Sunrises - An Oil Painting Lesson | Tim Borkert | Skillshare

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Sunrises - An Oil Painting Lesson

teacher avatar Tim Borkert, Artist, Game Developer, Educator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (1h 25m)
    • 1. Introduction

      0:55
    • 2. Supplies Needed

      4:23
    • 3. Pallet Layout

      4:16
    • 4. Using a Reference Photo

      2:49
    • 5. Practicing Brush Strokes

      8:20
    • 6. The Underpainting

      3:34
    • 7. The Horizon Line

      1:38
    • 8. Layer 1 - Blocking In The Sunrise

      15:49
    • 9. Layer 2 - Defining The Sky And Reflection

      16:48
    • 10. Layer 3 - Finishing the Sky

      9:15
    • 11. Painting The Land

      8:18
    • 12. Painting The House

      6:44
    • 13. Painting Lights On The Land

      1:57
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About This Class

Hello! 

Thank you for your interest in this class! Sunrises and Sunsets are one of the most popular subjects for landscape paintings. Here you will learn the skills you need to create a beautiful sunrise! This is a complete course, you will learn the best colors to use, the brushstrokes (there are only 4!), and how to make best use of a reference photo. Then we will move onto the actual painting. You will see the entire painting done in real time. You will see every stroke of the brush with no painting cut out or sped up. When you complete this lesson you will have a beautiful painting to hang on your wall!

We will be painting in layers, so expect 3 to 4 one hour painting sessions over the course of 3 to 4 days. 

Meet Your Teacher

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Tim Borkert

Artist, Game Developer, Educator

Teacher

 

Hi! I'm Tim Borkert. 

I am an artist, programmer and educator. I use my art to pursue many endeavors, from fine art paintings, to video game development. 

Most of my art work comes from commissions. I love it when someone brings me an old picture of a homestead or view from their honeymoon that they want memorialized as a painting. It is truly humbling and an honor to be a part of their life in that way. My paintings are in collections all over the world.

I am a solo game developer and have created and released several games on various platforms. I have many years of experience teaching programing to both true beginners and advanced students.

 

