Painting with Acrylics: Learn simple painterly strokes to create rocks & water

1. Introduction: this class is painting with acrylics. Learn simple, painterly strokes to create rocks and water. Jennifer More. If you're here because you want to learn a fun way to paint, then you're in the right class because they'll be learning these wonderful painterly strokes and acrylics will be paying rocks and water. It's really tons of fun. It's a wonderful voyage to go through. Really learn these things a little bit about myself. I'm a professional artist and also retired our professor. This plant is designed for intermediate artists. You need to know a little bit of how to handle acrylic paints. I think it's a great class. So do look at it, really gonna learn some great stuff. These air, the art materials you'll need for the class A canvas at least 16 by 20 inches. Acrylic paints Whatever you have, at least the basic set I'd like to to include in their that a lizard crimson altering blue and titanium white. We're not gonna be using black for this project. Acrylic paint brushes, Filbert flat and round gloss me the environment. Eight ounces you wanted in a bottle forms. You can escorted out water, container, rags or paper towels. Ah, painting surface. A palette that you might have or paper plates, some sheets of copy paper, one black magic marker and a color wheel. Fine arts skills you're going to be learning. We're going to start out with compositions. Some thumbnail sketches were gonna be learning how to mix color tones together. Figure out your basic color scheme of what you could be working with, and this is the first start of the painting, which is an under painting. Applying layers doing these wonderful transparencies were creating shape and volume to our rocks and also placing that nice, beautiful strokes of showing the water. Here's the finished project. You could really see they wonderful landscape perspective that you'll be learning in along this process. Here's a detail the painting So you could really see the painterly strokes I hope to see in class 2. What to Paint?: what to paint Great tips to help you decide on your subject matter. Here the things will be covering in the section perspective, foreground middle ground and background toe work within your landscape. Another term of your water escape. Focal point path. A vision. Where you gonna look in your painting? And how interesting is it gonna be to you having that wonderful rhythm of looking throughout the painting color scheme? What color is your going to choose depth and few point. It's an element of perspective because it's going to be where you standing. Are you standing beside the bank of a river or you looking down and then assembling and arranging all these elements together, picking things from different photographs and really putting together things that you really want to paint? I will be sharing with you my photographs that I've taken and these air from Colorado did a lot of fly fishing out there and the paintings that I created from them the 1st 1 I'd like to share with you is talking about dealing with the focal point. And if you really look at it, close your eyes and open them. The first thing that you look at, and if you can see this area, you have chosen the focal point. That's the most interesting part of it. We have things that line up to it like the riverbank there and extra guy to be talking about the path of vision. What are we looking at next? Right right back there, the background very dark. That's that contrast. What's the next scene we're going to look at coming along these rock formations, and it's pulling us down right into the water, which is going from the middle ground into the foreground, where that rockets placed and then bringing us back into the focal point. So already this composition works quite well, so I've got my foreground, my middle ground in background. Now here's my painting. Another thing I want you to consider is your color scheme Here. I've worked pretty much of my complementary colors, a lot of oranges and blues. I have a deep greens to go way far back to really give that contrast. I've played with the water a little bit more, and this is what's great about it. You can add and choose things to enhance your painting. Here's the photograph and my painting side by side. I've smoothed out the rocks on the waters brighter. I add a little ripple to the water. So these air avenues you need to start thinking about as well as think about the size. I particularly paint this one in a square, which is kind of unusual for landscape, but I kind of I thought this one really was appropriate for that size, and this one is about 30 by 30 inches. Here's another photograph. We're going to be dealing with water that's moving, possibly if you want it to. Things that are needs some transparency. As you can see those rocks underneath, it almost looked copper color and full edge. If you so choose, you could do a close up or not. Here's the painting that I painted this from. I've enhanced the background very dark, so that would give more highlights to that coppery color coming through. I really made the water. Rushmore and I also included a lot