Acrylic Painting for Beginners: Beautiful Landscapes | Malcolm Dewey | Skillshare

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Acrylic Painting for Beginners: Beautiful Landscapes

teacher avatar Malcolm Dewey, Artist and Author

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to the Course


    • 2.

      What You Will Learn


    • 3.

      Pro Tips for Better Paintings


    • 4.

      Sunscape Part 1


    • 5.

      Sunscape Part 2


    • 6.

      Sunscape Part 3


    • 7.

      Sunscape Completion


    • 8.

      Under Oak Trees Introduction


    • 9.

      Under Oak Trees Part 1


    • 10.

      Under Oak Trees Part 2


    • 11.



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About This Class

Do you want to level up your acrylic painting skills?

Paint Beautiful landscapes in acrylics? Then this is the class for you.

This class is for artists who have completed my course Acrylics for Beginners. In this course we take those lessons and apply them to painting a beautiful landscape.

Although a knowledge of basic painting  concepts will help you, dedicated beginners will also learn much from watching this painting process.

You will learn:

  1. How to compose a painting from various references;
  2. Prepare a sketch and then apply the first wash of acrylic paint;
  3. How to create aerial perspective;
  4. How to develop shapes into an impression of a scene;
  5. How to finish a painting (when to stop painting)

Finally - why persistence is key to painting success.

Then try the painting for yourself and share it with the class.

I look forward to meeting you in the class.

Thank you


Meet Your Teacher

Teacher Profile Image

Malcolm Dewey

Artist and Author


Professional artist and author. I work in oils painting in a contemporary impressionist style. Mostly landscapes and figure studies. I have a number of painting courses both online and workshops for beginners through to intermediate artists. 

My publications include books on outdoor painting, how to paint loose and content marketing tips for creative people.

My goal is to help people start painting and encourage them with excellent lessons that they can use for years to come.

