Acrylic for Beginners: Painting Textured Landscapes using Palette Knife

1. About the Class: Welcome to my acrylic for beginners, painting textured upstra landscape using palette knife. I'm Bianca Ariela. I'm a watercolor, acrylic, and gouache artist and educator. I'm also a skill share top teacher. I work with brands like Eter Studio, Silver Brush Limited, Schminka and Arkanans. I truly believe that painting is for everyone. I'm thrilled to guide you through this exciting journey into the world of acrylic painting. In today's class, we'll be diving into the basics of acrylics and exploring the dynamic techniques of painting with a palette knife. Whether you're completely new to painting or looking to expand your skills, this class is designed to help you un your creativity and discover the joy of working with texture. Here's what we'll cover in the class. First is the materials and tools. We'll start with an overview of the essential materials, including acrylic paints, palette knives, and other tools you need. Next, we'll understand the acrylic paints. We'll discuss the characteristics of acrylic how to mix colors and the importance of consistency and drying time. Then, we'll see the basics of palette knife techniques. I'll demonstrate the basic paletteknife techniques such as spreading, smearing, scraping and layering to create different textures and patterns. We'll also do planning your abstract landscape. We'll go over choosing a color palette, creating a simple composition, and planning textures for abstract landscape. And then we will paint the background. We'll apply base layers to create a smooth or texture background, and then we will follow it with building the abstract landscape. This is where the fun begins as we will build up our landscape using various palette knife techniques to add texture and. Lastly, we will add final touches and finishing details. We'll evaluate the painting, make final adjustments, add small details and highlights, and sign your work. By the end of this class, you'll have a completed textured abstract landscape painting and a solid foundation in palette knife techniques that you can apply to future projects. I'm excited to see the unique and vibrant pieces you create. So grab your material. Set up your workspace, and let's get started on this creative adventure together. 2. Materials: Let's go over the materials we'll be using for the class. First, we'll need a canvas. The one I'm using is a cotton canvas size ten by 14 ", which you can easily find in most art stores. When painting with a palette knife, working on a larger canvas can feel more liberating, allowing it to be expressive in your strokes. If you don't have a canvas, you can always use acrylic paper or wood panels. However, regardless of the surface, it's important to prime it with gesso for better paint adhesion. Using Schminka's semi transparent gesso, which provides a nice base without completely covering the texture of the canvas. Next, we have acrylic paints. I love using the Sminka acrylics because of their creamy consistency and vibrant colors. We'll be working with a small but effective color palette consisting of titanium white, ultramarine blue, raw Senna, cadmium red hue, dark, sap green, and paints gray. This will allow us to create a wide range of tones while keeping our palette simple and cohesive. Even though our main tool is a palette knife, I have a few brushes prepared. First is a large flat brush for applying gesso and prepping the canvas with a base color. I also prepared a filbert or a round brush. These are optional, but can be useful for painting the sides of the canvas and adding final details if necessary. Now, the star of this class, the palette knives, the ones I'm using are from Arteza, a medium plane knife, size 7-1. This is great for broad strokes and layering and this small detailing knife, size one, which is perfect for fineer textures and edges. Other essential materials include a mixing palette for mixing colors. I'm using a regular acrylic board. This old rug or cloth for wiping off excess paint from the palette knife and a cup of water mainly for rinsing brushes and knives when needed. This everything we need. Let's get started with our class. 3. Color Mixing and Palette knives: Now, let's talk about mixing colors for this textured painting style. We'll use a limited palette to create a harmonious landscape, and instead of using colors straight from the tube, we'll mix our own shades for a more natural and painterly effect. Also to maintain the thick, buttery texture, I don't dilute my paints with water. This keeps the strokes bold and textured. Now, to create a soft muted blue for the sky, we will mix titanium white, ultramarine blue, and racena. We use rawcena to neutralize the blue and make it look more natural. This gives us a gentle atmospheric blue perfect for a realistic sky. For the background mountain, we use the same mix as the sky, but add sap green to introduce a subtle earthy tone, titanium white plus ultramarine blue, plus racena plus sap green. And this one creates a cool distant tone, making the mountains blend softly into the background. Now, to create different greens for trees, grass and foliage, we mix ultramarine and racena to create a dark green color. We can also mix dark green plus more Shenna and white for a warmer or softer green color for mid tone olive green. The grayish blue green color for the distant hills, we can use the dark green plus more ultramarine blue for a cooler and more muted color. These variations help add depth and dimension to our landscapes. Now for the pathway, we mix achenna and white, which creates a soft light brown, perfect for natural looking earthy tones. For the meadow greens, grass and fields, using the light brown mix as a base, we can add sap green in different amounts to create shades of green, ranging from mid tones