, I like this painting because it follows thesis imply compositions that we that I like to dio and we're going to build up the bottom part, Um, the reds that we have, we see here in the poppy fields that's going to be more of a like a splash of color. So the whole process is to kind of use this just as a guide. We're not going to try to put in all the details. That's not our intention, but we're gonna use it as a guide. We got a really beautiful color palette that we can work with, and we're going to just keep it simple and just, you know, use it as guide and use that some inspiration to do our very own painting 4. Paint Colors: before we get started. Let's talk about the paint colors that we're going to use in this painting. Um, now, these this time around, I'm gonna use more paintings, more colors than I typically use. I used usually using these videos a very minimal palette. But in this, I do want to kind of add some extra collars. Um, but keep things simple. So let's talk about what we're gonna use. So one of the colors that we're gonna use in the sky area is brilliant. Blue, um thistles. Liquid text, Brilliant blue. Some other brands call. It's truly in blue. It's nice and earthy. We're also gonna use some cobalt blue. We're gonna use that with the brilliant blue just for that sky area. Just give it some variation and blues. Those are cool colors. Um, so for greens, I have, um, sack ring. As you noticed in the field, there's a lot of greens going on, so I have some sap green that we can mix with some yellow car and stuff, and I also have all of green. I'm pretty sure I'm gonna use all of green. I'm gonna have it on hand as we move forward. with the painting. I'll decide whether or not I do want to use it or not, Um, Yellows. So I'm gonna use some cadmium yellow deep and some yellow okra again. The yellow color is nice and earthy, and the cadmium yellow deep is brighter, but still on kind of the earthy or inside. This will work nicely with the greens in the field. I have some Payne's gray on hand. Um, this Payne's gray tends to be a little bit on the blue side, this version of it, this golden version of it. But again, I'm gonna have it on hand. I think I'm gonna use it in terms of trying to figure out how I want to execute this because, hey, I haven't done this. We're going to kind of do this all on the fly together. So, um so, yeah, so I'm gonna have this on hand. I think I'm gonna need it. And then for a really warm color, I have cad me and Red Light. Now, Claude Monet and a lot of the Impressionists. They use a lot of cad me and colors. I actually only have two cab means in this, um, in this for this, but I get Cadman yell deep and I get the cadmium red light. But, um, this is gonna be kind of what we used to represent and give the illusion of the poppy fee of the poppies. So this is our red. So one color. All right, let's get started. 5. Underpainting: So the first thing we want to do is want to put some sort of under painting on here, and I'm actually going to go to put an under painting on the bottom half of this on day. I want to do a warm under painting, so the field is going to be on the green side. But I want to kind of have some warm red yellows under here that's going to support that green, because it's gonna It's gonna, um it's gonna build on the green, will build on that and having that red and yellow underneath it is gonna help that green kind of be lively. Okay, so the other thing, too, is I already know based on the photo that we're gonna have the horizon line is basically gonna be right in the center the top half where we do the sky. I'm going to go straight on with the blues. I'm not gonna do any sort of under painting. The If you noticed in the photo that Sky blue is really brilliant. So I'm going to kind of leave this, um, canvas. Ah, blank on the top. And we'll just do straight color on the top, but on the bottom, we're gonna do some under painting. All right, So I am going to mix up a little bit of my cad me and read in some white, and I think I'm gonna do, like, some of the red on 1/2 and then maybe some of the cadmium yellow on the other half going to kind of mix up that under painting a little bit. So I'm gonna take some wait and a little bit of the cab. Me and red cadmium red read is a super powerful color. Very bold. I like to think that you're daring when you're using reds. We mix a little bit of white with it. It tones it down, cools it up a bit and creates some really beautiful PG coral, whatever you wanna call it. So I'm gonna add a tiny bit of clear just so to it. I'm gonna give it a little spritz because I want this to be, um, kind of a loose on the painting, loading up my brush. And then, like I said, the horizon line is going to be right around the center here, so I'm just gonna lay this on and I'm not gonna worry about covering the whole thing. I just want to get some areas where this ready this red is keep it really light. And I'm going to just do a tiny, tiny bit of the yellow down in here. So I'm gonna mix up some of that cad me and yellow deep with a little bit of white. And I'm just going to kind of create some of the under painting here with the yellows. Okay, so again, a little splash white, a little dab of can me and yellow deep. This is the deep. So this is the, um this is the stronger, warmer version of Captain Yellow. I put a little