Acrylic LANDSCAPE 'Bush Walk' with a Palette Knife. Level 2

1. 01 Welcome To Course: have you ever wanted to loosen up your painting technique and paint with more spontaneity? Will This could be your answer? Hello, I'm Gerald Ashcroft, full time artist and teacher. I'd like to welcome you to my studio and to this landscape course level two with a palette knife. For many years, I've run painting workshop, teaching students out of paint landscapes, using brushes and the palette knife. I've also seen students really struggle with the knife, especially when the trying to mix colors and you might just feel the same. So why the palette Knife? Well, brushes are a fantastic painting, too, but you know, palette knife can give you a totally different painting experience. In this course, I'm going to show you how to hold on, maneuver the knife to mix colors and paint with it. To put this into practice at the beginning of this course, you're going to do this color mixing exercise that will introduce you to some of the colors that you're going to be mixing when you come to do this. Featured Bush War landscape. You'll see close ups of the color. Mixing from your point of view is if you we're mixing the colors yourself, and I'm going to take you step by step through the whole painting process from outlining the composition, blocking in the shadow areas with a fan brush painting with the knife and adding the final highlight. Thank you for taking a look at this course. And if you're ready to have a palette knife experience, then enroll now. And I look forward to helping you start your palette knife journey. See you with the knife. 2. 02 Introduction: Hello. I'm Gerald Ashcroft, full time artist and teacher, and I would like to thank you for enrolling in this palette knife landscape course. Now I'm really looking forward to showing you some simple techniques so that it becomes easier for you to use and paint with the palette knife. At the beginning of the course, I'm going to show you the original photo image that this bush walked landscape is based on and demonstrate how you can make some simple changes so that it makes the overall composition far more interesting. For a painting. Using just four colors and white, you'll get plenty of practice, first of all, by doing this color mixing exercise, then moving on to doing the bush walked landscape. You'll start by dividing up your canvas into thirds, then outlining the composition, blocking in the dark values and then getting to work killer mixing and painting. But before you can do that, you'll need some materials, and I've listed these in the next video 3. 03 Materials: the canvas for the color mixing chart measures 30 centimeters by 25 centimeters. The canvas for the bush walked landscape measures 40 centimeters by 30 centimeters. Of course, any campus is of a similar size will do. For both these exercises, you'll need a palette to layout and mixture killers, and these are the acrylic paints that you'll need for both the color chart and the landscape. Cobalt blue, ultra marine, blue, crimson, yellow and white. You need a pencil to divide up your canvas. Onda fan brush If you have one or something similar to outline the composition on block in the tonal wash a medium sized palette knife on the blade on this one is six centimeters long or a knife that's a similar size. Make sure that it's not too small and not too large, and finally, a water jar for doing the initial tonal wash and some tissues for keeping you knife clean. 4. 04 The Palette Knife: palette. Knives come in a variety of shapes and sizes. Some have narrow blades and others of wider blades. The palette knife has two main sections. The blade and the handle. You can see that the knife isn't completely flat because it has a croaked handle. This is so that you can hold the knife comfortably and work with the blade flat on the palate as you're mixing your colors, then paint with it by spreading the paint with the blade. You can also use the edge of the blade to paint narrow lines, and you can use the tip of the blade to Deb spots of color. I'm going to mix an orange with this yellow and crimson. Take the knife and hold it by the handle so that it feels comfortable in your hand. With the tip of the blade, press it into the paint with the paint. Now on the underside of the blade, bring it over to where you go to mixture, paint and press the paint onto the pellet white. Be a knife and take a small portion of crimson and press it into the yellow. Now we can start mixing. Don't oppress the paint right, left, right, And do this a few times so that it mixes well. Then press the blade down into the palate. Dream, move most of the paint. Now turn the blade away from you and with the underside of the blade, scrape up all the paint towards you. Then turn the blade back down onto the pallet on. Repeat the mixing movement. Left, right, left, right. Turn the blade away from you and scrape of the paint towards you in. Turn the blade back down onto the pallet on. Repeat the mixing process. There's nothing more to it in that. 5. 05 Laying Out Your Colours: before we get onto doing the color mixing exercise, I think it's really important for you to have a simple way off organizing your colors on your palate. There are many ways to do this, but I'm going to show you how I set out my palate. Let's take a look. I like to place my colors along the top, starting from left to right, the darkest killers through to the lightest, easy and simple to remember. Then it leaves all this area for mixing colors. You'll see. I've also placed this line down the center of the palette. This helps to remind me that my cooler colors containing blues, greens and purples are mixed on the left hand side. On my warmer colors containing yellows, reds and oranges are mixed on the right hand side. Each time you start a new painting, you need to be able to go to each of your killers are automatically without hunting around your palate. For them, having a simple system like this could really prevent you from just mixing the colors randomly all over your palate, and it can also help to prevent your colors from going muddy, keeping them clean and fresh. Now lay out your killers. Get your palette knife ready to do the color mixing exercise. Let's get started. 6. 01 Canvas Board: the board that I'm using for this color mixing chart measures 30 centimeters by 25 centimeters on. You need to divide it up into a series of sections seven down and six across. We're going to use a total off 35 segments here. That's five color segments across and, of course, seven deep, making a total of 35 separate segments. 7. 