more rock formations in the foreground. Here's an example of using several photographs I'd like thes for the rock formations. I was looking not necessarily at their compositional structure, but I thought I could take bits and pieces and put something together. Also, the colors are not the greatest here. They're pretty sublime. Choose a couple of them. Here's another photograph. Darks and lights. I certainly wouldn't paint directly from that because there's almost, like a hole in the upper middle of it. And then to really look at water firm ations and then, you know, what am I gonna piece together? And this is the painting that is derived from those photographs. So outlook take photographs to a combination of, um and really put something together that you're going to really enjoy. So what do you want to pay? Look for those distinctive breakup in space of your foreground. Middle ground on background. Really Focus on looking for that focal point. Something that really pulls you and it has an interest. Think about your color scheme and will be really talking about that in our next section. Think about what your viewpoint is. Far you're near you above, and then what elements do you want to include and arrange into your piece Still water moving water to sick about all these things helpful. Hint to all of this has choose many photos to start with and then eliminate along the way. Cell C in the next section 3. Choosing your Color Scheme: this section is choosing your color scheme. What we will cover in this section I'm going to share with you my painting station. You might get some helpful hints from that, and then we'll use your color wheel to help select a dynamic color. Choice will refer back to your photo or photos that you're using to help guide you in choosing your colors. I'm gonna share with you what colors I'll be working from. And why really start thinking about choosing your color theme, and I'll give you some helpful hints at the end of this section. Kitchen furniture a little bit cheaper has untitled top like these open baskets, and what I've done is, but I'm plastic baths when they're all my colors art. I like having a George because I couldn't put all the paints and I'm working with for this particular project right in here and enough room for paper plates and then my water here, the materials. I'll be working with my pain structures here obviously very well used paintbrushes of the ones I suggested you to get my paints a photograph that I'll be from also make a copy of it that I don't get pain all over Call wheel. A nice soft rag I really like to use versus paper towels. But I keep that in mind as well. A large container of white and then also my gloss varnish. Start your painting. You need to start thinking about what colors are you gonna be choosing for your scheme in your painting? Looking at you photograph of what you're gonna be working from can also help you guide you through it. Or you can choose your own skiing yourself. You don't think about your try attic colors, your complementary colors, your split compliments and see what's going to really be effective. What's something that you want to work with when I look at my photograph? I see here of these line greens, which really like and these oranges in here. So I'm going to go basically split compliment in here with my compliment being the red violet. So I've got red tones and some bread oranges. It may be very dark in here, some blue violets. So I've creating this complimentary split compliments. It will be very dynamic. Can I really, really enjoy these colors? So it's always good to have a color wheel always going through and given your basis, even though you understand color very well, I have my fellows placed out here the ones that I'm going to be using because of that I I'm just showing you here your yellow red blue, which is a triad of colors by my black and white. Over here. They're not colors, but they can certainly add tints and values to your colors. But it's best to use straight colors to produce that as well. I'll be showing you. I have my bird numbers, my fellow brokers, to get nice rich tones with my brothers so they have a very natural color to it. Always loved working with a lizard crimson because it makes a beautiful violet and really nice, beautiful tones. Also in here Nice green, some green as green, like the jolly green because it gets very, very dark and rich. Forced colors we have here is that Indian yellow that I enjoy. It makes beautiful oranges. Yellows be different value tones. I usually caddy and yellow, usually the light one. So if I want to get really bright colors in there, I can use that one. So these air pretty much what I'm going to be working from. So think about your colors game and come up with something just wonderful. Here's some helpful things speed thinking about when you're picking your color scheme. Look at your photo cause that's really an avenue. To really help you choose your colors, not because you think they're really pretty, but really high. They will work together. Refer to the color wheel, even though you know a lot about color. The color wheels Justin Essential Tool. Always have with you and then have