See full profile

Level: Intermediate

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1. Introduction to the Course: welcome. Do it and I'm gonna show you how to paint and acrylic landscape painting from start to finish. There are a lot of important lessons in this demonstration, and this course I go into a lot of detail in this demonstration to help you see specific steps and decisions that you need to make from start to finish. There are a lot of techniques that I'm going to be using in this acrylic painting as well that you can try it for yourself. Hard to start a painting during the first washers and building up the layers to get a rich and exciting landscape painting as your end result. Many acrylic painters, especially beginners I'm struggled to get past that flat sort of dull landscape painting, and that is because there are several techniques that are not being used to bring out the best in acrylic paints. So we're going to be looking at those specifically so if you want to see how to take your landscape painting to another level, even a professional level, you're going to pick up those lessons in this short course, So enjoying me. Markham Dewey. I'm a full time artist, a painting in oils, acrylics on watercolor and pastel. And I'm going to show you exactly how I tackle landscape painting from start to finish, so I hope to see you in the course. 2. What You Will Learn: Okay, welcome to this short course. There's a lot of information in this short course, and you may want to watch the demonstrations a few times just to make specific note off things like brushwork, paint application, the layers of paint being used on how to prepare your painting from Start and develop it through the middle stages and finish it off. I've got a a full course on acrylic painting for beginners. So if you haven't had look at that first, I recommend that you do that because I won't go into local detail in the basics and foundation skills off painting in this one, we kind of using all of that information. We've learned him acrylic painting for beginners, and we're gonna dive right him and complete a strong landscape painting one that you could , um, frame. And so professionally these skills and the results that you can achieve using this process is perfectly suitable for painting at a high level. So it's quite a powerful way to work, and it's been very successful for me in my art practice. Please try the painting out for your self and even with your own references, landscape references, but work on a similar composition and try out the process that I demonstrate and then make it your own 3. Pro Tips for Better Paintings: okay, Good. Before we actually start with the painting, there are a few things on. 12 Emphasize a bottles demonstration on I want you to look out for. You'll notice that our start off the painting with Avery loose wash almost like water color , and there's a good reason for that because that hopes to just ease into the painting. So before getting into thick layers, I am working out the composition, getting an idea off where I want warm and cool colors and lights and darks. So use the washing process, let it dry and then go over with the thicker paint. Another very important point that I want to make is acrylic paints can be quite difficult, although they perceived to be quite simple and anyone can use them. The biggest problem are faced with acrylic paints, especially student acrylics, is that they dry vory flat, that seem to settle down on the canvas or your paper, whatever you're painting on and just easing two uniformed flatness. And I used to find it disappointing, whereas with oil paint that thick, buttery texture, they keep shape. So if I have thick texture, it stays there. You can get some way effects with acrylics, you can add jewels to them and make them thickening. Pester. I sold him do that because it's just one extra thing to think about. And when I get started on the painting, I just get going. You have to think about layers, plenty off layers off acrylic print student parents not as heavy body as some of the professional acrylics, and I'm using good quality student acrylic CIA. So I have to be conscious off pulling up layers, especially in the light areas and in near the four grounds where I want more emphasis So you you'll see how a scoop up thick paint with a brush and even if it looks like a big blob of paint there and you have to balance it on, put it on your painting but right on, leave it alone and just let it pulled up in and as a dries. You can put another layer on top of that as well, and you'll see as the old draw. They do settle down, but you store get a thicker paint, you see texture, and you get a juicier looking painting, so that's very important. Layers, layers, layers in some parts of the painting I've put down 456 layers off paint on, Uh, I could even add it more for wanted. Another quick tip is accents. Most artists are thinking about highlights when I getting near to the end of the painting. That would have put lots of Bryant highlights. A few highlights the problem, obviously, but don't forget about dark accents. You'll see in the concluding stage off the painting on Putting Darks Burnt Sienna with a bit of ultra marine blue, and you get these little dark spots, especially in the shadow areas. Those dark accents are even more important than highlights. Leave me. They can transform flat and dull areas into something a bit more interesting. Don't overdo the