to dark. If you want a darker, deeper greens, just add more sap green. Now, if you want softer, more muted meadow tones, just lessen the amount of sap green. This method ensures color harmony throughout the painting. And lastly, to create the delicate soft pink flowers, we mix white and cadmium red hue dark. This one creates a soft muted pink that stands out against the greens. By adjusting the proportions of each mix, you can create endless variations while keeping your colors unified. Next, let's take a look at how to use these two types of palette knives, a medium plain knife for broader strokes and a small detailing knife for finer details. First is to hold the knife at a slight angle and use the flat side to scoop a generous amount of paint from the palate. Then gently press and spread the paint onto the surface using a sweeping motion. Adjust the pressure to create thicker or thinner textures. Not to blend lightly drag the knife over existing layers to mix colors directly on the canvas for a natural and painterly effect. We do the same thing using the medium plain knife. By varying pressure and angles, we can achieve a rich textured look with expressive strokes and refined details. When layering paints, layer them gently to avoid scraping the initial layer. Now, to use the small detailing knife for precise details, use the tip to add finer lines, edges, and highlights, especially in small areas like pathway edges, tree trunks or flower details. You can also use it for scraping technique like to add texture, lightly scrape off some paint to reveal underlying layers and adding depth and contrast. 4. Understanding the Composition: Before we start painting, let's establish first a strong composition using a simple two point perspective. This will help us create depth and dimension, making the pathway look more natural as it recedes into the distance. The first thing we need to do is to identify the horizon line. The horizon line represents the viewer's eye level. It is where the sky meets the land. We'll lightly mark this line to guide our perspective. Second, on both sides of the horizon line, you need to place two vanishing points, one on the left and one on the right. These points will help us draw objects that appear to recede in the distance. Not to sketch the pathway using perspective, you need to start with a point below the horizon line. This is where the foreground of the pathway begins. Draw the diagonal lines extending from this point toward each vanishing point. To create a zig zag effect, mark a turning point along the path and extend new diagonal lines back toward the opposite vanishing point. Repeat this step, creating alternating turns so the path appears to wind naturally into the distance. Now, the pathway should be wider in the foreground and narrower as it recedes, following perspective rules. Keep the angle sharp and varied to enhance the zig zag composition leading the viewer's eye into the painting. By setting up this structured foundation, we ensure that our landscape has a natural sense of depth. Now let's do a quick thumbnail sketch of the composition. Draw the horizon line, then the distant mountains. Next, I draw the trees and bushes here on the right. Now, let's draw the pathway following the rule of two point perspective. Y Let's analyze the tonal value to create atmospheric perspective, wherein the sky should have a gradient tone. Then a slightly darker tone for the distant mountains. Next, assign an even darker tone for the elements in the middle ground. As you paint the pathway, the area in the foreground should have a dark tone, then gradually transitions to a lighter tone. We apply the same principle in painting the fields and meadow, dark tone in the foreground, middle tone in the midground, and light tone in the background. A 5. Preparing the Canvas: Before we start painting, we need to prime the surface with gesso. This helps the paint adhere better, enhances texture and prevents the surface from absorbing too much paint. To do this, prepare the surface by ensuring your canvas wood or paper is clean and dry. Apply the gesso evenly using a large flat brush, applying criss cross strokes for full coverage. Add layers for a smoother or more textured finish. Let it dry with maybe 15 to 30 minutes before painting or applying second coat of gesso if needed. Once the canvas is dry, now we will tone the canvas with a light wash of Rochena diluted with water. This helps create a warm base and unifies the colors. First is to mix the paint by diluting rosena with a bit of water to create a thin, translucent wash. Next, using a large flat brush, cover the canvas with broad even strokes. And then, lastly, let's wait for a few minutes until it's fully dry before starting the sketch and the painting. This tone base reduces the darkness of white and adds depth to our colors. Now that the canvas is dry, we can now draw a tonal sketch using raw Shenna. Basically, we will copy what we did on the thumbnail sketch a while ago here, starting with the horizon line, then next the trees, the pathway, and the mountains. There is no need to add a lot of details in this step. Just focus on the tonal values that will serve as your guide when painting. Let's dry this and we can start painting with our palette knives. 