02 Yellow Crimson Orange: The first color we're going to start with is our yellow going to place a yellow here than a crimson in this space. Then I'm going to mix up in orange, which will go in the centre than a yellow orange here on a crimson orange, slightly deeper here. And then we're going to continue through with our blues and greens further down For this color mixing exercise, I'm using a small to medium size palette knife. You don't really need anything bigger. So over to the yellow. Now, put your knife into the yellow and taking a good amount. Bring it over to the chart on on the top, right? Just simply place it into that segment. You don't need to fill it up to the line. Doesn't need to be perfect. It's just purely a color sample. You can actually push this back down onto the pallet surplus and then white be a knife clean the second color we're going to place here, which is the crimson. So over to the crimson underneath and place that Yeah, So now we've got our 1st 2 primary colors down in this segment. Now I'm going to mix on orange now We're going to need a good quantity of orange because once I've mixed the orange here in the center, I'm going to then mix yellow orange here and then a red orange, and then we're going to mix a tent for each of those three colors underneath, so you need to mix a good quantity of orange to start with. So with the underside of the knife, let's take that yellow and place it here. I just want the knife again. I think that will be enough, so we want to mix amid orange. Now be careful that you don't add too much crimson to it. The winds will go to dark. It's going to be a burnt orange, more of a burnt orange because of the crimson. If this was a much brighter red, the obviously the orange would be more of a brilliant times. But this will turn out to be. What I ought to say is more of a burn times. Now you have to decide between the yellow on the crimson, where that orange should fall, I think put a touch more textual red in there, pressing the color down from left to right, then turning the knife. Bring in that color towards you. Press it down, give it a good mix, bringing the killer to award you. I find this is the best way to mix colors. Works well for me. I think that's quite suitable for the purpose of the exercise. So just taking a portion of that you just press that down and place that into this segment . Here, you can see how it's quite a deep orange. We call it more of a burnt orange, actually takes him yellow. First of all, place that to the right because we want to mix and orange that's between the yellow and this middle orange. Here, just take a portion of this and add it to your yellow press the color left and right, pressed down. Kristan, turn the knife over away from you and bring that coming towards you, careful that you don't add too much too much of this. Otherwise it will be too close. So let's compare that between the two. I think that's that's sufficient just to show the difference. You only want Teoh a small amount of this because we've got to mix a tent from it. So let's place that here. Now. Then take a portion of this over to the left, and we're going to mix more of a crimson orange now, so it needs to be deeper than that. So had a touch of the Crimson to it, making it even deeper. Actually, I'm going to just a fraction mawr of that original kinds there. It's a really deep you might say. It's almost too read, but we'll call it Crimson Orange because it's really now leaning towards the Crimson. Okay, take a portion of that again. 8. 03 Orange Tints: underneath here. We're going to add a tent of each of these killers. Take some white, place it underneath and at a small quantity of that lighter color, got a good mix. The 2nd 1 the portion of white, small amount of the medium orange, which is the 1st 1 that we mixed A good mix is that. Is that sufficient? Yes, too much more color, and it would go much deeper. Now goes underneath in the last one, a small amount of white again over here and you see quite a difference. The tint is getting warmer, obviously, because there's far more crimson in this one. 9. 04 Crimson Blue Purple: first color we're going to take is our Crimson, because we're going to use crimson on ultra Marine blue. We're going to use a touch of white with it so that the purple is much lighter. It will be much easier to see with it being a lighter color to take some crimson. We're going to place that in the end section. Here, make sure that you I want the knife in your tissue. You just want to clean knife this color mixing now over to your ultra marine blue. Make sure it's the ultra marine blue and not the cobalt blue. This is a cooler blue, and this is a slightly warmer blue. So take some ultra marine blue, probably not as much of that sufficient in place that on line three. Now 2nd 1 Now you'll notice that these two killers are extremely dark. Go to mix a purple here, so in order to be able to see that color that it is purple, we need to have a touch of white, too. I'm going to mix those colors here, the purples on the purple tints underneath, so we'll start with some crimson. A good amount of crimson in the center. Add a touch of white to it. You see what happens immediately really lightens in the color, and now just I want the tip of your knife again. Let's out some ultra marine blue Kalim mixing. It's something that is quite personal on. Only by trial and error will you decide on whether the color is too light to dark. It's got too much of one color in and needs needs something else adding to it. So it's all a matter of personal personal judgment. So let's have a touch more blue to that more of a couple now, even more very difficult to judge. But you're just going to have to feel your way and decide yourself and a touch of white into it. This that's much better. Much easier to see. All right, so now this is going to go into the center. I'm going to take some more crimson. Place that down here and at some of this to it, and you decide whereabouts. That killer is approximately somewhere halfway between halfway between the crimson, Andi, the purple mix There. I think that will probably do. I just have a rope. Yes, I think this been goes next to the crimson. Gonna still, and to point out now takes, um, ultra marine blue. Place that on the left, not a touch of your purple mix to it. And as you can see, it's a much cooler because this more ultra marine blue in this So it's and much cooler what we call a much cooler color compared to the crimson purple over here. And that's what we want to see more of a distinction between the three colors really deep blue, purple, but you can actually see quite clearly the distinction between these beautiful colors. Really deep on bond could be extremely handy, and you'll be using these these colors generally for the shadow areas when you come to do your landscape. 10. 