Acrylic Painting - Inspired by Nature . .. Landscapes | Linda Vine | Skillshare
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Acrylic Painting - Inspired by Nature . .. Landscapes

teacher avatar Linda Vine, Fine Artist - Linda Vine Art

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.

      Intro

      1:49

    • 2.

      The Project

      1:23

    • 3.

      Materials

      6:04

    • 4.

      Choosing your surface

      3:21

    • 5.

      Preparing your surface

      2:21

    • 6.

      Tonal Ground

      5:16

    • 7.

      Mediums & paints

      8:01

    • 8.

      Mark Making

      12:56

    • 9.

      Palette knife and Brushes

      4:59

    • 10.

      Colour Mixing

      12:45

    • 11.

      Clouds

      6:12

    • 12.

      Trees

      11:47

    • 13.

      Blocking in

      16:32

    • 14.

      Blocking in Dark Green

      6:53

    • 15.

      Mid greens and Clouds

      15:08

    • 16.

      Adding Bright Green & Poppies

      11:48

    • 17.

      Assessing your Painting

      15:24

    • 18.

      Fixings

      8:38

    • 19.

      Varnishing

      5:19

    • 20.

      Final Thoughts

      0:52

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About This Class

In this class I will show you in simple steps how to use acrylic paints and how to create a loose impressionistic landscape painting from scratch. You will learn:

  • What type of surface you can use
  • The materials you need
  • How to prepare your surface
  • How to tone your surface
  • Mediums you can use and types of acrylic paint
  • Mark Making
  • How to use a palette knife & brushes
  • How to colour mix
  • How to approach a landscape painting
  • Varnishing your painting etc etc

Even if you have never painted before you will learn how to create a loose, impressionistic landscape painting.

The class is suitable for absolute beginners and for intermediate students who want to try different techniques. As you gain confidence you will be amazed at what you can achieve with some time and patience.

I will also show you how to assess your painting at the end and then when you are happy how to  make it ready to hang on your wall.

I will also provide a couple of reference photos to download and keep to help you get started.

 I also have a class on how to paint a seascape which you can find here. https://skl.sh/3dbCSdN

If you would like to visit my website you can do so here: www.lindavineart.co.uk

Follow me on Instagram : https://www.instagram.com/lindavineart/

Facebook:  https://www.facebook.com/LindaVineArt

 

 

Meet Your Teacher

Teacher Profile Image

Linda Vine

Fine Artist - Linda Vine Art

Teacher


Hello, I'm Linda.

After Art college my career began to take shape within the carpet industry in Durham, where I created exclusive designs for hotels, ships, leisure facilities and private individuals.

A few years later I relocated to Yorkshire to join the studio of a large greetings card company, latterly Hallmark UK. Here I created artwork for cards, wrap and stationery products for major retailers such as John Lewis, Sainsbury’s, Marks & Spencer and WH Smith. I then went freelance eventually starting my own greetings card company.

During this time I discovered my passion for painting landscapes and seascapes and now enjoy creating on a far larger scale. I have an impressionistic style and my paintings often described as having a sense of peace and tranqu... See full profile