Jess. Oh, gonna mix that up with my brush, get my brush nice and loaded. And then I'm just gonna spread that yellow on down in this bottom corner and down along the bottom. So, as I mentioned, the under painting is gonna act as a support as we build up that green. So the field, if you remember from the photo the field is very dry. Um, the grass and the flowers. Everything is really dry and airy, so I want to kind of try to build that illusion too. So I'm just keeping everything really light. And these colors, these colors underneath are going to kind of show through that green and help support that green instead of just going in with a flat green. So So this is gonna be a good example, because the top heart is just gonna be straight on blue. There's no under painting, and it's gonna be bright and brilliant the bottom half where we have an under painting and we're using some complementary colors for that under painting that's going to support that green. It's gonna gray it down, and it's gonna add some really good interest and energy to what's going on in the bottom half of this painting. So, yeah, so here's my end of painting. Keeping it nice and light at a little more yellow. I can either even go in if I want. Now I have two brushes with some color on that, but I can kind of blend that pinky color with the yellow. So now I have, like some some of the, um, peach color by itself, yellow by itself and then a, um, kind of like a blend between the two. Just really late, Really Life limb. All right, let's move on to next thought 6. Sky - Layer 1: All right. So we have put in our under painting, um, for the bottom part that's going to support the field. Now we're gonna move on and focus on the sky. And like I said, we're not doing it on the pain here, which is going to go straight in with some color. So if you remember in the picture of the, um, the sky is nice brilliant blue, which we're gonna use a color called Brilliant Blue on We're also gonna mix in some of the cobalt blue But the first thing I want to do is just do a mixture of some of the white and that brilliant blue just to start getting this area covered up. So we're going to make a mixture. Like I said of some white and some of the brilliant blue I'm gonna go just a little a star . This this brilliant blue is a strong color, so it doesn't take much to get a really good shade of it going to add a little bit of Jess . Oh, it's a little bit on the light side, so I'm just gonna have a tiny bit more. I have some white on my brush so I'm just gonna kind of blend it in, clean off my palette knife, and I'm just going to start laying it in. I'm just gonna lay in this flu covering some areas, not others, because I don't want it to be just this flat blue I want toe mix it up. So I'm gonna add, um I'm gonna dark in the color that I have on my palette. Add a little bit more of this brilliant blue and a little bit more of Jess. Oh, and just gonna add that in and see how just a little bit of that blue How much How powerful this blue is really a strong color, Very pretty. And then just to kind of change it up a little bit, I'm gonna take that mixture that I have when I add a little bit of white and I'm gonna add some cobalt blue to it just to give a little tiny bit of a variation in the blues It's a little bit more weight, some cobalt blue, and I'm just going to use the same brush I've been using kind of mix it all together. Yeah, that's pretty, very pretty. And then kind in the air. The center here. I'm just gonna lay that in. That kind of gives it Ah, whole different level of coloring. But again, I'm not going to cover the entire area with this new blue just going to kind of lay it in different spots and let it all blend together as it dries. Kind of darkens a little bit. Kind of blends together, and we'll be able to once it dries will be able to figure out what our next move is. I'm just going to take a step back, take a look at where we're at figure. Oh, what our next plan is? 7. Tree Line - Layer 1: All right, So the next thing that we're gonna work on so we have the under painting down below, we put some coloring to start up the building, up the sky. The next thing I want to do is I want to start kind of putting in some sort of illusion of that tree line on the horizon. So and again throughout the whole thing, we're just focusing on building up the layers. So I want to just kind of lightly put in my first layer of those trees, and I'm going to do something a little bit differently because where this is in my mind, you know, gonna be a little bit more abstract. It's not gonna be, you know, trees that we that we paint in, like in the Monet painting. It's just gonna be kind of Theis essence of a tree line. I'm going to do something a little bit different, so I'm going to take some of my all of green and I'm gonna get it somewhat wet. And I'm just going to kind of squish in some shapes, using that all of green with my palette knife, and then we'll have to take a break and let it dry. But that's just going to start creating the essence of that tree line. All right, so I'm just going to take some straight all of green, put it on my palette. I'm gonna give it couple of squirts to get it wet. And I'm gonna smush my palette knife into that green, right? So it's nice and wet, and then I'm going to get, like, this, mash up of it on the back of my palette