05 Purple Tints: Now we're going to make a tint of each of the three, so we'll start. Takes him white placed under the 1st 1 a small portion off the crimson. It was mixing sufficiently the's color samples. They don't have to be perfect. It's just an approximation only. So don't be too concerned about getting the killers absolutely perfect. You won't do that because it's all down to two personal choice. So this goes on, and 2nd 1 from the right, beautiful color takes a more white into the center, which is our first our original purple mix. Maybe touch more white here, see straight away now that it's much cooler, obviously, because this less crimson in it still a lovely color. You remember that a tint is any color that has a larger quantity of white and more white. But again, what is the tint of any color? How do you describe, or how do you decide what is a tent? Well, it can have a small amount of color in it for a larger amount of the original color. In it, you decide. Now this goes and, uh, the original purple in the center who from purple our purple tint. That's what we call it now to our blue purple tint takes him white. Beautiful, subtle killer. It's almost towards a neutral gray, but it's still got. You can still see. It's got the crimson in it. It's tinted with the crimson on, obviously the blue, but it makes a beautiful neutral on the most in a neutral color. 11. 06 Cobalt BlueTints: Now we're going to get into using our cobalt blue. I'm just going to mix a Siri's off tints here because you'll be using this color for your sky. So I'm going to start, just takes, um, cobalt blue straight onto the knife, and that's going to go in the first section on row five here. So segment number one place you come out blue, you see immediately, compared to the ultra marine blue above the difference. This is much more of a cooler blue on this one. You can actually see this quite a amount of red in the ultra Marine compared to the cobalt blue. There's more yellow in blue. Here, just take some white just for the purpose showing you that's going to go. We just place some white in here, so we're starting with just a pure white second. Oh, and by the way, ensure that you clean your palate the colors that have previously there, the blues and purples. You'll need to clean that off. So they've got a good space again for mixing your colors. So now in the center one, we've got three segments I'm going to mix amid amid blue tint. Here a lighter blue tint on a deeper blue tint here. So it takes him white, going to place that here in the center, there's a lot of judgement because personal choice Andi, judgment in in mixing colors to the idea with this because I'm just mixing three tents, just decide how deep you want to make. It doesn't have to be too deep, but somewhere between the white and the blue. Because remember that this is the middle tint. You're going to have a lighter tint here and then a slightly deeper tint here, but just sufficient to show the gradation from the white through to the light that the medium on the deeper tint here I think Go, just go a touch deeper with this one. I think after a while, with your killer mixing, you get yourself into a particular pattern of using the knife, pressing the color down, left and right, and then turning the knife over and bringing it back towards you, impressing the color down again. You'll find it becomes quite easy taking the killer now, and this is going to go straight into the center. Beautiful, beautiful sky killer. Take some white praise that on there. The right insight There. Now take some of this color, say half of it and just add it to the white. Because this is just one sample segment. You don't need to make any more from this. So you don't need a great amount of pain. This is just purely for that one second place. That beautiful pastoral, almost a pastoral blue. Now, because the final killer we're going to make it deeper. You can actually use this middle one, and all you need to do to it is add some more blue directly to that just to make it deeper so that it sits just in the middle off both colors so slightly deeper and you contested by turning it on your knife, bringing it saying, Is it is it too similar to this? Is it quite? Is it quite light? I think it needs to be deeper because we wanted to sit somewhere between that color on this color. At the moment, it needs some more blue. I hope you have a lot of fun going through this color mixing chart. It will certainly prepare you for when you come to do the landscape. But this is the fun part of it. Mixing all the colors and just getting to know what happens when you mix colors together. Okay, let's Let's try that again. Is that deep enough? Yes, I think it is. So you can take all that the knife. 12. 07 Yellow Blue Green: Finally, we're now on to our blues and greens on green tins in this area using the cobalt blue, not the ultra marine blues. And make sure that you use the cobalt blue for these green mixes, which is the one on the left. Now, you see, I'm not bothered to clean my palette. Don't worry about it, because we're going to you mix blues and greens here so you don't need to wipe it off. So the first color we're going to take for our balloon green to mix our blue and green. We're going to, of course, use the yellow on the cobalt blue to take some yellow place that we're online. Six. Now the last segment underneath the white that you placed there just to show that we're using it's yellow and blue to produce the greens on the tint takes him blue to show that it's the cobalt blue and not the terrain blue. Take a little bit more this yellow Andi, the cobalt blue are going to produce. What I would say is an olive, green and olive type green. So to take some blue, remember, don't take too much of it because you can always add, the deeper color you see makes a beautiful a beautiful olive green, similar very similar to the colors that we have here in the Australian landscape. Lots of beautiful olive greens and paler olive greens more towards a blue green, but definitely olive greens in a lot of the landscape now is that Let's just test that. Is that sufficient? I think that is, I think that's deep enough for the purpose of this exercise. Remember, don't take all of it because we got a mix a lighter yellow green and then a blue green here . So just enough for the sample. Remember, that's going to go in the center here. It makes a really rich see how rich this green is. And that's because of the yellow. If we used the ultra marine blue, it will produce more of a brownie green. But this is a far better, far better color combination for the landscape that we're going to you. So you'll be using the yellow and the cobalt blues. Now we're gonna mix a lighter, a yellow green here, so take some more yellow and you can add some of your green to that. I think okay, you might say that it looks more like mustard. In fact, it's a little bit deeper is the darker color than mustard, but that is sufficient. I don't want to make it any any darker again. So half that mixture, because you need to make a tint. She's going to go there. Place that next to the yellow in this segment here, the final one. This is going to be a blue green because it's biased. Mawr. Towards the blue, take a portion of your mixture and at some cobalt blue, making quite a deep green, really, which I think that is actually deep enough. So just a point. Remember the color mixing each time you mix. Don't add too much off the second color, just in case it goes to dark. You can always add more as you need it. 13. 