highlights. You'll end up with something that looks too fussy, rather balance out with some good strong darks as well. Lost word assist even when you're painting is looking block something you didn't actually want. Um, don't abandon it straight away with the critics. You can put down the brush, let the painting draw, but come back to it that same day. So it's always, it seems, in the middle stages to look like the painting is just not going to come together. But if you persist, adding those few extra less adding those little um, let's ofhim pastor, the dark accents. Look at the painting. Stand back. Look at it. Is there something clearing Lee wrong with it? Are you getting aerial perspective? Is they good? Like dark contrast things like that and persist to get those things right And it can be a few brushstrokes mawr and certainly the painting just seems to come together and it can happen almost magically. So don't give up. Push on until you have done your best with it and then you leave it. And with that lost but of at five I think that start painting. 4. Sunscape Part 1: I think that this is the landscape. That is the reference on working from. I'm just adapting the composition from pictures like this. I want to get us broad panorama type landscape. I'm working on some primed matte board which are primed with two cuts off Jess. Oh, and just quickly drawing in with a plane. So the composition rolling hills. And I'm going to break these up with some tree shapes, as you saw in the reference, but very much just adapting what I'm seeing. I'm taking one of these trees. I'm gonna put it more or less In the rule of thirds area, some shudders working from the trees. I'm going to include a shadow in the foreground. Justus, The mass counterpoint to the sunny lance scope a few smaller trees as points of interest. Ondas, You can see sort of very loosely getting the landscape in as far as parents are concerned. I'm using Amsterdam acrylic paints. These are good quality student acrylic paints that you can use with confidence. Easy to paint on just straight out the tube range off color squad. Next states of range. I prefer a few more colors with the critic. Sen with oils. So we're ready to start some starting off with really a loose wash with the cruel excesses , almost like a watercolor wash. So diluted acrylic paint. And I'm just going to bring the wash in from top to bottom. The yellow because forming a more distant landscape color into more pinkish rids and the more stronger yellow colors will be in the foreground. I'm just lifting off with some tissue paper were once, um, lights very much like a water kind of technique. You conduce to do this with the critics, simply adding more water, and you get this nice, loose wash. It's almost a way of toning a canvas to prepare yourself for a more detailed block in to follow. So the stronger colors coming into the foreground orangey reds and I just got to rough that in with the number 10 um, short, flat brush, very useful brush. I'm bringing in a bit of ultra marine blue and getting the darks, the shapes where I want them. Also, some of these shadow patterns the light is coming from right to left, so keep that in mind when getting your shadows in, make sure they all read correctly smaller shapes into the background but still necessary to break up the landscape with these little dog elements. So pretty much done with the, um turning and the first wash, let that dry and then I'll start with the main block in stage. 5. Sunscape Part 2: Okay, let's get into the blocking in stage off this painting says, when I start putting in some of the thicker paint and then we're going to refining it later . So the first washes now try it. I'm starting from the top working down, although the sky is relatively plain in the reference, I went to put some interest in it. So be varying the values off the paint color dark and light overall, ending up with a light values sky but with some variety variety in paint thickness variety in thes the values off the blues. In a sense, I'm looking for something like a a sky with these clouds moving across that suggestion off wind, that sort of thing. So I'm not going to be trying to create pretty clouds or anything like that, but just a variety off lights and blue. What's that? Some of the yellow polka appearing in that I wanted sky color as well as it reflects up into the sky. Yeah, a bit off violet, created with a bit of magenta red and white to add dimension to the clouds that are there now getting into the hills in the distance using yellow CA and warrant on, and a touch of blue as well touched a scar blue in there to work the aerial perspective. I'm not bringing in some yellow lemon and scar blue with a bit of yellow co. And titanium white, adding in a little bit of magenta as well to get that sort of atmospheric gray. The thing with aerial perspective colors is that you needed cool them Dance of blue or in most cases, will do their job. And you've also got a light on the value, and white will help with that. But you don't want to add too much want and make it cold and chalky either. So there's atmospheric colors must still be colorful, although highly de saturated, so the mixing off these colors becomes important. But don't overdo the warrant that can create cold and chalky color so into the distant. How that's at some directs are not catching the distant planes, and they're mostly yellow joker and more watt into the sort of middle ground, bringing