knife, and then I'm going to go right into that tree line, and I'm basically gonna kind of smush that color in and again, this is just building up that essence of some sort of tree line. It's just gonna be like a life, almost like like a watercolor. In a sense, it takes them or do it on the other side. And I'm not gonna go all the way across. We're gonna leave some opening. You can add some war toe where it is starts building up the doctor versions of it. So getting a little bit a little bit of pieces that are doctor than other areas, which is nice. I'm just smashing it in letting the canvas pick it up. Kind of scrubs him in again. The whole technique is just to build up some sort of illusion or essence that we have some trees going on on that horizon. All right, we're gonna let this dry and then we're gonna move on to the next thing Cool. 8. Field - Layer 1: All right, So we're back. And, um, this area that we put in that we kind of smushed in with our palette knife to give that tree line illusion is drying up nicely. So we're gonna move on to starting to build another layer for the field. So for that, um, I'm gonna mix up some yellow okra and the sack corinne and add some white. So we're gonna just start building those colors up on one of things that I do want to do focus on on the bottom is make sure that it's not all one flat color, So we're gonna go in, we're gonna put in a layer. You know, we're gonna have some okra in there with Seth Green, and we're gonna let some of the under painting show through because we want there to be some variation and color. I don't want just to be all flat, one solid color. So let's mix up some pain. Take some white Jess. Oh, takes, um, yellow okra. It's a okra Oakar. I'm probably saying it wrong. I think okra is actual food. I think this is probably okay, but but it's this color. I'm gonna add some sap green. What's mixed that up? See what we get And I'm actually not gonna mix it up, so it's all flat. Even I'm going to kind of just lightly mix it up. So there's, um, some kind of different colors showing through so you can see some of the yellow. You can see some of the green. You could see some of the white. I'm gonna leave it like that. Just a touch of the, uh, clear, Jess. Oh, and I'm gonna take a brush, wipe it off my palette knife, dip it into my mixture, and I'm going to just start dragging it across. And I am gonna go over that tree line that we just We just laid in just fine, cause it's gonna kind of be a little bit buried in the fields. So I'm just kind of keeping my brush is somewhat on the flat side and laying this color in . And I do like to leave some of that under painting showing through. I get some of the yellow showing. I get some of that peach showing, but just keep going and kind of laying in this green mixture again. We're just building up the layers for this fields. I take a step back, take a look at it, make some decisions. So I want to, um, start building up down in the bottom area. I do want this to be a little bit darker, So when I leave, I want the top to be later in the bottom to be docker. So with the mixture that's on my palette, I'm gonna add some more sap green and just a little bit more of the yellow Oakar mix that in. I'm gonna lay down here on the bottom just to start pulling in some darker values of that green just kind of sweep it across, grab a little bit more, and I want to go a little bit darker. So this time around, I'm gonna take some of that sap green, and I'm actually going to take some of the all of green. So the all of green is the really dark color, and the olive green is the green that we just used on that tree line. But I want to I want to go a little darker here in the bottom. And the all of green is is also mawr on the kind of like the brown or side. So I just want to lay that in just to give it just to kind of pull away from it, being green, green and having to be a little bit more earthy, You know, I don't want to pass deli. And then, as you can see, I'm just kind of building up some docker areas. I'm not covering up the whole thing. I'm letting some of the lights show through, um, some lights beyond here. I'm letting some of the under painting show through. And I'm just kind of focusing on building up some darker areas. Just so this a variety of values. Because if you look at the field or if you look at any field, it's never one solid color. There's a nice variety going on, all right? And there is still some light color left on my palette. So I'm just gonna scrubbed my brush in through it and just laid on really late, okay? And we're just gonna take a look back, take a step back and take a look. Oh, yeah, that's building up nicely. So gets, um we got some darker tones, which was my intent kind of Get some green on there. We got some darker tones around the side here, Some lighter colors, um, building up. So I'm gonna just take a quick break, let this dry bit, and then we're gonna change our focus to the sky area because what we want to make sure that we're doing is that we're working throughout the whole painting. So we want to make sure that we're building up the sky in the field, so they all kind of work together. So let's take a break, let this dry, and then we'll move on to the sky. 9. Sky - Layer 2: All right, so we're back. So, um, like I said, we're gonna come back and we're gonna work on this sky