at least your three primary colors ready to use. I have to helpful hints if you have a hard time just referring to the color will and organizing your thoughts about colors is to paint on your colors on a sheet of white paper and having placed next to each other, you could have your warm colors place thanks to each other. See how you're warm and cools. Interact with each other and then paint with other colors to see the different color actions that you can have with different tones. Another helpful hint. It's not to use black because there's no such thing is black and nature because black is not a color. The best way to make a really dark, rich tone is mixing the lizard in crimson and altering blue For your darks. You could add other colors to the mixture that will kind of vary itself with warm and coolness to it, but it really makes a beautiful dark color. 4. Compositional Elements: this section is called compositional Elements. What will be doing in this section is you're gonna be examining your own photo composition . We're gonna look at balance a symmetrical, symmetrical going back and looking at that focal point path of vision, we're gonna be cropping out areas to see what changes we can make in the photo and also choosing elements to use from your photo for your water escape. This is my photograph that I'm gonna be working from for my painting. First thing I'm going to do is analyze the photograph as the composition as it exists. Is it working? I'm starting out with balance. What are my wanting in balance? In my painting, I wanted to be a symmetrical. This one is already symmetrically balanced. Meeting by that is it is evenly spit down the middle and across on the side. As you can see these rock formations as it goes across to this one over here all the way across, that's even and also split all the way down the center with the darkness of the lightness. So I really not working for me. So the next thing to do is to look at Where's the focal point in here. And the focal point is the first thing that you look at it. Close your eyes were quick and then open them. You're going to see this area here as your focal point. Everything flows towards it. The rocks move that way at the stark areas. Kind of the counterbalance to it. But pretty much here is your focal point. Where do you look next? Where is your path of vision? Yes, I look. It's my path. A vision. It's going up to this format here, these lime greens moving across into the dark area, looking down in here, this rock this rock up close and then back again. As I look at this compositionally, it works very well. There are elements in this photograph that I do want to keep for my composition. For my painting. The first thing I want to keep is where the focal point iss right in here. I really like the very lightness of it and going back into space. The second thing that I thought was very interesting is when I looked over here. Is that lime green of that branch hanging over? This looks great. So what is creating for me. So far, I've got a middle ground right in through here and have, ah, wonderful background with this Foresti green. So I'm creating a lot of contrast from the lightness of these waves that are coming crossing the creek all the way through the back. So I'm creating a perspective element in here. The other element that I like to swell is these rocks firm ations. I like the fact of the reflection in the water and wonderful transparency of looking down onto the rocks. I think that's gonna be another interesting avenue versus is a very large rock here. Next, I want to start thinking about my foreground. I have my middle ground in here and I have my background over here. I'd like to include something of this as my foreground. So these elements here will Really, if I pull these together will make a wonderful composition and the next stages cropping, you could go right in through here and crop it kind of the things that I've already suggested bring it out here a little bit. Keeping that and cropping this. It already looks better. Still, that's pretty heavy in here. And so there's elements and distractions that I really want to eliminate. But if you look at this, there's other areas you can go in and start to crop. I looked at this and thought, Oh, this this could be interesting as well has that really darkness in here? But to me, it is a little bit too much of banding across with. Only this is a focal point, which is too far on the right, and it looked too odd if you dragged it across. So really go through and dissect your piece and really think about different ways you can approach it. Maybe something over here and looking at it differently here has a nice flow to it. But if you look at these rocks, they're both centered right here. That would be awkward. You want to be really careful of things that are in the corners like this because they really pull you right out of your format. So that's to avoid is things in the corners and things that are dead center because it makes for a very awkward composition. This is a great time to really select what you want. You could add other photographs with it and take segments out of it, So take your time and really get