08 Green Tints: to complete the chart now, just going to mix a tint of each of these three killers. It takes him white underneath the 1st 1 Andi, just a portion of that killer that you next. Now, in fact, this is This is quite yellow, really. I think looking back at the original killer here, I could have put a little bit more blue into that to take ITM or into the green because it does have quite a bit of yellow in it. So you can see that it really is down to personal choice and judgment when you come to kill a mix. So that has got quite a bit of yellow. I'm going to cheat here. Well, it's not cheating, but I'm going to just add a touch of touch of blue just to take it away from the yellow. So it's moving more towards green, even a little bit more still, that's certainly moving more towards the green now. Okay, that's all that will do. And that goes into it's quite a subtle. We can definitely see because I've added that Blue's gonna live it more blew into it, but it's definitely moving more towards towards an olive, green and olive green tint. Now again, with this center one the 1st 1 that I mixed, I'm actually going to add touch more blue to that. See, there are no hard and fast rules with killer mixing. There's no rules, but there's just some just some basic, fundamental principles, and it's just a matter of continual practice. See, that does look more like more like an olive green. That will do so now I'm going to make a tint of that. I'm going to take the white again, a small portion of that into the white, and I can definitely see it's towards very pale olive green. Mm. I think it needs a touch more color into it. Actually, this is good practice for me as well. Yeah, painting is all about a continual journey. Trial and error. Andi, learn as you go. Every time you do a painting, every time he makes a color, you're going to learn something. That's the great thing about it. So the final segment now take a little bit more white. Now, what we didn't do is to ah to our blue mix to jittery. So I'm going to leave that there and add some blue to it. Okay. Okay, So it's more of our blue green. Okay. And then I'm going to add that to the white. This makes quite a neutral, very simple, very subtle olive green neutral mortar. More of a neutral color, really, but still a very useful killer in the landscape. 14. The Composition: This is a photo I took on a bush walk, and it's the image I'm using as a reference for the bush walked landscape that you're going to paint in this course. I think it has a good foundation because of this red orange dirt track. On the strong shadows and contrast between the light areas on the dark areas with the overall composition, I like their height of these trees here on the right and this lower group of trees on the left. However, I think the central part of the picture is too crowded, and it doesn't really lead the eye to a satisfactory focal point. It also doesn't have a great deal of death. So with all that in mind, what can we do to improve the overall composition and make it a more interesting picture? And these are some of the considerations that you can look at when you're using a photo reference for one of your own landscape paintings. It could also help to do some of thumbnail sketches just to see what you can do to improve the overall composition. So I've decided to remove this cluster of trees on and add some distant hills. This will create a perfect focal point. It will improve the overall composition and make it a more interesting picture to use as a reference with a painting. Now I'm going to reveal a small section of my final bush walk landscape that is sitting underneath this photo image just so that you can see some of the changes I've made. As I start to remove these trees, you can see the new background emerging with the distant hills immediately. It makes it more dynamic. It adds more depth and now the picture as a focal point. And finally, it's improved the composition and made the picture far more interesting for a palette knife landscape painting. 15. 01 Outline the Composition: The first thing to do is to divide up your canvas into thirds and, using a pencil, just draw some faint pencil lines. This is just the guide to enable you to be able to use the reference image that I've included with the course so that you can transfer the composition to your canvas. And now we're ready to outline the composition, take a small portion off cobalt blue and add Detective Crimson's. I'm also going to add some white to it, just to lighten it slightly. Now with your fan brush. Did you brush into the water and you want to mix just a fairly thin mixture? Don't make it too dark. It's just fairly, fairly liquid a little bit like water color, because we're just going to use this to actually outline the composition. And I'm going to use just the corner of the brush, starting in the top left third section here, starting to really draw the trees on the left on this grassy bank and then drawing in the the angle of this, this bank here and then on to the red dirt track where it slopes down to the right. This is the grassy bank here on the left, in this foreground area and then a couple of shadows down to the right McKeon mixture, sin and not too dark and over to the right. Now, with this group of trees, now you can see from the photo image that we have transformed the composition. Andi, simplified. Actually, I should say, simplified the composition, removing all those central trees, just putting in few trunks there where the trunks of the tree will go. And now onto the hill, which we're going to include or add to. This composition, which makes more of a focal point, makes the painting farm or interesting, removing all that the clutter really in the center now a few of the bushes just in the middle distance there, and that's really just about it. That's really quite sufficient for outlining the composition 16. 02 Block In 1: now that you've outlined the composition, were going to do a total block in using the same colors cobalt blue, mixing some of that crimson into it, and I had quite a drop of water into that. You're going to just basically block in the shapes. We're going to treat everything at the beginning as flat shapes. You just wanted to put a touch more crimson in that to warm it up. Now this is a technique that I like to use because it it's unable to meet, is to fill in the shapes fairly quickly rather than painting round branches and leaf clusters of leaves. And things like that is much easier just to to block in and we call this the shadow thing is basically the shadow part off the composition. Now, using the top of the fan brush here just to give a bit of shape to these trees, you don't have to be too detailed. Just just get it in as quickly as possible. 17. 