area right now. I want to I want Teoh create a variation and values in the sky. So lots times, one of the things that I like to do is kind of have maybe the top area a little bit darker and let it kind of get later as it as it falls to the horizon. So, um, I'm gonna mix up some of that brilliant blue with white, and I'm gonna add some coal ball, I think to the mix, and we're gonna kind of dark in this top part up and then kind of work on lightning lightning some of the sections as we get closer down to the horizon. OK, so let's mix up some pain. I'm gonna add some brilliant blue, and I'm gonna add just a tiny bit of Kobol to that brilliant blue at a spot of white. Mix that up, see what I get. And if you're not sure if the color that you have mixed is right or if it's the right value , it's dark. And often it's late enough. One of the things that you can always do is grab some onto your palette knife, bring it up to your painting and take a look and see. OK? Is that dark enough? Is that what I want? Do I need to add white? Do I need to? Do you know, you could make some decisions. So before you put some pain on your power on your canvas, you could make some decisions as to whether or not that's the color that you're going for. So I'm thinking that it's a little bit too much on the dark side. Even though I do want this corner to be docker, I think it's just a tiny bit too dark, so I'm gonna add a little bit more weight to it. Mix that up. I think I actually went a little too, Doc. That's okay. So I'm gonna take the brush that I already had my blue on, and I'm gonna keep continuing to use that because that's basically my blue brush, takes a paint and is gonna lay it on that corner. Yeah, perfect. So it's nice. Dark, darker color, madam. Adding up there. Very subtle. And so now I'm going to start focusing on kind of lightening up as we go from left to the right. All right, so I'm gonna leave this dark, darker color kind of floating on the top, and now I'm gonna keep lightening up. So when you light up my mixture and kind of bring the lighter color from the left over to the right, All right, so I still have some white on here. I'm just gonna kind of pull that in, get it on my brush, and then I'm just gonna drag it on. I can already tell. I need I actually need thio more white on there. That's all right. Yeah. So I'm gonna add a little bit more white. As I mentioned, this brilliant blue is very strong color. It doesn't take much to get a good, solid blue going with it, But you just have to get familiar with how it works. So you understand how it's going to react and what's gonna do when you put it on the canvas . So I'm gonna take Oh, yeah. So now I get some nice, lighter color and I'm just gonna drag it in through the center here, bringing it, bringing it over to the right hand side. And again, I don't care if I cover up some of the tree line that we created. That's fine, because that's that's just the first layer of that. So I am good with that. And then, if you want, I know in the, um in the money painting, there are some clouds in the sky. So if you want, there's a couple things that you can do. You can you can either put in put a dab of way on your palate, kind of put some of the white right on the edge of your brush. And if you want to kind of create some illusion of clouds, you can just kind of sweep it across again. We're not going for full details, because we are. We are, um, kind of abstracting this whole painting, so we're not going in for full details. But I'm just kind of showing you that if you want to put some kind of essence of clouds and then that's one way to do it, you can just put some on the end of your brush and throw it in can lighten up the areas a little bit. Mawr and It just kind of gives a new illusion of some wispy clouds going on there. All right, so let me take a step back and take a look at where we're at. Yeah, that's looking pretty good. So we get the nice doctor blue area happening up in this corner. This is all getting light as we move over to the left over to the right, and we got some sort of illusion of some wispy clouds happening, which I think is great. We are gonna, um, ad Like I said, we're going to be adding another layer to the tree line, which is going to kind of cover up and, you know, lay over everything. But I think having that little wispy nous of the clouds there is fine. It looks nice. It's, you know, it's just Ah, very late, Um, very light and, uh, you know, happens dance kind of streak. It's not, like, forced or anything. So I think we're doing a good job moving that on. Um, we're going to now from here. We're going to start again, building up on the layers on the field. So I have some white paint on my palette and I have some of the blue I'm gonna clean off the blue. And just so you know, we're going to keep this brush. I already know that at the very, very end, I'm gonna lay in very lightly. Once we get the field all built up, I'm gonna lay in very lightly some of this light blue over the side. So I want to make sure I keep my brush, this blue brush because I'm going to kind of lay it in on top of it. We might get a little bit later, but I'm just keeping my brush as I go along. I want this blue brush because I know I'm gonna use it. Um, I'm gonna use it later on one of the final things that we dio. Um all right, so let me take a step