in more yellow so you'll see how that sense off depth is immediately being created . So layer that painting gently parallel to the canvas. Don't push it in and flatten it all away. I like to have some pinkish reads coming into the distance as well. Imagine some blue and magenta and some titanium white. Now was big brush number 10 bringing in a big, thick strokes off yellow ca and white. Don't be shy off layering thick acrylic paint. Acrylics actually need to be layered in, especially from middle ground to foreground. You got it. Bringing that texture. You have bring in quite a bit of that pink color, suggesting farmlands in the distance, for instance, a swell de saturated greens variety off landscape being suggested and just holding it up in layers Notice. Obviously, the shapes off the landscape and trees in the distance are much smaller than they're going to be in the foreground. Once again, this creates the illusion. Off depth, and also overlapping shapes create the illusion off depth as well. So in the middle ground the values become much darker. This little tree line off bushes and shrubs, helping to create scale, helping to break up the light yellow landscape as well. And it adds a lot more interest going further into the distance. Shapes get but smaller, and these spots off darker value against the lights. Create that critical counter change between light and dark. Always look out for those opportunities to bring that into your painting. So light and dark and warm and cool color always work together. One helping to set off against the other, but off a brilliant blue being mixed in to create the cool shaded side of these trees. Remember, shadows need to be cooler on, and you create a cool color by adding blue. Why can also help to cool down a color? But it also takes away the strength of a color. So use blue when you need to cool down a color, adding a few more points off interest, Breaking up some of the shapes into smaller shapes. A few things off highlights in the distance, looking for straight lines and just breaking them up. And now layering some really thick, juicy paint. What's off yellow? Medium, but of what? Breaking up some of those straight lines, not blending it away. Keeping that thick parent keeping the texture in place very, very important to bring in thick, juicy textures into the foreground. Just some more of that. A little bit more yellow little this white as we move closer to the foreground, holding the brush nice and parallel and just dropping in the paint. Just put it down. Leave it alone. Straight lines one lands against the other. Put in a little marks to break up the straight lines, and you create a more interesting shape. You're just a painting enough to bring in some of those little finer shapes. All right, let's get into the focal area. Some of the darks. This is merely some ultra marine blue and a bit of burnt sienna. You can use ultramarine blue and some magenta as well to create the darks. Rich, transparent, dark. Keep the warrant. Paint aren't off the dock areas as well. Just the cool color in the shadows. So but of yellow polka and blue, creating a shadow color Kulim temperature working in the dark shapes. Just getting the first layer him off the ultra Marine. Be a nice shadow standing from this as well, So in the next part we will get into the full ground. But more 6. Sunscape Part 3: right now, it's time to develop the foreground off this painting, but an important part of this painting, and I've decided to put a strong shadow across the foreground. The soul help viewers sort of step into the painting. Also a foreground shadow crates an opportunity for an excellent counter change between the cool dark in the foreground and the strong light. As you can see, I'm bringing in more layers in the foreground light area. She's just behind the focal point off the tree as well, so that counters change is going to act as an important contrast and make the painting a lot more interesting. On bond. Take the viewer ride into the middle of the painting straightaway. I want to go to concentrate on the focal area, as I'm starting to do now, and by developing the light side off the tree and the tree really consists off a light side of a midpoint. And then the dark shadow side off the tree and the earth sufficient, ready to describe the tree back into the foreground on bringing in some of the scar blue and brilliant blue as well as ultra Marine into this foreground. So ultimately My idea is to create an interesting shadow pattern with lots off variety of shape, but trying to keep it more or less within a dark, cool band off color. You can also see how are very the things our work on from the foreground shudder back into the tree nine to the shadow off the tree area as well. I sold him focus on one area exclusively and carry on with that. Until it's done, are much preferred to move from one area to another as now into this foreground light, where I'm bringing in really thick and juicy light and sort of scum bling it by dragging the brush across the dry paint below it, creating broken color and now just moving in vertical movements to create sort of impressions off grass. So this variety off thickness of paint variety, off brush direction or very important use all of these techniques variety of brushwork, etcetera to create more interesting surfaces. So now back into the tree, following that theme off, kind of balancing the painting out of our work on the tree. Then I'll go