03 Block In 2: I think I'm just going Teoh. Want the knife here? Remember to have your tissue to want to unite. Wonder what a touch of white. A little bit more cobalt blue. And this keeps the tone a little bit lighter because this area of trees, this group of trees on the right is slightly further back. Once this tonal block in has been completed, you will then be using and the thicker paint with the A palette knife. And then you will be re establishing the darks with thicker paint so you can actually make the dark stronger. This is really just this initial stage to get a foundation of the painting. And of course, it's also helped to cover the white and then the big advantage. It stopped you from being detailed at the beginning of the picture. Now you can see the paints just run a little bit here. Don't worry about that, because you're going to cover it. Don't try and rub it out. Just leave it because you're going to paint over it. Afterwards, you can see how the tone there in the center is his lighter. Then the trees on the left 18. 04 Block In 3: much more cobalt blue man, just a little bit of the ultra Marine, making the docks a little bit deeper. On this left hand side, there's more contrast. You see how light the back hill is there, just keeping it fairly, fairly faint. 19. 05 Block In 4: touch more crimson warming tip of it for this foreground for the grassy bank that's going to be on the left. I really like using these fan brushes because you can. You can draw and paint with it at the same time, and it gives It enables you to to spread the wash on fairly quickly without getting detailed. You don't want to get detailed. I'm going to introduce just a small amount of yellow into this mixture. This is just to indicate some of the sunlight from the red track again. It doesn't have to be perfect, but it's just so we've got some contrast. It's a nice warm undertones, and that's just about it for the tonal block in. 20. 06 Sky: we're going to move on to the sky now with thick paint to take some koval blue on a good, good quantity of white. Now, you remember from the earlier video where I demonstrated how to actually use the knife to mix, moving it left and right, and then scraping the paint up, pressing the paint left and right in turning the knife away from you, scraping it up toward you and then pressing it down, just going to make this blue a little bit deeper. In fact, I'm going to do to mixtures here. This one on the left will be slightly deeper. And then I'm going to mix a lighter one next to it on the right, and then once we want to start applying the paint, then we can have the two mixtures going at the same time. It takes a more white now and start this light and mixture in that first mixture. Haven't made it too dark. You can always deep in it as you go, but it's best really not to go too deep at the beginning, and I got to keep this one fairly light. Second mixture. Now here we go, Starting on the left hand side just over the top of these trees. You can use the base, and I just had cut into the top of those tree shapes there. Don't worry too much about it because you don't reshape and remodel the trees as you re established the darks. It's just a matter of getting getting the sky color on. Of course, it's going to be deeper at the top. We want to create a gradation from deeper blue at the top, going lighter as we go to the horizon over the top of that distant hill to make sure you have a good quantity of paint. If you're not used to using a knife, of course, you probably won't put enough mixture out to start with the new have to keep topping of your paint. So you do. You will be using quite a bit of paint in this sort of technique. So here, using the lighter color and mixing it with the 1st 1st mixture, mix the two together now just in the center, making sure that as we go to order the horizon over this distant hill, the mixture is lighter. If you paint over the top of your hill. Don't worry too much, because again you're going to remodel and reshape the top of the hill aside. When you come to do that with a thicker paint, I'm just cutting into the trees on the right here into these shapes. The thing is, with your knife, don't press too hard, really. Just let the killer fall off the knife. And as you sort of blending there, don't don't rush to your heart. Just mixing a bit of the deeper tone. They're just opening up some of the windows or actual windows. What we're going to do is just not a minute portion of yellow. This is going to go on the horizon just above there. The hill, the whole side immediately above on. Violating this yellow would just give it a very, very light green tint and just helps to give that perspective of the distance. Now, bringing some of that just up into the center allow it to mix with the lighter blue. And now this guy is complete 21. 07 Distant Hills: starting with some white. Take it over to the left here, and you're going to use the ultra marine blue. Just a small amount of extra Marines flew to start the mixture. Now this distant hill, believed to keep it fairly light, don't have too much blue. Three it because we don't want We don't want it to darken the wise it and come forward into the picture. So spread the paint just fairly lightly on with the top of this hill. You don't want to solid line on the top of the hill. That would make this a slightly darker. So again, just let the point fall off the top of the knife there and just give the bit of shape to the top of that hill. You don't want to sell it straight line. I'm just cutting that into the trees on the right there. This early stage it looks fairly flat, but we're just going to put some highlights in it next, and I'll show you what we'll do with some trees 22. 08 Hills Highlights: I'm now going to put some highlights on that hillside. Said that it took more white to this blue just to lighten it. And also a detective crimson to warm it up. This may look fairly fairly gray, but when you see it against the blue, it will look fairly warm. So this is to give the effect of sunlight on the hillside. We're starting on the right, just dragging the knife over to the left and again letting the color fall off. Now you don't want to put it all over the blue. This is just areas where the sunlight is actually sitting on the hill aside, remember, don't cover up all the blue getting a touch of wide and just it small to to be alone. You can see the difference there already. That's a lie toe. It just brings it slightly more forward. Don't overdo it. Just here in there. Just give that nice bit of contrast that works well against the that the cool blue tone of the hillside 23. 09 Hill Tree Shapes: Now I'm going to have a victim or ultra marine blue to the the darker mixture there because no. Two put some tree shapes back into the hillside. So just with the tip of the knife, just damp them on. And if you do, a few random marks can give the appearance that there are a few clumps of trees just on that hillside just dotted around on putting these back on top of that warmer tone where the sunlight is again. It just breaks that up, but can suggest that there are groups of trees dotted around that whole hillside. We're going to bring some more shadow color back into it there. That's all you need to do. 24. 