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Transcripts

1. Introduction: Hi. Welcome to the sunrise in oil painting lessons. My name is Tim Bohr hurt, and I'm happy you joined this class today. Here you will learn the techniques you need to create a beautiful sunrise with oil paints, Sunrises and sunsets are a very popular subject for landscape painters. As a professional, more than half of my commission paintings are sunrises or sunsets. We will be using oil paints because they blend so nicely and back to on. The main skills you will learn is how to use a mop brush to blend. When you complete this lesson, you will be able to paint all types of sunsets, Whether they are from reference photos or from your own imagination. We'll be working in layers mean we let each layer dry before adding another. So expect this painting to take about three days to finish with about an hour of painting each day. We won't need much in the way of supplies, so let's jump right in 2. Supplies Needed: the supplies for this project to pretty simple. Of course. We're gonna need a canvas. I'm gonna be using a 12 by 24 inch canvas. It's my favorite size. You could use just about any size. You just have to change the composition a little bit. Really. Wouldn't be that big of a deal. I also recommend you get a small, cheap canvas that you can use to practice some of your brush strokes and particularly one portion we're going to Freehand building. And it's be a good idea to practice that you're, of course, going to need some brushes. We only need three brushes for this project. A number four fieldwork. Hog's hair. That's a stiff brush. Aamodt brush. Any size will do. Really. I recommend you get several of these, Um, because when you wash them, they soak up the mental spirits and it can take several days for them to dry. So well, we're gonna be using liquid and our pain. Our painting is gonna be dried overnight. Your brushes won't be ready unless you have a spare. Also, there's gonna be times when we're going to I want to go over the dark areas with our ma brush and then are lighter areas with her mom Russian. We don't want the light in the dark to mix, so having at least two of these is important. But the more you have, the better and then a liner brush. This is a size zero liner brush. You confined these in the watercolor section of most doors, and, of course, we're gonna need some paint. Uh, most of these colors aren't super important, an orange of some sort. Or you could mix during an orange, a pale yellow of some sort, a dark blue. I'm using French Ultra Marine as a common one, but anything that's on the blue, the purple scale, not anything that's on the green scale. Trillion blue. This is one that you probably should buy this color. It's an important color for skies. You're gonna use it anyway, a purple of some sort. Or you could mix your own and then permanent rose. This is another one of those colors I recommend you get. It's a beautiful color. It works great for sunrises or sunsets. You'll really be happy if you get permit rose. Every black and a titanium white of some sort not say white. That is opaque. Our medium. We're gonna be using liquid just liquid original. I will be using it with all of our paint. This allows your paint to thin out, and it's makes it smoother for when you're painting and also makes it dry much quicker. Our layers will be dry between eight and 12 hours after we finished them, we're gonna be working in thin layers today. You're going to want a pallet. I just use a piece of glass. This came from a picture frame, but you could use just about anything. I like the glass because it's easy to mix on and you can just scrape it off and reuse it. Palette paper works Well, um, you could use that traditional palette if you wanted to. It's up to you. We're also going to be doing a under painting, and for that we're gonna need some acrylic paint. So you need a palette. You don't need a fancy palette like this one. You could use a paper plate or a piece of cardboard. Anything. We are gonna wanna two inch soft bristled acrylic brush. This is a super cheap one. They don't have to cost you much at all. And, um, some cerulean blue acrylic paint. Now, if you've done oil painting in the past, you know that you need to clean your brushes. Um, with mineral spirits. So you're gonna want some mineral spirits, and you're gonna want a brush cleaning jar like this one. This one's really grody and old, but, uh, it's got a a wire mesh in there. Rub your brush against to clean it. That's really all we need for this project. 3. Pallet Layout: This is our color palette that we're going to use. It's really easy when you're making something like a sunset or sunrise, something with lots of bright colors. Toe do an entire huge pallet, 20 colors of all your bright colors and ah, toe Adam all in. And there are times and that will work. You have to be really skilled, be able to make that work. But generally it's best to limit it to his few colors as possible. And I've actually added more than we probably needed some of these air convenient, but it certainly helps, and this is a nice, limited enough palette, so it gives our colors a uniformity but also gives us the range that will need. We're gonna start out with a cadmium orange, and that's going to kind of bridge between our yellows and reds. It's gonna have a create a lot of warmth. That's a nice nice color for sun sets or sunrises. You could use any orange as long as it's not like a deep pumpkin orange, but a bright orange. You could mix this by mixing a red and yellow, also a bright yellow. I'm using cadmium yellow pale again you could use any yellow that you like. Um, as long as it's not a ah dark yellow like a yellow okra would not work. But any of the bright yellows work fine. We're going to mostly be adding this with white to make our brights, not white. Ah, you in sunrises or sunsets. There's not really any white in the sky. It's usually a pale yellow, so that's working. We're gonna use that mostly for will also use it to mix in with the oranges and the reds toe to create a couple different tones. The red here is a permanent rose. This is a beautiful color. If you're going to be doing lots of sunsets or sunrises or really anything in general, get permanent Rose, you'll be happy. It is a gorgeous color. Our purple is a dioxin purple. Um, there aren't really very many purple paints that you can choose from in stores. Generally, any purple will do. You can always make your own purple by mixing a red and a blue. We've got a ultra marine blue here now. You could substitute this for any other dark blue as long as it isn't on the green side. You don't want a green shade of blue. You want a more of a purple e or reddish shade of blue? This one right here is really in blue. That's gonna be our bright background color Will mix this a lot with white story unglued makes a beautiful ah, sky blue. It could be overdone. You gotta be careful with it. Um, but it is awesome for skies. We've got, uh, black. Here is an ivory black. The white here is a titanium white. You don't want a zinc white. You don't want to mix the white. You want Thea titanium white something that's very opaque. We're going to use this mostly, actually, all always for mixing, except for just a couple spots where we're going to use it for some lights on the land in the horizon. Now, for a medium we're going to be using liquid, I highly recommend liquid liquid is gonna allow us to work in several layers and allowed to dry quickly. This painting should be done in about three layers is always gonna taken. You could do it with about 12 hours of dry time between each layer that it doesn't really have to dry completely if you didn't use liquid. Ah, you could certainly do this painting, but it would take, um, your days, possibly a week between layers. So that's her color palette. Pretty simple. 