things that you want to paint. Here's some compositional elements to be thinking about. First of all, is your subject matter that's pretty well taken care of because it's going to be our water escape. Dealing with rocks and water size is something to consider at this time. What is the size the painting gonna be cropping? Looking at different ways that you could take from your photograph placement? Where you going to be moving things to your balance? Contrast and try to eliminate any kind of distracting elements within your piece? That's a good thing. Just really start looking at. 5. Thumbnail Sketches : Nõtan: this section is on thumbnail sketches and we're gonna be working with a compositional format called No tan. No, tan is a Japanese design comes up involving the play of placement of light and dark is their place next to each other and art imagery. This came from the definition of Wikipedia, but you can look it up. And it has a really that strong concept that Ying yang of black versus white and it has a really interesting visual form and looking at design, we're going to go through learning about this and working and figuring are compositional structure for our wonderful painting. I've already decided I'm going to have a rectangular shape. My campus is gonna be 18 by 24 from domain. These thumbnails, Mr Jerry, Quick studies in no town so black and white thinking about that contrasts of shape and start making them very quickly. Don't want to keep in the middle, But I'd like that area here. Maybe rock here. Dark beer. Okay, The shape coming over there a little bit closer. There's something real close in here. I noticed that it had just a little bit of a stream coming between thes rocks I thought that might be interesting to you have just in here keeping out of this area here. Okay, there's one. So I'm thinking, OK, contrast. Little, my working with maybe a little bit larger gonna bring the rocks further down here, maybe having it in front of it to connect starts. And I don't have space for this. Let's try another one. It's great about this. It's quick. And if I made these leaves even larger about this end down in here and then Rocco here, here, smaller ones. What happens here? I've got too much division too easy like that. These two so far, this one looks the best. It's just nice to get this out pretty quick. But the interesting thing is giving me a little more space. Make a least tennis, making a few more and notice a change. Trying to change the size also the position of him and trying to figure out what will be the best. I'm gonna go few more and then make my decision. I've cut these all up. I have 12. Obviously, I made a X on this one, so I can't use that. But I'm gonna look at these in respect to know town, and that's just looking at the composition black and white. If it looks interesting to you, that's really the way to detect it. It has to be like that feeling of design and how compositions work. And the more you look at it and more you evaluated that you get it. I'm gonna go through each one of these very quickly and kind of decide whether they work or not. For me, this one feels like it's a little bit too half half split in half. So I'm gonna put that one inside the same thing when I have since here, not as bad. This one does the same thing. And this touches and it also centers in the middle like that one. That one stop there. This one's not too bad. Not too bad. Not too bad. Someone feels like there's a little bit too much white, too much water. I don't think there's gonna be enough contrast in that one. And this one doesn't have to be so leading them down. I'm going to just set them out and we're gonna put him sideways. Still keep eliminated, needs no tan. It's black and white. And is it interesting? Look at the white space. The negative space on it is that interesting versus the dark space? Is there too much of one to the other? Is there, you know, doesn't overpower. Does it split up strangely right in here? It feels like it's cutting it in half. So that goes. This one almost feels a little bit diagonal don't like that one. This one has an interest to it coming across. So this has a good composition going through it. How? It's evenly placed and this doesn't have It's a little bit different detail. Doesn't have much interested. So we've already kept one of here. Let's go through another segment of these. She told me there and start looking at this so far. Looking at this overall, the most where my eyes go to is most interesting. Is this one here? This one again looks happened. Have I could take that one out? This looks like too much going down. That is is interesting. Very heavy. Put it. It's between these. Put them aside. I marked the back of the one that I like beginning see, actually selected it and thinking of going with this one. This is the one that's gonna have a little stream in here, putting this over here, not weigh in the corner. And I think this coming up in here, I think this is gonna be what I'm gonna work with. No tan. So go through your things. Look at them, go back and forth and play the game. 6. Underpainting: this section is called Under painting will begin painting on the canvas using