10 Darks Midground Trees: I'm now going to establish the darks in the mid grounds. I'm using some of that last mixture. Having touch of white, some water marine blue. It'll be a darkish tone to establish the shadow part off those mid ground trees just going to add a touch of criminal, the warming up slightly cobalt blue? No, actually dark in that mixture by putting Mawr Ultra Marine into it. Let's just see how this goes. That's deep enough now is as a shadow tone to sweating that now not too thick. It was. Just be aware you don't need to put it on too thick at this stage because we're going to put mid tones on top of this. This is just the shadow path off the that group of trees and try and keep. The top edge is fairly soft. No sharp edges with the knife. If you get any sharper, just just try and soften them off a little bit. It's quite easy to suggest the tops of trees and bushes just with the knife 25. 11 Darks Tree Tops Right: moving on now to the treetops on the right. Adding cobalt blue Mark J. Marine Detective Crimson too deep in the town touching, crooning in this a woman to be even more starting in the top right here again, Don't press too hard. Almost great the killer on. Because by doing that you can leave some of the original block in tone showing through you See how the colors fairly broken there. You don't want to smooth the town, so leave the Culebra Ocean it like. Is it far more character? More Coble blue. Then, as you go, shape the edges. Just soften those edges as you re shape and define those areas of foolish, always scraping the color on. 26. 12 Tree Tops continued: continuing with these trees on the right, putting a final shape to this area and then moving further down to the middle section onto the base by just scraping the killer on. You can see that it does really allow some of that undertone to show through and breaks Brexit the whole area, a bit of a sky. Colors just come in. They're just court on the edge of the night. She's production more cobalt blue just too deep in it, and you can see that I'm not over mixing this color so that, as I scrape the color on, some of some of the colors do break up a little bit. Prevented all from being flat smartwatch marine here, more cobalt, just allowing that sky color just to break through as well. Conceit at this point how that distant who is really glowing now the warm the warm tones on that hillside really look as though sunlight catching them. That's it really well in the distance. I just added a touch of a lighter tone there just to mix the two. So that's not such a sudden break. More of a gradation there in the dark's 27. 13 Sunlight Red Dirt Track: Now I'm moving on to the right hand side of the palette here with some white Andi Cem yellow. I also want to add crimson to this now mixing up a warm color here, probably a pail pale orange, which I'm going to use to suggest sunlight on the red dirt traps starting in the distance. Now you can see why I have the palate divided down the center for me. This really works well, and you can see the warmer colors mixed on the right on keeping the cooler colors on the left. Just having a small crimson to that to make it a little bit deeper and some ultra marine blue. Now this will cool. As you can see instantly. It will cool the killer off rather than it being to vibrance. Or try this when starting right in the distance. Now this stage of the painting, it's really good to be able to get down some indication off where the sun lights falling because it's a really warm color and vibrant. And as you can see, it contrasts well with all the cool colors that they're already making it a bit strong, with some more yellow, more crimson and it will be stronger. Obviously, as we come forward, the killer is going to be deeper and also leaving some of the under painting at this stage showing through. 28. 14 Mid Tones Midground Trees: now moving on to mixing up the mid tones for those mid ground trees. Now into that previous dark mixture, I added some white and some yellow to give a pale green, adding some cobalt blue. So it's a really muted, a blue green as a foliage color that can now sit on top off the shadow color. There, in the mid ground, you don't obliterate all the blue leave the blue showing through. Now this is to suggest areas of sunlight that is falling on those those mid ground trees. So some larger as you can see some larger areas starting intestinal Crooms into this to war mythic. So there is some larger areas here on some smaller areas of foliage, so make sure it's all broken up, and they're not all the same white in a bit more yellow here to warm the mixture without over mixing it. You're gonna place that here further to the right, so you can see it's a little bit stronger already because we're coming forward without over mixing white to light it further crimson. His world has really made quite a difference. It's really warm that color up, laying some of that just over the top of that pale green 29. 15 Mid Tones Trees Right: no adding some white into that same mixture to mix of a deeper green war yellow. So it's going to be stronger. More cobalt. Now when you mix in your killer, don't be tempted to over mix. Have got almost two mixtures. Here's you can see Understand it a bit more cobalt blue to this Boston portion of that green. More yellow now to it. Pick without over mixing and a portion here slightly lighter. Andi, even warmer, starting in the top right hand corner. We are dealing with this. He's to scrape your canvas as you're putting the paint on. You should be able to hear the surface as you literally scrape the paint on because you don't want to put it on thick. This stage. You can see how the crimson is broke is broken through here because I haven't over mixed it . We just feel the aware, as you put the paint on, leaving some of that background shadow. Could the showing through make it slice? It's like the cool of this. About a portion with some cobalt blue. You can see the blue green at the top is quite different by doing this gives you quite a bit of variety, and you can see the effect with when you don't overmix your killer. It's rather good having two colors side by side, but they do work well together. That's all broken, and with the tip of the knife, you can suggest the edges of the leaves here, which works really well. 30. 16 Trees Right continued: now continuing more Coble Blue. So little touches With the tip of the knife, you can see those few marks fair, and they're even. Using the edge of the knife can suggest twigs and branches just softened. Give some character to the edge to suggest leaves. Bitsy foliage deepened the color and tone quite a bit by adding some more cobalt blue for the base of the this tree, and this is foliage that will be sitting behind the tree trunks. When we eventually put the tree drinks in, they were sitting in front, just warming this, warming it up. You can see the even some of the criminal there is breaking through. But just make sure again that you don't overmix, because when you have the broken killer, it really makes it far more interesting, then a color that's totally overmix. Look, a cobalt blue now really cool for the bottom part of this. It's the edges of this tree to using the tip of the knife there into the sky color. They're just dragging it out. That can suggest no Twix, bits of leaves and just spotted color right on the edge. There, it really breaks it up and gives it a little bit of character now, gone quite a bit more cobalt blue there, just on that edge. 31. 