back into the shadow area afterwards and then back to the tree again and so on this way I was has spread colors around and create a more unified painting that way. Same sort of colors of used in the main tree going into the second re focal areas back into the focal area developing the shutter, but more so I have to break up the stock line off shadow extending from the tree. What's a Bringing a few dark blues into the shadow area, suggesting ball mysterious areas within that shadow very loose. And so I'm just mixing up a sort of cool violet look out great appears on the pellet, but then bring it onto the painting itself and that mark changing value, really making it stand out. But this is simply another layer. Another facet off this shadow pattern. I went to the shut up pattern to be interesting. It's not just going to be a dark band off blue. And to make it interesting, especially with the critics, you've got to really bring in many layers. And the quick drying quality of acrylic make this a lot easier to do than with oils. With oil's is a bigger risk off, ending up with muddy color, some some light through the trees as well, just breaking up some of the docks. It's always a balancing act between having a color that's too flat, so as you can see, just brushing up in a vertical pattern of very light de saturated green, always trying to break up areas off flat color and create more interesting texture within it following the idea off layers off color. Now, with a bit of that scar blue and violet and now some of the doctor ultra marine blue. It's about also persisting. Think assistance with an area is very important. If it doesn't quart meat your expectations. You might just have to persist a bit to unify the area and make it more interesting. Now back into the lights, breaking up some of the colors around the tree. Bring enough use color holes and light holes in that tree. Also, the flat sort of straight lines along these dogs cutting in with the light yellow, making the shapes more interesting, more varied, more lead. The lad, portions thicker and war luscious were thick paint. Don't be shy off layering the paint. It's very difficult to ruin a painting by putting in layers off thick paint much easier to ruin a painting with too little paint, so that's sort of general rule in mind. Please go ahead and really les layering thick, buttery painting the light areas of your paintings Stand back often. Look at your painting. If you see an area that's looking a bit too flat and dull, can it be improved with a few? Cutting in off? Maybe a light or a dark doesn't always have to be. Highlights. Very often. Dark accents is a law that is needed to transform an area. Dark accents are very important. It's not just all highlights to think about some middle value greens into the trees. Mid value color is normal color that's receiving indirect sunlight. Not everything is just direct. Light and shadow amid value gives it structure to shape sa's well. So coming along. I think the foreground and middle and the distance is coming on nicely will soon be finished with this one 7. Sunscape Completion: this final stage, I'm refining shapes and adding points of interest, like of Daniel with some magenta paint and also the suggestion off branches in the trees and a tree trunk with some burnt sienna. Not too many details and then dark accents using some burn CNN. A little bit of blue are making these dogs accents, which are very effective in breaking up areas and creating some interest, just looking for places where color notes will be suitable. Little touches off red here and there to break up some greens, for instance, Yeah, where the lines are a little too stark and the edges a bit too hard in the middle distance . I'll go over those where there's too much of one color. I'll try and break that up with some color notes. That road that will add more interest, this sort of violet blue working very nicely with the yellows, suggestions off cross shapes, not too many that can quickly get out of hands. You just have to suggest a few, and it's enough for a launch landscape painting like this. Once again, it was that maybe a little too hard. I'll go over them and bring in a few color notes to break them up. You're a few little highlights, but overall surprisingly few highlights. I'll use them, perhaps to break up an area of flat or color, or maybe to attract the eye to a focal point. Just little touches like this. Maybe it's too much. Somebody might disagree, but you have to make those judgments yourself. You the artist, you go to stand back and look at your painting and think should break up that patch of colors over here. Perhaps maybe it just needs a little Ah, punch off color like this. Sort of de saturated pink, bring it into the foreground for but of overall harmony. The distant mountains, I think, could catch a bit of extra light and color. So very de saturated pinkish violet I was bringing that in with son might be touching the hills. Bring that color in year on there. Once again, creating some harmony very much on important part is to see where you need to bring back in some dogs. You could lose them during the middle stages of the painting, especially around the focal area. You might have to re establish some docks, so I've done that. You're But maybe you go a little too far. You need to just bring in so little value color again. So do that quickly. Andi. I think that's pretty much as much as I can do for the tree. How about some touches of warmth and, Ah ha right here and there on the clouds with the sun is catching them just that little zip off color. I think that's about it. Let's get some of the tape off. Must also sign the painting, but you can pretty much get an idea with this little bit of frame. Whether the painting has come off now, just sign it and we'll call it done. And overall, I'm happy with this painting. I really enjoyed it. A favorite subject of mine. I think there's plenty of interest look at and yet a simple composition that you can try it for yourself. 