light washes of acrylic paint using very few colors. What will cover in the section is justly painting out your water escape, starting out again using a few colors one warm light value color on one cool, dark value color. We're gonna create contrasts in value. You'll be applying your strokes and a flowing manner and refer back to your photo on thumbnail. I'm starting out using a red yellow that's my warm color, and I'm applying the paint. Very syn water down. Acrylic. I also have posted up my image of my photograph, also my no tan image. So I do refer these to go back and forth with here. I'm applying my fellow green. That's my darker green dark value. So I'm really country hating right now is contrast, applying it very thickly. Notice how even hope I brush. I'm holding it that I could easily move and make wonderful strokes with it very quick, placing it down, looking at it, referring back to my imagery outlining areas just so I'm beginning to see where I want things placed. The objective of this is to really cover Oppa's much white spaces. You can. This is your under pain. You're going to be able to see these colors come through. So obviously I'm do my warm colors. I want things to advance, and I'm using my cool colors to make sure that things go back recede into space. I paint very quickly, so I really enjoy this aspect of painting. It's It's quick, it's fast. You just place it down and move it. Notice I broke off paper plates. It's easier for me because I can hold it and walk around with it. Use very few colors on it. I waste very little cause I just don't put tons of pain out. I put little bits, pain and add to it all the time. - Now I'm just going through and checking things out of how they're making sure everything where it's placed. And then I'm just doing an overview, just making sure it has a nice flow going all the way through. Let's be for back to our no tan thumbnail sketch, and then we're going to look at it differently and pick up the painting, go sideways a really good time to just double check with darks are getting in contrast coming across. - And here's the final stage of underpinning just a quick overview of the under painting if he had any difficulties with ease. Gestural lines. I do have a class called Creative Process Art Essentials Gesture. It's a drawing process, but it really is a great refresher for making those flowing gestural lines. Make sure that most of the white canvas is covered with a thin coat of paint, and this is a great time to upload your image of the project gallery. If you'd like some great feedback, I'm always here to help and remember, it's just pain and enjoy this helpful hint. Used very little paint to start with and then keep paddy. 7. Dark Value Layer: the segment is dealing with the dark value layer. I'll just be using a few colors just to get the dark darks. Well, we will cover in this section is you seen limited colors to create darks. Do not use black. We don't use black in this particular project. The colors I'm working with are a lizard in crimson Bethell, green, cadmium, red, medium and ultra marine blue. These are the colors I'm working with. You can choose others that you would like to work with. That will fit into what your color scheme is all about. Kerry started my three colors of my fallow green in there. My lizard crenson and a medium red. The lizard crimson has a lot of violent blue in there, so it has a tendency to be a lot cooler. My bread is more warm and has more yellow in there. Therefore, I could go back and forth of going cool and warm with its I'm now just mixing my paints with the varnish just straight on Lee, using my water to wash my brushes along the way, you notice I only use small containers. It's much easier to use. I don't have to pour it out into a cup and it dries out. It's just more economical that way. I'm just right now outlining the shapes of the rocks and putting in all my darks. Now I'm working with my ultra marine blue, so mixing that with my lizard in crimson will produce a color. It almost looks like black, but it's so rich in this painting I'm not using black at all. It's great pay in the background. I try to make it look room mysterious, so it's just I'm having fun with this, Uh, all right, this is a nice checkpoint. The stick a few seconds. Stand back. It's always good to stand away from your canvas cause it always gives you a different perspective. And look at your beautiful painting. Have you painted all over the canvas placing your dark darks? A helpful hand is close your eyes for a few seconds. Open them and where do you look? First, be thinking about your focal point 8. Rocks (part one): this section is painting the rocks Part one. I'm starting out here with my Indian yellow. It has a tremendous transparency to it. So mixed with the Varna, she concedes, just overlaying and changing colors. It's what it's painting over, such as by Blows it getting kind of a nice green tone. So I'm painting all through the painting to keep it harmonious. It all pulls itself together. They say. I'm painting all over. It's not the whole canvas here. I'm starting to add white to it, to given opacity to it. And now I'm coming up on the rocks. And as