4. Using a Reference Photo: this photo that we're gonna be using for a reference for our painting. And you can see it's not a very good framed photo was taken by a friend of mine off a bridge. This was in Suffolk, Virginia of the NASA Wind River. You see, this is the bridge right here. And Ah, down here is his car and his review mirror or a side mirror. This is a good example of how you can take a picture that really isn't the greatest. And I use it as a great reference photo because this really does make a great reference photo. The picture has four basic areas and this is important when you're planning a painting to look at the sections that it has. And then we're gonna identify some layers and how we're going to create the painting. We've got the sky, we've got the reflection of the sky, We've got the land and then there is a bank of clouds right through in here. So those are our four large areas also notice in the sky that thes sky itself is light pretty light. Actually, it's the clouds that are darker. It's kind of opposite of what often is. So we're going to start out by making the light in the background. And then we're going to add bits of color for the clouds and for the sun itself. The light there notice how the water is really smooth. It reflects fairly accurately the colors in the sky. But it's much smooth. No definition, no structure at all. Where's the clouds? Have quite a lot of structure. Notice that our land is completely black. There's no color. It all that makes it easy for us. Also notice right in here. We've got some lights that you can see. So we're gonna add to that. We're gonna speckle some lights against the shoreline to give it some life. Also, we've got some towers kind of showing the distance that gives some interest to the painting . Also, this is the focus, really is the fishing house that's right here. And, uh, we're going to paint that and we'll do that freehand. But I'll show you how we can practice that ahead of time so that, uh, you're less likely to mess it up. Too bad. It's gonna be pretty simple painting, but we're going to use bright colors. It's gonna look really nice when we're done with it. 5. Practicing Brush Strokes: before this lesson or using three brushes gonna use mostly the number four hog's hair. We're also going to use the mop brush quite a lot and we're gonna use a liner brush and we really only need to learn for brushstrokes. So I'm gonna quickly here in, uh, real close up, show you a few. The few brushstrokes that we need this x here It was just so that my camera would focus. It doesn't focus on a a flat white very well. It also have to put some marks on where so I can focus the camera. Let me show you how we load the brush and how we make our marks loading. Are Filbert brushes fairly simple? We've got our medium here and our paint there. So I dip slightly into our medium, Then pull a little bit of paint away. You don't need much and that's all you need. You're ready to go our first breaststroke and the one that we're going to use the most is just a scrubbing action. We've got a moderate amount of paint on our brush and you just scrub it on like this, you can easily blend more than one color together by using this with a really simple brushstroke is also an important one that you end up using a lot. Lose a lot of pain around Now. The other brushstroke that we use with our Filbert brush is pushing stroke, and this is to make the tips of trees. So we've already put scrubbed down our color and we take our brush and we just push up, push the paint up. There's really not much on our brush itself. We're taking the painting. Question it up. Doesn't want The great things about oil is that once it's on, it stays on, stays dry. Once it's on, it stays wet so we can move it around. Push it around. I was just making the tips of trees on a horizon line. Now you can do this down below. Also, when you put it on, we're gonna pain. It's trouble on horizontally, but you don't want this. You may not be able to tell in the video, but you can tell that there's a brushstroke horizontally here. So we're just gonna go through touch this break up the horizontal line. There are Mont brush. We don't have any pain to it. It starts out dry. We want completely dry. We don't want any Sullivan on it all. No medium needs to be completely dry. And how we use it is that we go over areas that we've already painted, and it's has to be wet. But you're just slightly kissing the canvas on your blending the paint now, Normally, this whole area would have paint on it. You wouldn't have these lines. If you go from wet to dry, you're gonna get these wispy lines, which is useful for for doing clouds. You can also do it in kind of a circular motion. Just barely kiss it. And when you're done, you won't have any brushstrokes. And it's look that Grady, and it's in that nice, very nicely blended. Um, next is our liner brush. The most important thing they remember with lining brushes how you load the paint on to it again. We're going to use liquid and paint dip into the liquid. You see, I'm running back and forth. This is so I'm getting trying to get no globs of paint here. But then as you pulled away, you twist, twist and pull back. This creates a nice sharp point of paint that is key for loading your liner brush. It's the twisting motion in the polling, and that's gonna give you a nice sharp point if you don't do that. If you just load it, I see your point isn't nearly as sure twist and pull. You're nice, sharp point. What? You have it loaded. It's pretty simple, just like you with a pencil or a pen. This is often people usually think of painting people that don't no have a page or haven't taken lessons on it. Is Julie what they think of when they see painting? They think it's all done like this. Fortunately, when you load your liner brush keeps the pain on their for quite a while. You know the little very often we can use the very tip to make a in line. You can kind of use the side, make larger strokes to fill in areas. We're also gonna create dots with our liner brush, and to do that, you use a slightly thicker paint. You load it exactly like you did four. You, uh, just use much less liquid, much more to the paint to make it a lot thicker. but you still do the twisting in the polling if you're nice. SharePoint but thicker paint, which is going to stick better when we make our dots and just use the tip but nuts pretty easy. So those are our brushstrokes we're going to be using for this painting and the very few brushes. I think that it's important to limit the amount of brushes that you use in your painting. You hear often that you want to limit the amount of colors you use in your painting, and that's very true to a uh, limited palette is a powerful tool to convey feelings and emotions and to bring your painting together to make it feels it's one cohesive a piece. But the same is true for brushes. The fewer brushes you can get away with using, the more cohesive your painting is going to look. I know some artists only use one brush for their entire painting. I admire them. I can't do that, but the fuel you use, the better it ISS 6. The Underpainting: to start out, we're gonna tone our canvas using acrylic paint. We're using acrylic paint because it dries quickly and you can paint oil over acrylic without any problems at all. Now you can't paint acrylic over oil. I've never quite figured out why, but that's just the way it is. I'm choosing to use a surreal Ian blue for the under painting here. Ah, and the reason is, is, if you look at our reference photo, you'll see that every place that there's a little bit of extra space that maybe some color is gonna be peeking through is going to be a light blue from the sky. So any place when I'm painting that I might miss a spot or it's a little transparent and it looks through. I wanted to be the blue of the sky, and we can do the entire under painting and blue because the reflections the same way Now, when you're using acrylic paint for the under painting like this, you don't have to to make a perfectly even, Um, uh, layer here. It could be spotty if you're not being super careful. Mining's that being pretty, pretty solid. That doesn't have to be. You have to be super picky with here. The only thing that you do need to be picky about is you don't want major brushstrokes to show through. Uh, keep your paint offended and add some water to it and use a brush that has soft bristles. You don't wanna really, um stiff bristle brush here. You want a soft one. We use Thea stiff bristled brush for the background and oil because it helps us move the pain around and get it deep into the canvas, but also create some texture in the paint, which is good. We like that. But, um, when you're using acrylic painting are acrylic paints. A soft bristle brush will give you nice move, uh, lines. I'm using a back and forth motion that really doesn't matter. You can do have every like this is just the way I always do it. Um, it's just habit at this point. Another thing that you can do is you can lighten this. Um, I used to straight this really and blew out of the tube, but it would have been perfectly good and probably better to have lightened it with a little bit of white that way. Ah, your lights from the oil paint will be brighter. Ah, we really won't have any problems with this painting. I'm sure because we're using the opaque titanium light, but sometimes you can have trouble getting those bright, super bright, so it helps toe leave to use a lighter color. Or we could have mapped out where we want the son to be the brightest spots and then just not painted that area. But, ah, I just chose to make the whole campus Right now I'm going over it really softly with the brush, and that's getting rid of all the brush strokes. So what I'm trying to do here, it's a light feathering motion. It's an important brushstroke to learn how to do. The tip of the brush is barely touching the canvas, and once we finish up with that and we can let this drive for about 15 minutes and get right started on our painting 7. The Horizon Line: now we're