17 Darks Trees and Grass Bank: I really like using this combination off blues, the Cobalt ultra Marine with some of the crimson's. Well, I think it makes an extremely good, vibrant dark on. Remember this. Putting this on is Elise Shadow area off the tree that the darkest parts of the tree so that you can layer the lighter tones in the highlights. On top of this, more cobalt blue, really quite a deep tone, more crimson deep in the toned. - When mixing this shadow color, you want to ensure that the killer stays fairly vibrant rather than going dill rather than using something like black or a really dark gray. And so you haven't over mixed any of these colors, and you can see both the blues on some of the crimson actually breaking through. And that's what gives it its vibrancy At the same time. Whilst you're putting your color on, keep it fairly fairly thin. Don't put it on too thick because you can also allow some of that initial wash to show through in parts as well. That gives a bit of variety 32. 18 Grass Bank continued: I'm going to continue with the shadow color now on the grass bank on the left lightning, with some white and some ultra marine blue also going toe warm. This up now with some crimson on the whole color and tone is going to be lighter because even though this is the shadow, a shadow, color and tone, it's on the ground. The thing to remember with shadows that are on the ground, will be lighter than any shadows that are inside trees for Bush's, because the light is actually falling on top off any ground services. So I've lightened this tone on the wall. It up is, as you can see, quite a bit of crimson in there, so there's a distinction between really darks off the trees. Andi, this warmer, lighter shadow phone Bringing this over now on to the Red tractors to indicate some of the shadow that's falling across here. This gives a really good contrast against the warm, the warm tone that we have there. Whether sunlight is falling with this mixture, you can keep it, don't overmix it, adding some more blue and crimson here, and it makes it far more interesting when the killer is broken rather than totally over mixed. So don't be afraid to have your your colors a bit under mixed with a cobalt blue in there as well. Doing this, it all adds interest to the painting is well in the shapes, though the way you lay the color wrong with a knife could be broken doesn't have to all be uniform. 33. 19 Trees Left Mid Tones: Now we go to the mid tone. So starting with some cobalt blue, having some white on and some yellow, this is going to be fairly cool. Fairly cool color, as opposed to a warm green, more of a blue green to start with as it's still in the shadow part of the the trees on the left that's and white to lighten up a little bit and some cobalt blue because I don't want it to go to Green at this early stage, got to B'more towards a blue, really blue green to lay this on with the knife just in random areas, not obliterating all the shadow tone that you've got. This is just to add some interest in May, the lighter tones of this group a tree, remember, always just to let the color fall off the knife not too thick but almost against scraping it on top of the shadow killer. Introducing a little bit of the green on top of this on letting it mix in with that color as well 34. 20 Mid Tones continued: Now I'm going to make this green slightly warmer, having some yellow adding some white here to give a bit of variety and light in this green que no Sosin cobalt blue. So it's more of a blue, a light blue green rather than the warmer blue green Just sitting on top of this grass bank areas you can see that comes forward gives the impression of slightly coming forward because the green is lighter. So just some run patches. And even if it mixes with the some of the shadow color, don't worry about that is gonna make this stronger now Widmore yellow and a touch of crimson to warm it. So we get some good variety happening now, even if the color is actually mixed together as you are putting them onto the canvas. Don't worry about that, because again, it's all that's interest on the odd marks that you make with the knife can really add to the character of the whole thing. You don't want any of part of it to be uniform looking the same 35. 21 Highlights Trees Left: now onto the tree highlights so into that mixture, with some white and some yellow. You mean it's fairly a fairly bright green, but not too yellow to start with and not over. Mixed to this color is more towards still towards a blue green. Even though you can see it looks quite quite bright against the shadow. It's still more of a blue green because I'm going to later add some yellow to make it much of a warmer and more stronger green. Go slightly cooler, slightly more blue in this green, just adding some yellow as well at the same time to keep a variety of mixture a stronger green and go to add some white to this, to to go even lighter Here, begin adding more variety more yellow now so you can see how all the areas of shadow the original dark shadow is in that blue green mid tone that we started. That's all break and they're all breaking through and they really start to work together now. Adding the white on the yellow really is bringing this forward now that the top of this grass bank as we come further forward 36. 22 Highlights continued: go to handsome white to this mixture now to make more of the light agree, and it took two cobalt blue, keeping it more of a light blue green. And then I'm going to add yellow to it in a while to make it much stronger and slightly warmer. So working down now on top of this grass bank, much lighter, you could see how it's a really good contrast against the darks in the mid tones. Touch of yellow now, too, making more of a yellow green and the warm green tip to crimson because he held with crimson is just breaking through them, not over mixing it all. So that's just a zit just falls off the knife, but more white now in some yellow cobalt blue. So the contrasts quite a bit with the Mick tones and the deep shadow there. But I've got to bring this down onto this areas of grass patches just on top, without over doing it in the foreground. You can allow your color to be mawr broken up, so giving a variety of color as well the working backward and forward with some yellow crimson Andi white here. Now this is a much warmer color working on top, more variety, but a few patches Crimson just breaks through and mixes with the other color. 37. 