you see when I paint the rocks, you can see the darks underneath it. So it's already creating form because I'm building it up through color layers. I'm also adding reflections from the rocks, so I'm using the same color that I'm putting on top sundered Isa Butte. You'd be pretty consistent with that. Remember, you've got a light source coming on in here, so that's something you really start. Need to look before we're going warm and cool, advancing or receding. Now we're put in the light source in. There's not an exactness to painting these rocks you're just trying to create form, like two dark play with it doesn't have to be perfect. All right, But I notice my palate. I don't have a lot of colors there because I'm trying to keep with the family group and elegance colors when I'm working until I'm mixing tones, which will be doing a little bit right now, I'm adding white cause I'm gonna add some highlights and really get these rocks to have more dimension to it. - I made a little bit of red and make an orange getting a medium tone going in here. All right, Now I'm gonna begin to hold my brush differently, and I'm gonna be dragging it. This is going to create these painterly strokes. What's great about these small plates that I'm working from? I'm grabbing my last pallet that I was working. From what? Creating the darks. I'm gonna add the's colors to my warm colors to produce our beautiful tone. - Helpful hint. Remember to keep your other palettes of paint to mix from to create beautiful tones 9. Rocks (part two): this section is parked two rocks. We're gonna get more detailed with the rocks and also put a little bit of a grey blue in the background on the water to see those rocks a little bit more. I'm making changes here. There's a little bit too many rocks, that horizontal band. So I'm gonna be taking some of that out, you know, and mixed together a little bit of gray blue. They're gonna put in the sky areas. You know, there's no sky in here. I think it It's nice to add that and they want to take that blue and bring it down into the water and then let those rocks come out pretty much work for my wrist, not moving it around, but use my wrist as more solid and moving my arm around. I'm going to create these wonderful strokes, and this is what you need to start working with. All right, I'm going to start where he was my smaller brushes on adding more detail. So I'm adding or more telegraphic lines going on there, and I'm getting and more darks so you can really see things stand out. - No , I've added white to that color, and I'm going to come back in. So I'm adding a lot of colors to make these rocks or just not wanting to values. That's what's really going to great, that wonderful, three dimensional quality, too. Let's start adding some color to this and brighten it up. - But it's those little fun details that really make this painting exciting. I think it's every paintings, like a new adventure, because you don't know how it's really gonna end up, you know, just enjoy the voyage. 10. Water (part one): this section is titled Water Part One. We're going to begin to make it look like we have water flowing through. I'm starting out with my yellow green, my other kind of mid tone green and a red. I've also mixing together right now is a blue border, the medium toned blue to search in the water using a filbert brush because you can load it more with paint. So it's nice to drag it longer version. And also when I'm mixing my paints, I don't use appellate night. I just think it's extra time and then I gotta do more cleaning. It is mixed right with my brush, but no, I'm adding a little bit of lighter green to this and and a lot more Varner's so it's has a more transparency. I'm painting with a little bit lighter blue, and I'm going in between the long, darker blue strokes. This will create an edging to it and give a little wave movement to the water. Now I'm painting with green, just a medium grain that's not one of my favorite colors, but it really needs to be in here to give it a little more depth, - adding a nice, brighter blue lighter, one nice, opaque colored, placing it on top, giving it to set on top of the water. Here's my little border ful. I'm just dragging that color down on there and just pulling it up above. So it has the top of the water there and just giving a little bit of a ruffle down there to give it that nice little waterfall. So I have different transparency and values going through it, and you don't have to worry about making mistakes. Just have fun doing this. You're just making lies because you can always go and change them. 11. Water (part two): this segment is called Water Part two. I'm looking at this painting and the water of building up from the bottom to the top. So, to me, this is my very top layer. So I've made a very light blue color, the reflective color of the sky. If you notice I'm carefully taking this color and going around these rock formations, I'm still making my strokes rather horizontal and dragging my brush across here. I get lighter with my blue. It's what I'm doing. It's coming closer to me, so I'm making things, lighters, air coming closer to me as that element of perspective. Now