gonna create the horizon line. Actually, this is just a guide for the horizon line. You're not actually going to see this in the file painting? I'm doing it in India. Ink. India Ink is a water based ink. It's permanent. It's great for this sort of thing because it doesn't smudge like charcoal or graphite will . And we're gonna paint right over it, a dark black, so there's no problems with it showing through. Sometimes using Indian ink like this can be an issue because it shows through too strongly . And, um, you don't want that. Now I'm using a water brush. I just filled it up with the just regular water brush. I filled it up with India ink and paint it on pretty simple Indian cause one of those really common art supplies, you can find just about anywhere, and if you don't have it, you should get it because you'll find it useful in lots of situations. You'll notice that I painted the horizon line to the left of our canvas thin and made it much wider, toothy right of it. That's because we've got a perspective going on here, where the land is farther out to the left of our campus, and it's closer into the right. This is a river that we're going to paint and sunrise of a river. So we're not looking at it straight on on. This is gonna help your eyes, um, follow through your painting and just gives it a little bit more interest. It's also what the reference our photo looks like, so that makes it a little bit easier. 8. Layer 1 - Blocking In The Sunrise: you know, we're going to start the actual painting, and this first layer is just going to be kind of blocking in where the colors we're going to go. So what I do is I look at my reference photo and I see some colors and I try and approximate that color in my reference photo on the canvas doesn't have to be for picked. It doesn't have to be exactly where it is. On the reference photo is the painting we're not trying to recreate the photo necessarily were using as a reference I'm using cerulean blue here with some white mixed in the first part that I put down. I was very, um, strong white with a little bit of blue. And then ah, what I'm putting down now is mostly blue. Notice how this really in blue and oil looks very different than the cerulean blue that I used in the background for under painting. Keep that in mind when you're picking out colors. Just because the tube says it's one color isn't necessarily what is going to be. You need to test all these colors. This is a very thin layer. I'm using a lot of liquid Ah is going to show through. But, um, that's you don't have to be perfect here. Your brush strokes don't have to be super nice and smooth. We're going to use a a, um, mop brush at the end to smooth out our breaststroke so you can be quite sloppy. In fact, being loose is going to help you out a lot. Here, do not try and be too tight in your clouds. And don't don't even try to make objects. Here were just laying down some colors of where they should be. If it helps you, you can take your reference photo and just kind of block off. Take your hand and hold it over a spot. So you're just, ah, working with the colors. Don't worry about shapes as much as, um, just areas of color. I'm using my number four hog's hair Filbert brush here. So we're gonna be using for almost this entire painting. Now I'm going through and I'm approximating these colors down in the water. Uh, reflections don't copy themselves exactly from what this guy looks like. It's gonna look really weird if you do the exact same thing and the reflection as you do the sky so we're just kind of getting close. If there is blue on one side of the canvas, we're gonna make blue on, you know, the opposite and of it. But the shapes should not be the same. I'm using again shrilly and blue that's just slightly tinted with some white. It looks a lot lighter than the background because they're two different colors. I like the color of the oil cerulean blue here a lot better than the acrylic. Now I'm using my purple color and this is straight purple. Nothing's mixed into it. There is a bank of clouds that's on this side. It's gonna be a darker area. It's not really gonna be lit up by the sunrise much at all. It's more of a foreground, and we could do away with this completely. But I, uh I chose not to come. I think adds interest. Now. I added some white to the purple. I'm creating a lighter area, some light clouds that are up high in the sky, and I'm gonna add some darker to it. Let it mix on the canvas. At this stage, you want your colors to mix. You don't want much definition. I'm adding more purple for this bank of clouds going all the way down to my horizon line. Even though most of this is gonna be covered up with our landmass, this bank of clouds is actually gonna have a lot of definition and a structure to it when we're done. But right now we're just kind of blocking it in. Slaughter is a fun part of the painting. I think I kind of wish I could just leave it like this one were done with this layer, but it wouldn't be finished. Now, if you'll notice in our reference photo, there are rays of dark clouds going out. And so I'm gonna put those in purple right here again. Just approximation will move these around as we need to. This guy's gonna have some complexity, and I'm just going through and marrying it down in the water. - Hard to tell because the shadow of my arm I apologize for that. A mixing a tiny bit of white to get some lighter colors of purple. You can tell here you can also get the same or similar effect by just using less paint. But you wanna have a good pit of paint on the canvas here. Um, we're gonna use liquid to thin it out, but you want to have a lot of paint so that we can, uh, blend it. If it's. There's not much pain on your canvas than it's hard to blend. Your colors together aren't we want this to be blended out smoothly. We'll add the structure at the end, But right now we want Tobe able to blend these a ton, adding more raise up top here. My breast stroke is just a scrubbing motion. I'm not worried at all about leaving breast strokes. We're about leaving parts of the canvas exposed. That's totally okay. I'm just kind of scrubbing it in. That's why I like thes hawk hairbrushes. They're great for scrubbing. I'm gonna start adding my lights in here. This is a white with just a sim ege of the yellow. Put in just a tiny bit. You have to be very careful with skies that you don't mix your yellows in your blues on the canvas. Yellow and blue makes green. You very rarely see green in the sky, and I see a lot even with professional painters. You see, a lot of times they've painted and their yellows and their blues have gotten mixed up on the canvas and you've got a green tent, this guy, So be careful of that. That's why I'm going through. And I'm putting my yellows in instead of putting them up against my blues. I'm doing them first so that there's gonna be a separation. You can mix the reds and the blues because those turned purple and you do see those. And you can mix your yellows in your reds because you see oranges. But you can't mix your blues and your yellows. I'm going through with the orange color blocking a large area here. A lot of this is gonna be covered up later, but again, in our reference photo, if you look at it, we have a large, bright area, and the clouds are stacked on top of it. So we'll add these clouds on top later. But right now we're just gonna add the bright section, and you don't have to be as careful with ease touching the purple in the blue because orange and blue um, a kind of ah purple e grayish access to a meagre is orange and blue, but they don't turn into green. And I'm just adding the reflection Nebula. Now, this time I mixed some orange and some of the permanent rose to make a more vibrant orange or a, uh, orangey red. And here I've gone through, and I'm just picking up some of the permanent rose I'm late. It mixed on the canvas. Other new things about ah, sunrises and sunsets is that you've got lots of vivid colors and you don't have to be super picky. Each one is different and they change from moment to moment. I'm using permanent Rose here, you see, it's mixing in with white, making a lighter area, mixing in with the purple, making a really dark purple. This is a lot of fun now. The whole canvas itself looks really dark here, you're probably thinking to yourself, but will brighten it up. A Sui dio is because our under painting is dark and really this sentence of sunrise is happening. We're still pretty dark, your land still dark, so we don't want it to be super bright, or it will make our land look silly. Here I've mixing the white permanent rose making kind of a pink color. A lot of this is being mixed on the canvas. You could just go wild with your mixing grains. More rays of those clouds coming out. The sun's catching it, making it the red. It looks really nice. Permit. Rose is one of my favorite sunrise or sunset colors. I just really works. Well, it really captures that that pink of the very last little