8. Under Oak Trees Introduction: Hello. In this demonstration, I'm going to be showing you one of the essential techniques that I use all the time. And it helps me to tame down an extremely complicated seem to give me a scene that is simplified, yet still powerful and interesting. Now this reference is quite a complicated scene. There's a ton of information. You could spend ages just painting one of the trees. What I want to focus on in this painting is the light. So that is all I'm concerned with. And by the end of the painting are need to know if this is a lat fold painting or is it one that has been overworked and is tired and really doesn't convey anything except that I've given everything equal attention, and therefore ended up with a flat and lifeless painting. So while that may all sound quite dire, the solution is really very easy to apply. And I'm going to emphasize that in this painting by starting off with big abstract flat shapes. And I'm going to take my time in developing those flat shapes. Now you must use this approach for any subject, whether it's a landscape or portrait, Ready, doesn't matter. Start off with the big mass, shapes, darks, lattes, middle values, and work from the end, develop the slopes smaller and smaller, to the point where your objective has been achieved. And like I said at the beginning, the objective is a lot full painting that strong, bold, interesting. So watch how I go through this process with this subject and then try it out for yourself. But if you follow the steps of shine and the basic concept, you'll be fine with any subject you choose. 9. Under Oak Trees Part 1: I'm starting off with just a pencil on some prime panel and sketching in the value composition. This really does help you get the idea of where to place the big shapes. This is not about making an accurate drawing at some basic composition, but more importantly, it's giving me to look at the seam before our start painting. Looking at the scene and actually seeing what is There is more important. Anything else? If you don't get that right? You're going to really struggle to get to grips with the painting. And it's so easy to get disheartened and lose track when you've got a lot of paint on there and it all looks wrong. Seeing where the big dark shapes are gonna go. And with the other major shapes are a few of these tree trunks or honestly important. And I'm just doing a little bit of a scribble there. We're going to start with some big dark shapes. Just now. I'm also not tied in to this drawing absolutely. To every last line because it is rough. And I don't want to feel like I'm coloring in pencil lines. I'm painting with shapes. This is just to get me to actually look at the scene properly at the start. Now for the palette that I'm going to be using, I'm just working with a set of Amsterdam acrylics. And mostly warm and cool of the primary colors, some burnt sienna, yellow, OK. And of course, titanium white. So what's the burnt sienna? And ultimately in our mix up the dark. And with the number eight long flat synthetic hair brush. These brushes are from thriller made by de la Ronnie. Simply get in and put down those big fat dark brush marks. I've got no interest in the details at this stage of the painting. And that's pretty much for the last 10%. Now you're just looking carefully at your subject. Using the garden. Some of your first sketch as a very loose God. Never stop looking at your subject in-between brushstrokes, You have to pause, you have to look, assess, decide, and then go ahead with the brush mark. I don't believe in just painting randomly. It's very easy when you're starting out and unsure of yourself to sort of head into autopilot. But as you start to master your craft and get to know your pants, This is the lightest lattes. And I'm simply using the lemon yellow and a little bit of white. Very less Hall, it's still quite transparent. And just putting in those lattice, lattice now, as I was saying, it's so easy to get into autopilot. But as you start to master your parents and your brush strokes and your subjects, you've got to be seeing the subject and observing things more closely. Not just the lots and dogs, but the middle values which we'll get into in a moment. So years pretty much the pattern where the extreme lattes are going to be working. And now preparing the middle values. And our work, this little arrow music but of scar blue, it's not my favorite color, but it does help to cool things down a little preferred ultimately into make the greens. What I'm aiming for is a cool green for the shadows. And when you look at it on the palate yet may look a little on the growth side. So I'm going to put a bit more color but more yellow, but my ultramarine, and it doesn't look like too much here. But now you put it down, you can see, okay, that's the shutter. And in sunny conditions, shadows or CPU, and there's a lot more blue