6. Painting the Sky and Mountains: In this section, we'll paint the sky, setting the tone of our landscape. The sky creates the mood of the painting, so we want to get a nice soft gradient. The colors I prepared are titanium white, ultramarine blue, and raw Senna. This will help us achieve a muted, natural looking blue. Using my medium plain knife, I mix the colors directly on the palette. I start with titanium white, then add a little bit of ultramarine blue for ibancy and a touch of rocena to neutralize it. The rocena softens the intensity of the blue, making it feel more organic and natural. I also take my time mixing, making sure that the paint is evenly blended. If the color looks too cool, I add a bit more of rocena. If it feels too dark, I adjust with more white. The goal is a soft muted blue that will look harmonious with the rest of our landscape. One important tip is that to make sure to mix a generous amount of paint, running out of color midway can make it difficult to keep a smooth, consistent sky. Now, let's apply the paint. I scoop up a good amount with my medium plain knife. And spread it across the canvas using light side stroke motions. The key here is to keep the strokes gentle and relaxed. Pressing too hard can scrape off the pain instead of layering it. If you're new to painting with a palette knife, don't rush the process. Let the knife glide smoothly over the surface, and it's okay to go over an area more than once, but avoid overworking it to keep a natural, effortless blend. As I move closer to the horizon line, I gradually mix in more titanium white. This lightens the tone of blue and creates a soft natural gradient, darker at the top and lighter near the horizon. This simple transition helps create depth and atmosphere in our painting. If blending feels tricky, take a step back and observe. You can always soften transitions by adding a little more white directly onto the canvas and blending it gently. The key is to layer with a light touch rather than dragging too much. One of the great things about acrylic and palette knife painting is that you can build up layers for added depth and texture. But when working on the sky, we want the strokes to feel soft and airy. A tip to remember could be less pressure, better blending. Let the knife do the work. Don't force the paint. If needed, you can use the very edge of the knife for subtle blending without harsh lines. Also, don't worry about making it look perfect. The beauty of this style is in the expressive strokes, so take your time and enjoy the process. I continue refining the edges, making sure there's a smooth transition of colors. If I see any harsh lines, I use my knife to gently feather them out. A final check ensures the sky looks natural and balanced. Now that we have our sky in place, let's move on to painting the distant mountains. This will add depth and structure to our landscape. We'll start with the mountain on the right, as it is behind the other mountain helping us create a natural sense of layering. For the base color, I mix ultramarine blue, asena and a touch of white to create a soft grayish blue shade. This muted tone will help the mountain recede in the background, making it look farther away. With my medium plain knife, I scoop up the mix and gently apply it to the canvas, following the general shape of the mountain. I use diagonal strokes moving in the direction of the slopes to create a natural flow. To add texture and dimension, I mix a lighter version of the same color by adding more titanium white and layer it on top. This creates subtle highlights and variations mimicking how light touches the mountains surface. Next, I add a hint of sack grain to the mix and apply soft strokes across certain areas. This introduces a slight color shift at him feel more organic and connected to the greenery we'll be adding later. Now that the right mountain is in place, I move on to the mountain on the left, which should have a slightly cooler green tone to create contrast. For this, I mix ultramarine blue, acena, white, and a bit of sap green to achieve a soft bluish green shade. This cooler hue makes the mountain feel distinct from the one behind it. Using the same medium play knife, I gently apply the paint in diagonal strokes. Following the natural slope of the mountain, I also add strokes that help define the shape while keeping the edges soft and natural. Now, to make the mountain more dynamic, I mix a lighter shade by adding more white to the existing mix, then I softly blend this lighter color onto the surface, focusing on the areas where light would naturally heat. To create even more interest, I add a small amount of rocena into the mix, resulting in a warm olive green color. I lightly blend this into the existing paint to introduce variation in color, making the mountain feel more alive and textured. The key here is to let the layers naturally blend while keeping some rough textures visible. This adds character and realism to the mountains. Before wrapping up, I step back and assess the balance of colors. If any areas feel too flat, I refine them by lightly layering more highlights or deepening shadows as needed. And that's it. Our distant mountains are now complete. And the next step, we'll work on painting the greenery in the foreground. So let's keep going. 7. Painting the Greeneries: Let's move on to painting the greenery in the foreground. We'll start with a field closest to the mountains and gradually add depth and variety using different shades of green. First, I mix a light green using sap green, raw chenna and white. This will be the base color for the field. I start applying the paint just below the mountain on the left. Holding the medium plane knife sideways, I use downward strokes to create rough texture defect for the impression of bushes and foliage. The key here is to keep the strokes loose and natural. Next, I make a lighter shade by adding more white and rajena to the existing green. This time, I slide the knife sideways to paint the open field, following the direction of the land. Keeping the strokes aligned with the plane of the ground helps create a sense of perspective. Now, to introduce deep, I mix a dark green color using ultramarine blue and achena. Using my detailing knife, I lightly tap and layer this darker shade in the middle ground creating the illusion of background trees and shadowed areas. When adding layers, remember to keep a light touch. We don't want to scrape