bit or the very first A little bit of a sunrise or sunset that you often see I'm gonna go through and just mirror it below . You don't have to be nearly is careful with the, uh, colors below, this is gonna be blended out a crazy amount. The, uh if you look again at our reference photo, you'll notice that the water is really smooth. Doesn't have nearly the definition as the sky. So we're gonna blend this out crazy amount. So just kind of put the colors down where you think they might go. And don't be discouraged. I'm sorry about my shoulder being in the way there. Uh, you don't be discouraged. If yours is looking blocky and just like a child scribbling, that's that's fine. It's gonna all be fixed later, and we want this to be kind of an impressionistic. If you wanted Teoh look like the photo of the the sunset you just friend. The photo of the sunset We're going Teoh improve on the original colors and, ah, make it our own painting reference photos, air used just for exactly that reference. They're not used for copying. Now, some some artists do, and that's fine, if that's your thing. But that's not what we're doing here. Also, the water is gonna be slightly darker in our final painting, then the sky. Your sky is always going to be the brightest part of your painting. Well, almost always, you might have a reflection that's that's brighter or justice right? But your skies always gonna be the brightest area, so even ah, reflection off water. Unless it's like that super bright glare of the sun, which we don't have here, it's always going to be a little bit darker. Even storm clouds are generally going to be, uh, lighter than the land and the trees in the area around it to make sense, because our light source is actually the the Sun, which is going to be the brightest spot. The light source is always the brightest. Now we're going to get into the meat of this lesson, and that's how to use the mop brush. You start by lightly kissing the canvas with the tips of your brush. Move it back quickly back and forth and you can see it looks like that the, uh, the camera's going out of focus. But that's not the case. It's actually blending the scout so much it looks blurry. You also noticed that when I go over the dark areas and the light areas, it taints the light areas later on. That's gonna be super important that we, uh, watch out for that right now. It's not as important. If you really want to blend out an area, you push a little bit harder and you make your bristles touch the canvas more. Now this bottom area I want really blended out. So I'm actually pushing on the brush Some. I wanted Teoh the, uh, very smooth, no definition at all. I'm going fast because I've done this a 1,000,000,000 times. But don't worry if you go slowly, that's fine. Take your time here. There's no rush at all. That's why we like oil paints. Um, but the blending part does actually usually go pretty fast. Doesn't take much. You really can't over blend the bottom, the reflection. But you can over blame the top. You want some reflect some definition in the top of our painting. The bottom you want totally blended out. Now we're gonna let this dry because we use liquid and it's a super thin layer. It may only take six hours. I let it dry overnight because that's just want to make sure that it's dried. Um, really? You could probably go on over a wet if you, uh I wanted to try that, but I like working in layers. Next time we're gonna go through and we're gonna go on, basically do the exact same thing. Only we're going to create a little bit more definition to be a little bit more picky. Where our colors go, we're gonna brighten it up quite a lot. 9. Layer 2 - Defining The Sky And Reflection: This is our second layer. Ah, you can probably notice the, um the camera I was using. For some reason, it didn't record the first about three minutes. But I'll I'll go over what I did in those three minutes. You can just tell by looking at it. Basically, I I put some more of the darks down, and I added some white around our not really white, but yellow with white mixed in, um, around our, uh, layer that has the clouds. Um, that just kind of boost of the contrast. Anytime that you want something the seem really dark or really light. You need to put something really dark, really light next to it, the opposite, and that will help you out of it. Now, this second layer is the most important layer of this painting. The third time we go over this, it will will have a lot of details, and we'll fix things and we'll move things around a little bit. But most of what we adhere is going to be the final painting. What I've done here is I've added I've got a little bit of the blue, this really in blue, and I have mixed in some of the ultra marine blue to make a little bit darker. And I'm just admit to some of the spots you don't ever want a solid color in your painting . Um, you want it to be slight variations of color. At this point in our painting, we should be, ah, finalizing the structure of the clouds, making our a reflection be accurate to the sky. And like I said before, not perfectly accurate but similar. I'm Tony down my light areas with some some blue and some other colors mixed in. Really, we want the brightest area to be in that center son section. So these outside areas, while they need to be bright because they're the sky itself, um, we don't want them to be super ridiculous. Bright. What will really brighten up the center of this painting here In a minute, you'll notice that Ah, while I'm putting down paint, I'm not covering the entire areas. I'm moving pretty quickly. This is not spit up. That's because I want the previous layers to the show through, and that's gonna really add complexity, which is what we want. At this point, I switched to a different number four filbert brush because I didn't want to mix my paint. You could also just clean your brush or wipe it off for a well. But just for speed sake, I usually have two or three of the same brush is going one for my warm colors and one for my light colors. I'm gonna go through and I'm gonna add a lot of this red. It's gonna mix in on the canvas with the purples and the blues. The red is a great transition color because it mixes anytime. It's a blue. It mixes in a purple in that looks nice, and anytime it mixes with the yellow, it turns into an orange. And that looks nice so you can use it like a dividing color. Between you are the colors of your son set. You want to avoid having your blues and your yellows close together while they're wet because though, mix and turn into greens and we've talked about that before. I'm gonna go through and color this this bottom area very read. A lot of this is gonna be covered up with the land, but putting it down helps me kind of have a reference of where things are. You don't have to be super precise here because it is going to be blended some not as much as we did the last layer, but it is gonna be blended quite a lot. And this bottom area is gonna be completely blended out. You want to make sure you put enough liquid in and paint on the canvas so that it can blend If you don't put enough paint down or enough liquid, you have kind of a dry brushing effect, which isn't really what we're going for here. Now we're getting to the ugly saved of this painting. It looks pretty bad, but we're gonna fix it. Don't get discouraged. Every painting has a bad stage where it looks awful, every single painting I've ever done halfway through. I've wanted to throw it out because I hated it. Um, so just work through it. When you start to get discouraged about a painting, just keep keep at it. Sometimes it doesn't work out, and that's fine, too. Those are learning experiences. But even if you think the painting is a complete failure, work through it to do its finishing. And, um, you may be surprised. But if you're not, that's fine, too. I've mixed them white into the permanent rose, and that is, Ah, creating a kind of a pinkish color. It's going to transition into a lighter areas of our painting. It's also, um, gonna have more of that in the reflection that I am in the sky, because your reflection is always gonna be a little bit darker. A tent of whatever it is in the sky is also going gonna have less definition. So that's what I'm going through here, a little bit more. You can see I'm adding it to the to the ultra Marine blue that I have appear. And it's turning into kind of a purple a color that looks real nice up there. Next, I'm gonna pick up some of the orange, and that's mixed with the pink that's on my brush. I'm just gonna add this to the sky Now, if some of this is gonna be covered up in our, um, last layer with some clouds. But right now I'm trying to brighten things up. So we're gonna add a lot of this orange here, and whatever I do to the sky, I'm gonna reflect down into the water. I'm putting this down. This is actually pretty thin. Ah, here. Um but it's going to add some yellow in some way in with it. And thats gonna can I help it