23 Track Shadow and Highlights: going to reinstate some of the shadow on the track here, so adding some white war crimson. I don't want to make this too dark, but this is going to sit along. They that group of trees on the right, here in the mid the mid ground trees, just a little bit base going to strengthen the this color now for the sunlight on the red tracks with some white on touch a crimson just to make it slightly warmer just on the underside of the knife just right on the edge, starting in the distance, just barely touching. They're letting their paint just fall off the knife, pressing the knife and then just drag it out. I get it out slowly to the right, brings him over to the left, just with one movement of the knife yellow and some more crimson. Because the killer will get stronger. This sunlight effect will get stronger as we coming further forward between the shadows 38. 24 Grass Bank Highlights: and go to had a really strong highlight now to this bank on the left. So have used some of that color better mixed for the for the road for the sunlight and by adding some white to it to make it a much lighter tint, displacing it just on the edge of this bank. Here, it's a really good contrast to everything that surrounded number the variety with some crimson to make it slightly a slightly deeper tint. Andi, with attractive ultra Marine will cool it off just slightly. I'm gonna bring that further forward now. Just spots of color. No large areas, these smaller spots now placing on top off the shadow and some of the green. Okay, you're going quite deeper here. This was a cooler, cooler color, some good variety of tone. 39. 25 Track Highlights: Now we get to mix up a much stronger color for the dirt track. So putting some crimson into this color here and just lay it on top of this shadow, maybe maybe making us a little bit lighter. We're going to add some more yellow to this to strengthen this color up to go on the track here. Now laying this over the top off the shadow color, bring it out to the right. You can afford for the paint to be fairly thick now because this is the highlight and it's coming forward into the picture. And it also adds texture of the paint, slightly thicker as well, more right now to make it life is still having some crimson to make this color even stronger, because we're now working further into the foreground and just want to spread this out just here to the right, and then at some broken killer I just threw on this this grass area, just as the colors breaking through in small patches. The red dirt on this track is really vibrant, having some more crimson to make it even stronger. As we come forward, you could see how well this really warm color works against all those cool shadow tones in the cooler greens, a little bit of highlight, with white and touch of yellow in there just laying over the top. 40. 26 Tree Trunks Left: Finally we come to the tree trunks and branches. Now I've got a fairly neutral mixture here, which is a great purple made from ultra marine, crimson and some white. But I'm keeping it a fairly cool grey Go to use the left hand edge of the knife, just picking a small amount of paint and almost drawing this branch here on the left. Then just touching the canvas, You can see how easy it is to to create branches. I'm gonna handsome more white to go slightly lighter with this. But again, just using the funds have been the mixture using the edge of the knife Going to reinstate this A little bit lighter here on this tree trunk, putting some further up here just against the dark. See how well that works just in the dark areas. Against that shadow tone, don't be tempted to put them everywhere. You've got to be really selective where you put them. I'm going to use a little bit of a warmer a mixture of the warmer color there, but another trunk in here Okay, over to the right. Adding some white into this mixture here Touch of yellow. Using the left hand part of the left hand edge of the blade and just touching this highlight and almost drawing with the knife. You ever got a really strong highlight on the right hand side, a bit of variety of the this color, which is a few off touches here in there, not everywhere. That really works well against that dark tone on a few random highlights here against the greenery. 41. 27 Tree Trunks Right: over now to the trees on the right, putting some white into this mixture and having some ultra marine blue. Lighten that next year. I'm using this to establish the main treatment on a few branches in this group of trees in the right. Now drawing, actually drawing with the knife, bringing it down, not all the way down to the ground again, with the edge of the knife now going out to the right here. But another one, it will take a little bit of practice this, But if you just pick up the paint literally on the edge of the knife and you're allowing the paint just to actually come off the knife as you drag it over the canvas, you can get some pretty good lines on indications you can see how easy it is. And this is just the base color, of course, going to make it even warmer here and then finish off with some strong highlights. Afterwards, you conceive from this technique how you wouldn't You wouldn't put these on any earlier because you would have to paint around them. It's just a much easier technique to place these on top and far easier to make adjustments 42. 28 Highlights continued: now on to the final highlight mix, having some yellow and white into this for these trees on the right hand side, starting on the tree trunk. I'm not going all the way up the full length of this, but as you can see, just in this middle section, not taking it down to the ground this is to simulate sunlight that's breaking through from the right hand side, using the right hand edge of the blade underneath, Going to go out to the right here, put a branch highlight slight gap here, see how well that really stands out against the deep tone of the background. This is what really gives the painting some punch. Adding these really strong, vibrant highlights makes it really stand out to the up touches here and there towards the top, without without over doing it would be really careful. Restrain yourself that you don't start putting these highlights everywhere. The work particularly well against that dark shadow tone. We're almost there. Some final highlights just around the base of this tree. Now, with this warmer tone. But you've got to be careful now this very final stage that you don't overdo it. A few small random marks. And now you've got to decide when a picture is finished. But for me, that completes the picture. 43. Summary: By the time you see this last video, I hope you've had fun doing the color chart on you've really enjoyed doing this Bush walked landscape. But above all, you found it a lot easier to mix paint with your palette knife and get it on the canvas with more confidence. I want to thank you again for taking this course on. It would be really great to see the results of some of your paintings. And if you have a question, please post me a message on. I'll get back to you as soon as I can. Finally, if you've really enjoyed this whole painting experience with your palette knife and you feel that you've got value from it, I would really appreciate you posting a positive review until next time. Then keep your palette knife moving and just paint.