light. So that means you'll use more blue pigment. There is somewhat in this at slightly opaque, but it's not over done with white paint either. It's just so important to limit the amount of white paint you use. Bringing in a bit more ultimate dream for that extreme dark you see in the middle of the road. I shouldn't say extreme dog in extreme chateaux. And that's a bit darker down the middle there. And are working over the edges with the middle value green. Kind of a transition. I don't want the edges in the tree is to be very hard. Otherwise, the impression of the leaves and softness of the trees will be lost. I don't have to paint the leaves are such that I have to suggest softer edges to get a sense of volume and the software quality of the leaves. Not once do I think of painting leaves and branches. Now when you stop painting the subject you realize it's, it is fairly complicated in the arrangement of lights and darks. So I do adjust the shape a bit. And this area and on the opposite side of the road, both sort of quite significant dark shapes. On the edges. You're more of a dark frame to the painting. So making these extreme dogs really strong. Giving riddle, perhaps with some of the white paint that is script in the know what painting, these extreme dogs. Okay, I'm going to mix up a color for the roadmap, for local color, selecting as yellow ochre Malika to cool that DOM because a lot of it's in shutter. So touch a Watsonville of ultramarine. And that gets the look of shadow. I could even put a little bit of magenta in layer looking at Ted on the growth side. But I'm gonna put that down the road. Actually has a cool gray smoke. But I'm going to add a bit of yellow ochre to just get the color leaning to occur. Catching sunlight there. So you can see bringing ambit of ochre over that cool gray gets us a more colorful shadow. Of course it'll look much more shutter like R&B lattes coming into the painting. Extreme lattes and on bulldoze up. But I've got to wait for that to get the foundations in place. But more ultramarine for that darker shadow in the middle. Okay, I'm going to bring a little bit of burnt sienna into the trees. On the left-hand side. There's some light coming through catching some of those tree trunks. But of opaque burnt sienna and also some more transparent burns CNF for the shadows. But it just takes that little bit, makes a difference. Now using ultra marine animal of orange on regain a warmer green. And that's sort of a transition between the extreme light green and the cool green and the orange and ultimately makes a really nice, deep, sort of warm green. But it's not a, it's not very warm. It's still leaning to the cool, compare to the bright yellows. But it adds a richness straightaway as sort of a real deep rich green that I call it the oak tree green. I guess for me, oak trees are about sunlight through the oak trees may be in your region of the world as a small rainy days or cloudy days. But down here, it's mostly sunny even through 1A. So we get scenes like this. And I love the sun coming through the leaves of the oak trees. Loosely following the warms and lots from the reference. At a certain stage, the painting has got its foundation secure and you pretty much are the impainting with only a little bit of influence from the reference, the reference becomes less important. From now on, light is vital. So you're bringing a bit more white into the color mix and getting us more opaque, orangey yellow. And that's just from adding a bit of white and a little bit of medium yellow. But using it sparingly at, it's gotta go next to the more transparent color to really have any effect. Stole using the brush. Modulating some of those shapes a bit. Getting slot colored temperature variety in those brats. But working at lightly, keeping it loose and throwing in a few sparkles of light amongst the dogs. 10. Under Oak Trees Part 2: We're now in a stage of the painting. I like to call the lots and Bryant's. That's when I start getting into the lattice effect and setting up the strong light effects that are 1D from the painting. Or working against the foundation of docs that we were established in the first part of the painting. So just a case of looking at the scene, judging where I went, the strong law artifact and starting to mix warm light colors. In here what I want is the latter distance, where there are details that aren't just fading away into the warm colors. Adding a bit more yellow, in this case some lemon yellow. And creating a sort of light fold, hazy distance light. And they will see carrying those lights into the edges of the tree. Breaking up some of the mass tropes, making them a little bit more interesting using a technique called cutting in. And some even doing you're just cutting into the sidewalk area but more as well. And cutting in is one of the key techniques that I use. As I said right at the start, we bolding up a painting using big, large mass shapes, big abstract shapes. And that gives you the opportunity to cut in later on with opaque color, reducing the size of some shapes and in other cases, simply altering the shape to look, correct? Yeah. Putting in some lights, sort of yellow ochres and Blackburn's here knows for that tree that's catching a lot of direct light. And the light sort of spilling over into the sand walk towards the road, putting on really thick parent Yeah. I'm not using any medium with the acrylic paint. In fact, you could are suppose