out? Quite a bit. That last little bit I did of that. Orange is like a cloud that's over top of the sunburst, starting to ah factor in some of the clouds that are gonna be in front. Now, this is the yellow. I dip straight into the yellow using the same dirty brush, so it's gonna have some orange mixed in with it. Keep in mind, this gonna be blended out and I want to add a tinge of orange everywhere where the ah, the white Where the brightest of the yellow is going to hit the red so it may not transition much, but it is gonna transition a little bit. Now, I've picked up some of the wet purple on my brush that has my warm colors. I'm gonna go on, wipe that off if you do that and you notice that your brush got a little dirty, it's not an issue. Just wipe it off for clean it off. You don't want to get those purple, e or those blue colors mixed into your whites, at least not at this stage. Now we're keeping on adding some of the lighters like the yellows and the whites in. We're gonna continue doing that, layering it in until pretty much the whole part of this campus is covered with a light layer. There may be some spots of the under layer peeking through, and that's that's fine. That's why we put it there. Notice that we're not. What we don't want is a very smooth transition. A Grady int from ah white to yellow to orange to red. You want some of the middle? It, uh, mixed in kind of, Ah, splotchy, I guess. Now that looks bright white, but it's not has a tinge of yellow very, very rarely in the sky. Do you see pure white? You Sometimes in clouds midday, you can see what appears to be a pure white. But during that sunrises and sunsets it's always gonna be a very warm white, so it's gonna have a yellow tint to it that ah white splotchy I did at the top. That really goes far in ah, showing that the orange and the red are actually clouds. And the, uh, the white and the blue Oh, are the sky in the back. That's what I'm doing over here. I'm creating areas that's not really clouds that I'm making that sky in the background. I'm going through and I'm adding the reflection of that lighter area. But notice that I'm making this more yellow to me slightly darker. That's because the reflections aren't quite as bright as the sky itself. This is gonna be super blended out using our ma brushes. Nice, thin layer. You can see the background through it pretty clearly here. I'm using quite a bit of liquid. No worrying too much about keeping my brush clean. I just want to keep the but darks out of order that I guess the cools out of my warms knows how I'm adding some some of the permanent rose on top of the purple. That's like the light is catching the bottom of that cloud there. Now I'm gonna go through in this little cloud bank that's off to the left. I'm just gonna kind of define some of its features and ah, we'll do this a lot more in the last layer. I'm gonna add some highlights here just to define it some more. Had some rays of light coming out from behind. It gives it some interest. I will work on that a lot more in the last layer. Now, we're gonna go through with our mop brush, and we're gonna be a lot more careful with our mop brush than we did in the last time. I highly recommend using two if you have. Um um, in fact, that really think you should probably get half a dozen if you plan on doing this much when he used one to go over the cool areas. I'm gonna do this pretty carefully. I don't want toe toe overlap too much into our, um, uh, warmer areas. Um, and I don't want Teoh blend this part of the sky out as much as we did before. All right. You know, I had a little hair. That'll happen with your mob brushes is you'll have hairs that will fall off of them. And unfortunately, that's just part of using mob brushes. What I do here is I've gotta hogs here. Brush and I just went through and I picked it up and it's gonna create some but brushstrokes. But, um, by getting that hair out, But I'll just go over it with my mop brush and it just the blend right out. It's really not very rarely Is that a big issue Now, on the water, I'm pushing hard. If you you got to tell in the video you can kind of see, I'm pushing hard with my bristles. I really want this to blend out. I'm not as concerned about keeping my my cools and my warm separated because that will, uh, kind of darken the brights and muddy out the, uh, the cooler tones, the purples and the blues. This is essentially going to be the last pass on our water. We're not going to do much more if anything else to our water. You notice it's very Yeah, I got another hair here. It's very, very blended out. I have to go over those areas that I disrupted, getting the hairs out, but that's gonna happen a lot, especially with the cheaper mop brushes. And really, you know, ma brushes are expensive. Uh, these that I have, I think, cost just about $3 apiece. you can spend 20 bucks on a mop brush, and it may not shed as much of it will still shed. So for me might as well just get several of these cheap ones. Remember, this is our last pass on this. So we want to make it exactly like we want. We don't want any brushstroke showing up. Um, we just wanted to be smooth, just like a glassy I switched over to a different mop brush. Here. This is the one I'm gonna use just for my warm colors. How liquid? Recommend using ah, different mop brush for your warm in your cool colors. You do not want to mix your cool into the worm and the brightest areas here that a lot muddy it out and it'll take away from the punch of this painting big time. It's best, uh, by two or three of these and cycle them through. You can't wash out a mop brush and use it in the same session. It just soaks up the mineral spirits and you can't really wipe it off either. There's just holds too much paint. So the best thing to do is to just use a separate one altogether. Now, like we've had to before, I have to go through and I take out the hairs that have fallen. That's just a part of using Ma Precious. You'll get really good at picking the hairs from mob rushes out. Now I'm going through. This is my dark, the mop Russia is using for my darker colors and I'm you can't tell in the video. But what I'm doing is in this cloud bank, I'm creating whisp itchiness around the edges. It's really easy and fun to do with a lot brush. Now I stepped back and I realized that I would in my sky to be a little bit more blended out. So I took my, uh, ma brush those using for my cooler colors. And I'm just going over this one more time. And, ah, that's an important thing to do is to step back. Sometimes you look back and you you think oh, you know this needs to be little bit more blended out for the sky. You, ah, can add structure after you've blended it. But, um, once it dries, you can't blend this out again. So you wanted to be as blended as is necessary. Now for our final pass, we're gonna go through, and we're going to add a lot of structure. We're going to create a cloud floating in front of our light source, and we're going to add a lot of detail to the cloud bank. That's off to the left. Um, so, uh, let's stay tuned for that one. 10. Layer 3 - Finishing the Sky: Okay, This is our third and final layer. The rest of the painting can be done all in one layer without having to wait for it to dry afterwards. I do highly recommend that you let Thea the previous layer dry completely before you start this. Um, there's, ah a couple reasons for that. The main one is that because it kind of lets us reset? If we make a mistake, it's easy to just wipe it away. And ah are under paint. What? The later before that isn't affected at all. It's kind of like a, um if you're playing a video game, it's saving your your A game or if you're working on ah, word document or something like that, saving your file. And that's how it works when we let our layer dry with oil paint if you mess up and the laters dried underneath and you could just take a paper towel with a little bit of mineral spirits on it and just wipe away your mistake and just start over. So what I'm gonna do here is I'm just, um it's almost glazing, but not quite. I'm, uh, going over the white areas with a little bit of yellow toe, warm them up a little bit, leaving the center of it white because those are want to be nice and nice and bright. And I'm gonna I go through in a just things were Can I add some structure to our clouds Adding just a bit more complex city. Two things I'm using. Very light, very light amount of paint Here you can see I'm a scrubbing on some some lighter purple to the top of my clouds Here I thought they were a little bit too dark. I wanted them to kind of fade into the background. And that's how this works. You just make slight adjustments as you go on. The nice thing about layers is that you can add to it in it. It makes it complex, and and the previous layers show through all the way to our very first layer, even to our under painting is showing through here. This next step is one of the more important portions of this painting. It's