back. And, um Figaro. What? Our next move is on that field 10. Field - Layer 2: All right. So the next thing that I want to do is I want to stop pulling in some more like yellow yellowy green throughout the field. Here is I want to break up the fact that the bottom is just green. Um, so I know, like in the field is some flowers or there's drier grass or whatever, so I'm gonna build up, um, are mixed together a little bit more of yellow and green, So I'm gonna make take some cadmium yellow deep and the sap green, and I'm gonna kind of be more on the yellow side and I'll probably had some white toe Lighten it up. I want to get some more yellow tones throw here. So let's go mix and paint. So manning some white Just so I get song cad me and yellow deep and I'm just gonna put a tiny bit of the sap green because I want this to be more on the yellow side, so I'll start with it being much more yellow, And then I can add the green as I go along once I decide if I want it or not. So at this point, I have a nice color. I'm going to take it on my palette knife, and I'm going to compare it to what I have up on my canvas. So yeah, so I can already see that this is, um, nicer. Kind of yellowish green. And it's later. So I'm gonna take a brush, a dry brush, get someone my brush. And I'm just gonna lightly start laying Playing this in has to get some new color in here. Let it kind of sit up on that horizon line, you tipo perfect. And when my brushes nice and dry when I just kind of drag it across the uhm texture of the campus kind of picks it up Nice. Let me take a quick step back. Could take a look. Oh, that's pretty. Um so I'm gonna kind of build on this, and I have the nice, darker greens in this corner. Now I have this more yellowy green. Um, it's very gray, so it's very neutral. Um, kind of building up in here. I'm gonna add, though, So the mixture that I have I really like this mixture a lot. I have the mixture that I have on my palette. I'm gonna add a little bit more agreeing, so I'm kind of building upon this color here. All right, so I'm gonna add a little bit more of the sap green to this because I just want to again, My focus is to get some variety of greens going on down in the bottom here cause I don't want it just to be one flat note. So I'm just gonna lay some of the new mixture in softening up some of the edges. Just being really loose makes more color. Lay it on, taking a step back so I can see we're at Oh, yeah. Nice. Um, let's see. I think I'm going to go a little bit more with the dark green just to get one more shade deeper. I do really like this value, and we're building up, building up the value just by adding mawr of the darker green. So I add more darker green, and I'm just continuing to use the same brush and just lay that on. So I I'm building up the layers building up the layers, and I'm creating some sort of variety of variation within this bottom area. So it's just not all one no flat taken more. Just throw it in down here but actually going to take my palette knife and I'm gonna take some of this pain. Get some of this paint flat on my back side of my palette knife. And I'm just gonna kind of late on because that's going to give me even some or texture. And it's going to give me some more, um, depth, because it's it's a different way of applying the paint onto the canvas. And I'm kind of just very lightly laying the lighter color over the doctor color. I'm actually gonna take one small little beat of it. I got tiny little beat of it right on the edge of my palette knife. And I'm just gonna kind of scrape it in right on that horizon line. All right, so we just kind of built up again. We just did another layer buildup that that, um, bottom part of the painting the field, because we want to have some nice varieties going. Um, the So now we got some some later greens, a little bit more yellowy greens. Um, we're gonna let this dry and figure out what our next move is cool. 11. Tree Line - Layer 2: All right. So the next thing that we want to dio I'm gonna do is I'm gonna add another layer to that tree line. And so the last time when we did that, I put some all of green on my palette, escorted it really mushed my palette knife in, pushed it in on the canvas. This time around, I'm going to draw directly from my all of green to right onto the canvas. I'm gonna get some solid paint on there, and then I'm gonna push it in because what I want is I want to get some darker areas that allaying over some of later areas. So the first time we added some water to it, that kind of made it a little bit more transparent. This time, I want to get some really darks and mush that in. And then that's going to create some really dock areas that are laying over the transparent areas. Someone is just gonna grab my olive green paint my tube and I'm just gonna lightly just squeeze out a little bit just to get some on some pigment on. They're gonna do the same thing on this side. I just want to squeeze out some pigment, and obviously you can already see how gorgeous that contrast is. So I get the dark straight out of the tube, all of green color laying on top of the more transparent one. You can already see how it gives that death. Now, you get that nice dark color laying right on there. I'm just gonna take my palette knife and go into that area and then kind of just bush it around and I'm fine. If it comes