off the paint underneath. Just take it slow gently dabbing and blending until you get a nice depth effect. If at any point you feel like a layer isn't working, don't worry. You can gently cover and blend it with another layer. The beauty of acrylics is that they allow for easy adjustments. To make the field more dynamic, I introduce darker tones by adding subtle patches of green and softly blending them into the existing layer. A few light strokes help everything merge naturally. Now, let's move on to painting the pathway. I mix racenna white, and a touch of leftover green to create a soft, earthy tone. I continue using side strokes following the perspective of the ground to ensure the path looks natural. A little bit of acena is added to enhance the warm tones, making the pathway blend seamlessly with the landscape. Be mindful not to alter the sketch of the path, as keeping its perspective intact is crucial for maintaining depth in the composition. Now, let's add grass along the path. I take my dark green mix, a blend of ultramarine blue and raw chena and using the tip of the medium plane knife, I carefully dab and outline the edges of the path. This helps define the road while integrating it naturally into the landscape. As I work, I dab and lift the knife to create un even texture defect. This helps suggest small tubs of grass along the road. To make the effect more organic, I vary the height and spacing of the strokes so that it doesn't look too uniform. Next, I also use gentle upward strokes to create an impression of grass sprouting along the road. Keep the movements light and don't press too hard, as we want to build layers rather than scrape off the paint underneath. To transition from the path to the field, I begin shifting my strokes from small upward dabs to broader sideways strokes. This helps merge the element seamlessly while maintaining the illusion of depth. Now on the right side of the field, I continue with sideway strokes using the detailing knife. This creates a transition into the open field. I make a few horizontal strokes, then switch to downward strokes to evoke the movement of the grass. By changing the direction of my strokes, I can create a sense of rhythm and natural growth. Now I take a lighter green mix, adding more oceana and white to my previous mix and start painting areas in the middle ground to create the effect of sunlight hitting parts of the fields, making the landscape more dynamic. I take my dark green mix again and begin building up depth and tonal variation. I do this by gradually increasing the intensity of the green, making it slightly darker as I move toward the foreground. I still vary my strokes, some downhard, some sideways to avoid making the painting look too patterned or repetitive. In impressionistic painting, we want to suggest the essence of the subject rather than painting each blade of grass individually. Now, to further enhance the middle ground, I add some darker green strokes toward the base of the field. This makes the lighter areas pop and gives the illusion of layers in the grass. Okay. Now for the foreground, I will mix white, ultramarine blue, and Russia adding a touch of paints gray for depth. This mix gives us a cool muted tone that contrasts beautifully with the greens. With my detailing knife, I start creating dynamic strokes varying between diagonal, downward and layered strokes. This technique also helps add energy and movement to the painting. One thing to keep in mind is not to overwork the layers. If I see an area where the paint isn't blending as expected, I simply add another stroke rather than trying to fix it immediately. Sometimes letting the paint settle first makes it easier to adjust later. I also make sure to fully cover the canvas so that the underpainting is no longer visible. This ensures a rich, full bodied look to the composition. As I continue working, I go back to the outline of the path and add more upward strokes to refine the transition between the road and the field. At this point, the painting might not look exactly as you imagine, and that's completely normal. Painting is a process, and sometimes the magic happens in the later stages. The key is to keep going and trust that each layer adds value. If at any point you feel unsure about how it's turning out, take a step back, relax your mind and enjoy the process. The more you let yourself enjoy the strokes and layering, the more natural and expressive your painting will become. Remember, your motions influence your work. If you paint with confidence and joy, that energy will be reflected in your piece. Now let's move on to the right side of the foreground. I mix sap green, ultramarine blue, white, and rosena to create a soft green tone. I start painting from the bottom, moving apart, gradually blending it with the previous layers. I continue varying my strokes, sometimes pressing lightly, sometimes lifting the knife at an angle to create a natural feel. For the grass along the path, I go back to using the tip of the detailing knife. I also add fine upward strokes reinforcing the impression of taller grass near the road. Now, let's introduce some darker tones in the foreground. I take my dark red mix this time, adding a little more ultramarine and paints gray and begin layering it into the shadowed areas. These darker accents help create contras and make the foreground pop. Don't be afraid to experiment with your layering. The beauty of the palette knife painting is that every stroke adds movement and texture to your work. Even if a stroke doesn't turn out as expected, simply layer another color over it and blend it lightly. From this time, I step back and take a moment to assess the composition. I check if any areas need more balance in tone or texture and make small adjustments where necessary. Remember, painting is not just about the final outcome. It's about the