gonna be a cloud that is in front of our brightest, uh, son sunrise. And this really makes the bright look a lot brighter when you add a dark right next to it and gives it a lot of interest. It shows that the clouds, the color are clouds in front and not in the back. This is an important step. I'm using mostly reds and pinks, and I'll use some purples, too, because the sun is going to be shining through here and there's gonna be a lot of color portrayed. We're still using that same scrubbing brush stroke that we've been using for pretty much the the entire painting, the one that we went over in the beginning of this lesson. Keep in mind that you want the paint here to be still fairly thin. We're not gonna be blending this out, So you want to blend with the actual brush. I'm going with some darker tones and like I did in the last layer, I'm using a separate brush for my cools and my warms. It's OK, they miss mix a little bit, but this just helps keep some of the purity in the color. I'm keeping the center of the clouds. What I imagine would be the centre to be more red and the the outside to be more of the darker area because I imagine that the sun is catching the underside of the clouds and the top of them is going to be darker. As you can see, things are really starting to shape up here, starting to look real nice. This is our final pass on the clouds so you could be particular works slowly. I work quickly because I have done this thousands of times. But if this is your first time or if you're not familiar with this type of scene and go slowly, that's one of the great things about oil painting is that weaken Go slow at her own pace and we don't worry about the paint drying or anything bad happening. I am using a good bit of liquid, not as much as I was on the previous layers because I want this to be more opaque. I am using liquid that helps it dry. Now, the next complex part of this painting is going to be the cloud bank to the left. We're gonna spend a lot of time here, and we're gonna add a lot of detail, cause this is a lot closer to the fewer than the sky up. Um, for the main portion of the painting. This would be almost like fog lifting off the, uh the water or off to the side, or a cloud that's real low. So we're gonna take our time, make the edges fluffy, which is what I'm doing right now, And how you do that is you take your paint and I just very lightly let your brush very lightly kissed the canvass using the same motion as we were before the scrubbing. But ah, it's just lightly bringing it up. And then we're gonna go through with some. It looks like white, probably on the video, but it's actually ah, light purple. And we're gonna add that to these clouds to give it some depth. Right now, it just looks like a purple blob. And this is going Teoh, give it some interests and, ah, create more of ah three d. Look to it. Now, if you're falling along, you've probably noticed that at this point, who are for a while now, we've stopped following our reference photo. Ah, and that's because reference photos are just that. They're for reference and feel free to deviate from them as you fill your painting needed reference photo had a very ah light cloud here, and that would have beaten fairly difficult t paint, especially for the level that we're trying to teach here. So, uh, we decided to g o. Or I decided to go with a heavier cloud bank here. Now notice What I'm doing is I'm putting in different tones of purple from ah, very dark two very light. And I'll add some of the ultra marine blue in here also. And this is going Teoh, create a depth that, you see, I've got some Ultramar Lane blue right there and some complexity to this cloud. This is one of those things that you just work at it it's gonna look pretty bad at first. Most likely mine always do. But as you work it, it'll look better. Remember that the ah, the tops of the clouds air farther away in the bottoms of them. So we make ridges using the dark with the light behind it, showing that there is There's cloud banks showing through Also, be careful that you don't make this to uniform. It's really easy when you're doing clouds toe have, like, very round edges and clouds. Don't look that way. They're extremely random. Highly recommend taking a picture or ah, going outside and looking at some clouds before you do this, and that will help you get an idea. I'm just putting some ah, warm behind this to show that the sunrise is actually happening behind this cloud bank and just that little bit right there helps it stand out quite a bit more. Well, I fade that up a little bit to make a little less pronounced, but that helps a lot to make it show that it's in the foreground and not in the background . Okay, that's Thea End of the sky, and we're done with both reflection and the sky. Next, we're going to work on the land, and then we're going to create our focal point, which is going to be, Ah, fish house out in the middle of the water. So let's weaken jump right into the land portion because we do not need it to dry. Between this and that 11. Painting The Land: now we're gonna pay our land. The land anchors this painting. It's an important piece, but it doesn't have a lot of details. We're doing this in straight ivory. Black. I've mixed. Not as much liquid as I have in the previous layers. We don't want to go so thick that it's in Pasto. Um, but this is a much thicker than what we've painted our previous layers in. And the reason for that is that once we put down the first strip of land were going Teoh manipulate the paint with our brush and pushing around a little bit to make some a tree line. Now Ah, the perspective here is that the area to the right of our canvas is much closer to us than the area to the left. It's the land is kind of angling out. So we're going to make our land area in our tree line much larger to the right than we are to the left. And that also means we're gonna put slightly more detail in the land to the right thing to the left. Now, you could just I have all this. You don't want it to be too big. This is not the main purpose of our painting, but you do want it to be large enough that you can tell that it's there and I'm just scrubbing it in. There's no special breaststroke here. We're going to go back through in a minute and and use some special brushwork. Teoh create what appears to be the tree, since this is black and this is just in the very early parts of the sunrise, there is no shadows here. There's no highlights. It's straight up black, but you are gonna be able to see the outline of the tree line in the distance. Now we're going to start making our trees, and this is using the same pushing brushstroke that we practiced at the beginning of this lesson. You're taking your brush. There's no paint added to it. We're just taking the paint that's already on the canvas, and we're taking the tip of our brushing were kind of pushing it up and random areas making tops of trees. We're not worrying about the trunks or the sides of the trees or anything like that. We're just making the tops of the trees. So you were just pushing the paint up. The farther to the right that we go, The larger these trees are going to be not so much is sticking out largeness, but in in the width and the girth of them. They're gonna be larger, but you want to have some small ones mixed in. So it's like there is some trees behind them. This is a really simple way to make tops of trees. And it's really effective, especially using this hog's hair filbert brush and we're just gonna go all the way across making these trees. Now, at this point, I decided I didn't need a little bit more paint on my brush I needed It was a little thin, so I added and thickened it a little bit because these larger trees I wanted them to be a little bit more pronounced. And what I'm doing right here is I'm just going through, and I'm instead of hat wien, horizontal brush strokes. I wanna have kind of a splotchy brushstrokes. I'm just kind of pushing that pain around. I'm going to the left and using just very fine, very small trees back here almost won't even be able to tell. I just want to make sure that this line is not straight. Next I'm going toe make a reflection of this tree line. Now, the reflections already there to appoint, um the land starts about 1/3 of the way up. But, uh, I'm making a little extra reflection here. Especially closer that that land, it's closer to us to the right here, it's gonna have some, like some ripples. You've seen reflections there like this, um, part of the land shows and this shows in our reference photo to how I got the idea for this . We use the exact same technique we put scrubbed down some paint and then we push it down, using our brush, making what appears to be the tops of trees. I'm creating a little bit more of reflection on the shoreline here by doing the same thing . Just using my brush and pushing down instead of up. Um, making what appears to be the reflection of some trees. Don't worry too much about