below, it goes down into the field. That's fine. Gonna do the same thing on the other side, Just kind of dragging around for this side over here. I'm just gonna actually squirt my palette knife a little just to get some wetness on there . And then that's gonna help me be able to move that a little bit. It's gonna make it a little bit transparent like the other layer. That's fine. Add some on this side and again, I'm fine with some of the color, some of that dark, all of green getting picked up down below. So it's kind of getting onto the canvas down below. But that's fine because it's only picking it up in the spots where the fibers of picking it up. So it's it's adding, like a nice little variety here. And then lastly, I'm just going to kind of take one more swipe at laying that color right over on the top again, squeezing it very gently out of the tube. Kind of drawing it on. So it has that one final pop of the dark color. All right, that looks great. I'm just going to take a quick step back. Take a look at it. I think it's Yeah, that looks awesome. Excellent. 12. Field Highlights: so from here, one of the things that I want to do is I had mentioned that we were going to use some of the blue from my blue brush gonna grab my blue brush What do you Some of the blue from my blue brush to kind of lay in over part of this field. So that's exactly what we're gonna do. So my my blue brush still has paint on it, and I I'm gonna kind of wipe a little bit off because I want to see how wet and light it is because I do want it to be on the light side. So it's it. It looks good. It's It's a nice light color, and all I'm gonna do is I'm just gonna lightly kind of keep a flat brush and just lightly dragon across the bottom here because I noticed in the Monet painting there's certain areas that almost look a little gray. So this is kind of adding some of that greatness to the field because the field the grass is really dry in some areas, so the field is really light in some areas. But what this also does is it provides a little bit of color balance between what's happening up top and the top part of the painting and then just lightly lightly adds some of that same really pretty blue down at the bottom. So again, it kind of keeps the whole peas cohesive. All right, so we're just gonna let this set and we have our big final touch, the most important part of this whole painting. We're gonna lay in some of that red for those poppies. And so we're gonna mix up some color. We're gonna lay it in, but I want to make sure that this is all dry because that read we lay in this is gonna be literally the icing on cake. This is what is going to make this painting be alive. So let's take a break. Let's let it dry and we'll back in a sec. 13. Grand Finale - Poppies!: All right, So we're back and we're back. And we are gonna lay on the most important part of this whole painting. We're gonna put in the illusion of those poppies. So this is the big finale. So get excited, because this is what's gonna make this painting. Amazing. Obviously, when Monet did this painting, the painting was titled Poppy Fields. So that's what this painting is all about. And we've built up. So we've gone through the process of building up the sky, the field, the tree line, everything for this moment to support these poppies. All right, so what we're gonna do is I'm gonna mix up a little bit of white, and we're gonna represent the poppies with my cat, me and red light. So we're gonna mix up some light version of it. We're gonna lay that on, and then we're going to take some straight, um, read and we're gonna lay that on top so that we have a little tiny variety off the colors and the reds, but we're going to just be really lay about it. We're just trying to create the illusion that there poppies laying on this field and again if it. If I do my job right, it is going to make this painting absolutely perfect. So let's mix up some, um, color here. We got him. Take some white and some cad me in red light. So we're gonna take some white Might be a little bit too much. I'm gonna put the cabbie and red light over on the side. I don't want to mix it right into the white yet because I want to kind of control how much that rid becomes. Maura of Ah, pink. I just want it. I wanted to be very subtle. I'm just gonna add a little bit of white as I go just to start whitening that red. Well, that's pretty. All right, so I'm building this up, making this exciting, and I hope it works. It will work. All right. So I have a nice color here. Lighter red. I am going to take I have a nice, dry kind of dry ish brush, so I'm gonna I'm just I'm actually just gonna put paint on one side of this brush because I'm gonna I don't even really need it on both sides. Actually, I can use the backside. Oh, Yeah, that's good idea. I'll use the backside for the red rid, but I'm just going to take some of the later read. I have it on just one side of my brush, right? Nice and dry. I'm gonna keep it flat. And I'm just gonna kind of lay it right across this field, so I'm just gonna drag it across and nothing happened when a dragon across, there's just right now, there's not enough paying on here to make any anything spectacular happen. So I got to go back in. I need a little bit more white. It's just too dark. It's not showing up on the green. So I have added a little bit more weight, and