experience. So take your time, trust your instincts, and most of all, enjoy the process. Now let's add some trees on the right side to bring more depth and life to our landscape. Trees are a great way to frame the composition and create a natural balance in the scene. To start, I mix sap green and painspry to get a really deep rich green color. This creates a strong base for trees, giving them a sense of weight and depth. I add a touch of rochenaT lightly desaturate the color. This helps make the green look more natural rather than overly bright and artificial. Using my detailing knife, I begin shaping the trees with organic loose strokes. Oh I avoid making them too uniform. Trees have irregular form, so I let my strokes flow naturally. I also use the same deep green mix to add bushes beside the trees, keeping my strokes short and textured to create a sense of foliage. If you feel unsure about the shape, don't overthink. Just focus on capturing the overall form rather than painting every individual leaf. Now, to make the trees look dimensional, I mix a lighter green by adding white to my base color. This will be used for the lighted portions of the trees. With my detailing knife, I lightly tap and layer the lighter shade over the parts of the trees where the light would naturally hit. This contrast between dark and light areas makes the trees look more fuller and more realistic. As I work, I step back for a moment to check the overall shape and balance of the trees. I also make smaller refinements, adding a few extra strokes to make them look fuller and well integrated into the composition. Remember, the key to painting trees is to keep it loose and expressive. Don't stress over perfection. The natural variation in your strokes will bring out more organic and lively feel. 8. Painting the Flowers: Now that we are done with the field and the pathway, it's time to bring the scene to life with flowers and final details. These small yet vibrant accents will add warmth, movement, and depth to our painting. I start by mixing cadmium red and white to get a nice pink shade. I want the paint to be thick and creamy so it retains texture on the canvas. Using the tip of my detailing knife, I gently dab the paint onto the field, creating an impression of flowers. The key here is to keep the dabbing strokes dynamic and random so they don't look like pattern dots. Remember the rule of perspective, flowers closer to us should appear larger, while those farther away should become smaller to create depth. I follow this principle as I spread the flowers across the foreground and middle ground. I repeat the same process on the left side of the field, making sure that the flowers blend naturally with the landscape. Now, to create the dimension, I mix a darker shade of pink by reducing the amount of white in my mix. Then I layer this darker pink on top of some of the light flowers. This subtle contrast makes the flowers look more vibrant and alive rather than flat. For variation, I also place a few flowers along the sides of the path and some tiny ones in the middle ground, adding more detail to the hum position. Now I want to introduce a warm contrast to balance the pink tones. I take some rachenna and lightly add strokes around certain areas of the field. This helps blend the flowers into the landscape, making them feel more natural. La Next, I add dark green strokes between some of the flowers to create contrast and make them stand out even more. I mix sap green, pain spray, and canna to get a deep, earthy green. Instead of overwhelming the entire field with dark tones, I place a few random strokes near some of the flowers to suggest shadows and depth. This also gives the impression of grasses and foliage without over detailing. As a final touch, I refine the pathway by adding a few dark strokes along its edges. This helps define its shape, but I don't outline the entire path. Just a few suggestive strokes are enough. Lastly, I check the background and add small dark accents to separate the trees and bushes from the field. This extra layer of contras helps bring out the depth in the painting. And with that, our painting is complete. This final step of adding flowers and contrast really ties everything together, making the scene feel rich and expressive. Remember, the key is to trust the process, and even at times it doesn't look exactly how you imagine. Keep going, layering and adjusting. The beauty of painting is in the journey, so take your time and enjoy every stroke. I hope you had fun creating this landscape with me, happy painting. 9. Final Thoughts: Thank you for joining me today for this acrylic painting class. I hope you enjoyed learning how to create a textured abstract landscape using palette knives. Throughout this class, we covered essential materials, the characteristics of acrylic paints and various palette knife techniques. You have experimented with spreading, scraping, layering, and creating different textures, all of which culminated in your unique abstract landscape painting. I'd love to see your creations and hear about your experiences. Share your paintings with me on Instagram or in the class project section. I'm excited to see how you interpret and apply these techniques in your own art. If you enjoy the class, please consider leaving a review. Your feedback is so valuable to me as it helps me better understand your needs and continue to improve my teaching. It also serves as a wonderful encouragement, inspiring me to create even more engaging and helpful content for you. Don't forget to check out the next series of the class for more exciting projects and techniques. Keep experimenting with your palette knives and acrylic paints, and most importantly, have fun with your creative journey. Thank you once again for being a part of this glass, happy painting, and I look forward to seeing your amazing artwork.