being perfect about this. Um, he was a reflection. Reflections are not exactly the same is what? The object that's being reflected. Now we're gonna use our line of rush and using the techniques that we learned at the beginning of the class to make thin lines using a liner brush, we're going to create some towers in the distance. This again came from the reference photo. It's hard to tell in the video here, but there's kind of those, Ah cell phone towers or maybe radio towers. I'm not sure what they are, but the tall towers that have the blinking lights on them in the distance and we're gonna add a couple of these that's gonna show that this is not a wilderness. This is kind of Ah, um, metro area. We're also gonna add some lights eventually to this that they give it some life and show that there's people living here. It's not just a wooded area. I think little touches like this really add a lot of, ah, life to the paintings in a lot of interest in It's the little touches like this that make it from ah, good painting to a great painting. Now I have taken a little bit of, uh, white and yellow, mixed it together to make a pale yellow. I'm added kind of a haze to the water. Over here, it looks like there may be some ripples against the shoreline. Remember, the shoreline is pretty close to us. Uh, probably just a few 100 yards. So it's going to we're going to see a little more detail. And, uh, because this yellowish paint was a little strong, I'm gonna go back through with a clean hogs hairbrush and blended out just a little bit. I can't use a mop brush because it would affect the, uh, the shoreline in the black. Uh, just and this is this pain is so thin that I mop brush really wouldn't move the paint. You need to have a pretty, fairly wet and thick paint for the mob rushed to work correctly, but a ah clean hog's hair brush. You can go over it and it'll move that thin paint pretty well and blend that out a little bit. So that finishes up our land. And next we are going to add the focal point of our painting, which is the fishing house that's out in the middle of the water. That's a lot of fun. We're gonna do this freehand and I recommend practicing ahead of time like we talked about beginning this lesson. So stay tuned for that. We're almost done with this painting. It is looking awesome. 12. Painting The House: that we're going to start on one of the interest pieces of this painting, and that is Thea Boathouse or fishing house. That's out in the middle of the water. You can see it in our reference photo here. I highly recommend that you, um, taken old canvas or a small canvas. You can buy him very inexpensively that crafts shops and practice doing this a few times. I almost always practice figures or our structures before I actually put them in the painting, especially if I'm going to do them free hand like this. Now this is a particularly easy one to do free hands. That's why we're gonna attempt it. That way we load our brush in the way that we learned that beginning this lesson, using a very thin paint and loading it with a twisting motion to make a nice fine point. And I always, uh, outlined my figures or my pain, my buildings before I do anything else. That's because the outline is the most important part here. If we mess upon the outline, it's pretty easy to fix, especially if we make it too small. It's really easy to expand it, um, and noticed that in our reference photo, we're not putting We're not gonna be putting in any shadows or light areas is just going to be all black now if you're painting over a completely dried background here, and you should be if it makes it a lot easier to recover from the stakes. If you do make a mistake and you don't like it and you you can essentially erase it and you erase it by taking a bit of paper towel or a Q tip and just putting a slight amount of mineral spirits on it and you can wipe this away. It's one of the great things about oil that dry so slowly it stays wet. It's easy to wipe away mistakes, and it may leave ah, slightly darker stain in this area. But you're gonna paint over that anyway, so it's really not that big of a deal. Now the placement of this house is really up to you. Um, I recommend not placing it in the very center of your painting. You really don't want anything in the very center of your painting. That always looks a little weird. Make it off to the left or to the right a little bit, but not all the way like to the edge on. And you don't want all the way down to the bottom either. But the exact placement really isn't that important. The reflection is simply a mirror image of what we've created. It's very easy to dio um, you do would want to be careful not to make it a perfect mirror image that will look weird especially considering this style of painting that we're doing here. Um, and in real life, reflections don't reflect exactly what ah is being reflected. Yeah, so and and your I will pick up if it is exactly the same. But you do want to be close because the reflection is so close to the object that's being reflected here, um, you can you'll be able to tell if it's way off. So you want to be fairly close, but doesn't have to be exactly. We're gonna go through when we're going, Teoh smudge and blend the reflection a little bit. So it looks like there's some waves were slight ripples in the water affecting the reflection on that will allow the ah, the viewer to tell that it is an actual reflection here. Since it's just all black, it can be a little bit difficult at first to tell that you know, part of its reflection. One of the great things about using a thin paint and a liner brush is that you don't run out of paint very quickly. The brush acts like a pin, and the paint flows down the bristles and a feeds itself works really well. Another nice thing is because the bristles air so flexible you are less likely to make harsh changes in your angles. Everything's gonna be gradual. So, uh, it's it's a lot easier toe, not make a mistake. When you're making these sticks or pylons. I'm not sure what they are. They're there sticking out of the water here. Make sure you remember that you have the reflection added so basically all you do is you make them twice is long as they actually are. And, uh, that'll make it imagine, like part of them is a reflection, and the part is sticking up. The purpose of this house is really not to take away from the beauty of the sunrise, but it is to just add a little bit of an interest piece. Your eyes were going to go directly here first and then to the sunrise, and it just adds a little bit of interest that makes the painting less boring. If it was just the sunrise over water, it may be a little on the the boring side. I think I'm going through with the number four Filbert Hog's hair brush, and I'm just slightly brushing these edges and fuzzing it out. It would be difficult to do this with a mop brush. Is that not? Brush is so large. This, Ah, the Hawks hairbrush allows us to have a lot more detail detail in there and be more precise . Well, that's it for our boathouse. Like I said, I highly recommend Ugo and practices before you actually on your campus. But if you do, uh, do it on your campus and make a mistake, it's It's pretty easy to recover from. We're almost done with his painting. We just have Teoh add some lights on a shoreline and we're gonna be done with it. 13. Painting Lights On The Land: now to finish out our painting, we're gonna add a couple lights on the shoreline. And this This is one of those things that the very minor, uh, peace to this painting. But it's one of the small things that makes it really big difference in the final outcome of it. All we're doing is we're placing a couple dots. Some of them are gonna be white with a little yellow mixed in. Some of them are going to be orange, and it's just like there is some buildings on the shoreline that got some lights on. You can't see the buildings, Just see the lights from them. And, ah, I got this idea from our reference photo. The reference father has basically one showing up, but I really liked how it looked. And I think it adds a lot to the final painting. You don't want to put too many just a few to make it, um, you know, noticeable. I'm adding a couple to our towers. It's like there's some blinking lights. It's like those tall towers have the lights to keep, I guess, airplanes from running into them. And once we're done with this than our painting is finished, boy. Looks great. I hope you're proud of yourself because, uh, this was a a difficult painting in many aspects. And I'm sure you did a great job. I would love to see it if you, uh, composed it on line and tag me in it. I would love to see your final results. The best way to get my attention is on Instagram. You can tag me hashtag Tim War, Kurt. And that way I'll see your painting and I will comment on it. And I'd love toe to see how you did. Um, thank you for taking this lesson. I hope that it was ah, useful for you and that you learned a lot.