I do the same thing. I'm just gonna drag it across and still Oh, here it comes. So I just want to kind of like I said, create their illusion. It's super subtle, the illusion of these poppies. All right, I'm gonna go back in. I'm gonna add some more white, because what I want to do what my intention here is because I want to have some of the light pink laying on their first, and then some of the straight red on top of it. All right, so now I've really lightened it up. And when I lay there we go and just laid across. I'm going to kind of bring it through the center, bring it a little bit down on the bottom here, putting it in some areas and again. This canvas is has a nice, uh, texture to it. So the fibers of the canvas is just kind of picking up that color in certain spots, and then the green is showing through in the spots that it doesn't pick it up. All right, so I've laid down. I'm just going to another little sweep of the late. He's going to do one more little tiny sweep of this light version of this peachy color. And now I'm going to go on the use the other side of my brush, and I'm gonna grab some of the direct red so the full on red, and I'm going to do the same thing. I'm just going to kind of lightly drag it across, and it again is super super subtle. But we'll get a shot of this close up so you'll be able to see how that light pink is supporting the full on red. I'm gonna do it one more time at a little bit more red. I'm just gonna get my brush in there. So I got a nice again. Nice bead bunch of red straight on the back of my brush, and I'm just gonna lay it right in, and it just is gonna sit on top of everything else. Oh, I think it looks great. All right, let's take a step back. Take a look. Oh, my God. Yes. Look at how that red sits. Well, how this read this last wipe that I did sits under that really dark green. So now you have that beautiful spot with is a great contrast between the bright, bright red that dark green and that feel that nice, like Greenfield is supporting all of those colors. So if I take the Monet painting Whoops. If I kind of take the Monet painting, you know, we're just kind of creating that illusion and that essence that those poppy fields I don't know if you can see that. Sorry, it's glare. But it's just creating that illusion that the field has some poppies on it. Okay, that's all we wanted to do because I don't want it. I don't want to go in there and create, You know, each individual flower, whatever. It's just about creating that nice light illusion that we have a green, beautiful field, and now we have some nice red poppy sitting on it. It's a beautiful blue sky with some tree line on it. So you know this this has a little bit more detail than you know, what you would consider an abstract painting, but, um, but I did want to kind of go through the exercise, and I thought it was a really good challenge to take a very famous painting and just use it as inspiration because you could go through your your art books. Look online and you can get inspiration from some masterpieces and then just take it and kind of make it your own. Make it what? What you want, how you want to represent. It's a good way to learn how to pain. Um, because you you don't have to think too much about what colors do I need, You know, um, so, overall, I'm very happy with this. I I am, like, really super drawn to that beautiful red. It just sits there with that dark color. Um and yeah, I think overall, I think this came out really well. It was a challenge, you know, Because I had I had a plan in my head of how I thought I needed to execute it. You know, based on looking on that at the Monet painting was just kind of like I had to figure out how I was gonna execute it, because you always have to start building from the ground up. You start with white canvas and you have to build up the college. You have to build up the layers in order to get what you want. In the whole building process was to get that red to have some sort of voice in the overall painting. So everything that we did was to support getting those poppies on the canvas. And I think we did a great job. And I hope you learned something today. I hope you have fun with this. You know, I'd love it. Take some time to go through some of your up books, picks a masterpieces and make it your own version and have lots of fun. Thank you so much. 14. Finishing Touches: just a couple of final comments on how I finished my paintings. Um, I do a light spray. Once the painting is dry, I do a light spray. I use this Grumbach er knowing Sure, if that's how you pronounce it. But let's go with it. Um, and it's just a mat Final von ish. So it helps protect the colors. It helps protect it from dust. Um, I just do. Like I said, it's just a light spray that I coat the whole painting with a couple of other things because I always use gallery wrapped canvas. I always paint the sides of solid color, which is really nice, because this gets the buyer so they don't have to frame if they don't want to. A lot of my paintings that hanging around the house are finished off like this. Um, I also wire the back, and I tend to go like a bow 1/4 of the way down from the top, and then I usually sign my name. Put my name on the back the year that I completed the painting and the title of the painting, and that's it. That's how I finish off my painting. Thanks