to thicken up and creating pesto with your acrylic. But frequently I don't even think about it to be honest. Or rather to scoop up a big dollop of paint and layer down gently onto the canvas or panel. And that. Takes care of my impasto requirements. So don't get bogged down with fillers and things like you're just lot of paint on the brush. Layer down gently and try not to smoosh should all too flat. That is, probably the real problem is we over brushed the impasse time kilowatt. Yeah, just a little bit of lemon yellow with the ultramarine and somewhat getting a, a nice bright green and a few dabs and dashes in to those docs. If you create a nice color and you really like it, like this, green, for instance, I think, is quite attractive. I've repeated it elsewhere, pause Saddam and put it down elsewhere. And refining the SOPA, this tree a little and reestablishing some of those light, light on the shrubbery. And then cutting in with some dark green. You know, in nature, you may get a few perfect shapes euro there. But in general, the shapes in nature or not perfect, the lines are not straight. Things have developed organically. Now with a paint brush, you can quite easily put in shapes that end up looking to perfect or straight. I think over time I've trained myself to spot those shapes and immediately alter them and make them imperfect, make them slightly erratic, a little wonky. First, alter the shape and create a little cutting in year o there. And I also think in threes, if you put one shape down, rather, follow up and turn it into 33 is better than 23 is better than four. So asymmetry, odd numbers. Suggestion of a street sign in direct light. And you see by putting colors of a very similar value together, you automatically create a soft edge. Just trying to get a bit more emphasis in brightness. Color a little what? So bring in some warmth. Again, I'll definitely need to bring in a bit more yellow. And that's a little better. I really like this sort of buttery alerts and bit of yellow medium. And what? You could perhaps use a Yellow Deep. But you may need to add a bit more white to it so it's not too warm and comes forward too much. This is a warm color, but it's still got to be cool enough to go into the distance. Aerial perspective is what I'm trying to create as well. Now this part here or outside. And it's also being cooled down a bit. So it's extends away from the sunlit, grew green in the middle, creating a few sort of abstract shapes suggesting tree trunks cutting into the grassy colors. Now the road, I do want to come back into the road and mixing up really nice little violet, blue violet yet to suggest a drop away. And bringing that into the roadmap is cooling it down. I'll also creating more texture in the road, more direction lines. And repeating this blue violet which creates a harmony with the painting. And I think it also helps to set off the yellows in the trees. Of course, a compliment to yellow, any sort of violet. And almost every landscape benefits from getting some violet color in whether it's warm or cool. Alright, Tom, for a few details. Some streets, poles and some signs and things like that. Just a few verticals. Make them a little softer. And just a little bit of calligraphy are on there. Now I've got the rigor brush. Got to be careful because I can get carried away with that. I'm going to put in a figure. I think figure does not look good in a scene like this, makes it a little livelier. Some scales, some interest focal area, and also turns the painting into somewhat of a little bit of a story. Now some dark accents in the road. A few Doc X since a final, very useful, it's not just about how lattes, but a few of those little dark marks I think like this as well, sort of add little bit of mystery to the cool colors. And I think pretty much getting to the end of this now. And as I've just adapt a few shapes. Urine there, I think the message has been achieved. We got lat fold oak trees dabbled lots, some interests thrown in a few little marks. And overall, I'm quite pleased with 1000 versus turned out it was one of those paintings that just unfolded naturally, fairly quickly. And with one Rails objective was to just make a pleasing and delightful sense of Latin. I'm quite happy with how that's turned out. So I think I'll send this off. And you can try something similar with a reference of yours. Some pool big shapes and take it from there. 11. Conclusion: Well, thank you for joining me on this course, and I hope you've learned a few valuable tips and techniques that you can use in your own painting. Even if it seems but difficult to simply start and paint like this. Persistence is key. The importance off practice cannot be overstated. It's impossible, um, to achieve new standards, off painting or in fact, any skill without practice. Practice practice. So that's one thing I can do for you. You're gonna have to do that for yourself, but use the skills but showing in these paintings, and I'm confident that you're going Teoh quickly see a change in your painting. If you've been struggling with and skin painting in general, or trying to get to grips with the critics and make them into something special, you'll find that you can do that with the methods and process described you. So good luck with your painting and feel free to share the results with me as well. I'll be happy to give a comment if you ask for one. Okay, so happy painting on. We'll see you in another lesson soon