look at the my brush strokes, really enjoying this, Having fun, crazy movement in the water. - Now I'm painting a lighter blue and going on top of the water again, and I'm going close to some darker stroke so it looks like a wave and it's coming up. I'm also used in a smaller brush. I met in a deeper blue, putting it far in the back make it could recede a little bit more. It's important when you have that one color. Have it work all over the place. You notice they put in the background. I'm coming in with the foreground with not bringing in a light green, giving in a little bit of warmth to it, - bringing more warmth. We'll bring this rock to advance towards me. So I have a nice warm color. - Bring in a dark blue, trying to get these rocks to set down and look like they're underwater or more. - Here's a front view of the painting. We're gonna look at what needs to be added to it. Certainly, Anita start working on the background and getting a little more details with some of the areas. Here's a close up view of the rocks that gets you a better idea. They're just built up with different colors all around, mixing it, and it's pretty simplified if you really look at it. 12. Finishing Touches (part one): Well, we're almost there. This section is finishing touches part one. In this section. I'm going to be finishing up the foliage a little bit in the background and some detail ing I go back and I look at my thumbnail sketch of my no tan. Am I achieving those darks and lights And then I'm looking also my photograph and I don't like that you can count these rocks for across. So I think what I'm going to do is add some more rocks in there. - I really didn't know how is gonna do this foliage. So I took my brush, my smaller brush, and just pushed down on it. So you see a point. I push it down, lifted up. I have my line greens mixed with a little bit of orange. Makes a beautiful tone, and I think that looks great. And I on the right hand side of this foliage, you'll see more of the oranges so it changes so that one on the left comes out at you a bit more than I add a little bit more white to it or a little bit of yellow, and I'll show you some of the stroke side made. This is my favorite part. I'm taking this collar and going in the background, and I just love making this mysterious and just playing with it says This is great. This is fun time bringing that nice color all the way up to the foreground in that rock. I'm gonna come over here and at another rock to those other rocks back there just to break up space a little bit more. The colors that I'm working with is just that line green still in the orange. I go back and add a little more or injury, a little more green to it just to change it. So I'm not using a lot of different colors, just a lot of variances of the tones and values I'm putting in dark darks. This is creating more of a contrast that really, really helps us composition. But 13. Finishing Touches (part two): this segment is finishing touches Part two. This is our final stage of her painting that will be finishing it at the end of this segment. Here. I'm detail ing that little waterfall in the front, still dragging a little bit of paint on it, not doing a whole lot to it. But it's just the direction of my strokes still painting with the light light blue. It's not white, but it's just giving highlights to it. This is again another layer. - I've mixed up my Liz room crimson, my ultra marine blue to get the really darks and then have also added to get that Foresti. Dark Green is my fellow green, - but all right now it's time to figure out when to quit. So I'm towards the end of it, and then I'll be putting down my last stroke. I've taken a picture of the painting from my camera, which shows more of the truer colors. So here is the completed painting. I have my foreground middle ground background. I like where things have been placed. It's been really a fun journey, and I hope you've enjoyed it. After this, I'm going to show you a few details Here's the one where the foliage is on the upper right hand side. Next we have one of the rocks closer to the foreground on the left. And then last which came. My favorite part of it is the waterfall. That little little waterfall. I am so excited to see your painting so uploaded the Project gallery. Love to see him. 14. Final Thoughts: final thoughts. I hope you enjoy this class and help me enjoy the journey. And I bet your opinion great. I'd love to see it. So do post it up on the project gallery for you to view it. And I also teach lots of other classes. You could look at my profile page because it gets a little classes. Teaching is one last hint. I used to paint a lot of oils before I painted acrylic still do that. But the one thing I always loved about pain, oils, lusciousness of colors and I learned hanging with acrylics even that lost Arnage is sometimes just used in the top coat. Teoh enhance the colors. It really didn't really go is a vibrant as I wanted it to. So that's why I have you at this clause. Burnish Teoh. Each layers really shines through. Next time, just have a few paintings to share with you Some other water escapes and I look forward to seeing you again. Okay,