Level: Beginner

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Transcripts

1. Intro: Hi, my name is Linda Vine and I'm an artist living on the south coast of England. I have a background in design and illustration. First of all, in the carpet industry designing patterns of carpets. I then went into color separation for textiles, then into the greetings card industry where I stayed for many years. Before going freelance. I've seen many of my illustrations print for different companies. But in 2014, I really felt like I found my passion, which was creating landscape and seascape paintings. I hope by doing this class, U2 will feel really inspired to go out into the landscape and find your own sense of wonder. I portray that on your own campus. I'm gonna go through it step-by-step. So it's easy to understand from choosing a surface to you how to prepare that surface. The brushes that you'll need, the types of paints you'll need, and what to look out for in acrylic paint. I'm going to go through basic color mixing. And I'm also going to show you to finish off your painting by varnishing it, appointing the fixings on the back. I really want you to relax and enjoy this class knowing that I'm going to go through it step-by-step. So get yourself a nice cup of tea, and let's get started. Are you ready? 2. The Project: For the project, I'm going to show you how to paint a loose, impressionistic style landscape. When I was out and about last year, I came across the most beautiful poppy field. So that's why I'm using for my reference for this project. But it poppies aren't your thing, that's fine. Go out into a landscape near you got really inspires you because that'll help so much when you're painting it. If you actually love the subject matter. And then it goes through everything you need to know to start painting with acrylic paintings, even if you've never used them before. Now the goal of this class is not necessarily to have a picture that you want to hang on your wall. Give you the tools to paint a loose impressionistic style painting. I don't want you to get worried about what you upload, what people will think is to help you to experiment in mark-making, in how you paint and how you use a palette knife. I would say that the process is far more important. I hope you enjoy this project. I'd love to see what you've come up with, so please upload it and I'll take a look. And also, I'd really encourage you to say something positive to your fellow students because that'll make all the difference. So enjoy the class and giant painting. In the next section. 3. Materials: In this section we're talking about materials. Don't worry if you don't want to go out and buy two blues, two reds, two yellows. If you've got a yellow, blue and red, and a black and white, you're good to go really, but it's just you might want to add those other colors that will help in your paintings at a later stage, also just use student grade acrylics as long as they're not the cheapest of the cheap, that will put you off before you start. That's fine. With the brushes. You don't need to be the exact size that I'm sharing here. But I'd encourage you to use as bigger brushes as you can for your painting within reason. Because a lot of people, when they start out with painting, these are tiny brushes and they get all caught up in the detail. I usually just wanted to feel a bit freer, particularly with the impressionistic painting. I would just be careful that you don't get brushes where the hairs just drop out all the time into your painting because that is highly annoying. So let's get into the materials. So now we're gonna go through the materials you need for this class. First, you'll need a pot of jet. So this one's made by Golden, but you can also get them by Winsor and Newton Galleria. Jackson's art was other brands that you can use. So maybe don't go for the cheapest of the cheap, but just the middle of the road. Jesu, a selection of acrylics. Now there's all different brands or different price points are different qualities of acrylics. And I just wanted to talk about that for a few minutes. Now as a beginner, something like system three acrylic is absolutely fine. A student grade acrylic or something like Winsor and Newton Galleria are also a good brand. This one is a professional brand, golden acrylics. Now it has a higher ratio of pigment in it, and so you'll get less color shift with these ones. But it's not necessary if you just beginning out in acrylic painting. This one is cadmium yellow light. A cadmium yellow hue. Cadmium red medium process, magenta, ultramarine process ion, titanium white, and Mars Black. Now this one is a golden Open Acrylic. These ones are more slow drying, which you might find useful when you're doing a sky in clouds to blend it in. But you can also get mediums to add to your normal acrylic paints that will make them more slow drying. We'll also need a pencil, something like two or three dB. You'll need a palette knife. A two inch flat brush. This one's by lung, nickel. You can get sets of three of these from places like Hobby craft or maybe your local craft store. And might not be exactly the same brand, but it's just a flat two inch brush. Smaller brush. This is a size ten, but it doesn't have to be a size ten. It could be something slightly larger or slightly smaller. This is a square ended brush. This is a filbert brush. You'll see it's got a rounded end. And that's just personal preference really, as you practice, you'll see what you prefer. This is a smallest square into a brush. Or if you prefer a little bit, use a filbert. And here we have a small rounded brush that's just for very fine detail if you want finer detail in the painting. Also a little water Spitzer, it's very useful. You want a large pot of water. This is a paint cattle for mixing paint in that you just get from your DIY store and a smaller jar. Now, when we're painting, I need changing from one color to another and using a different brush. Just keep your brushes in the water. Because if you don't, they'll go rock hard. Always keep your brushes in the water when you've been using them until you're ready to go and wash them properly. So this is to take most of the paint off and this is to take the remainder of the paint off before you go on to a different color. Another thing that's very useful, our baby wipes, I'm a very messy painter. Paint can go everywhere, so they're quite good for just mopping a little bit of paint off the floor or yourself. Some kitchen roll. That's very useful just for maybe wiping a bit of excess paint off your brush if you want to do certain effects. Now for palate, you can either use something like this, just a plastic palette, round plate, or a paper plate. You can also get things like these tear of pallets, which are very useful. You just lay the colors out you want, you can mix on there as well. And then when you've finished, you just can tear off and throw it in the bin. So they're very handy. If you want to be a little bit more environmentally friendly, you can get a glass palette. Now they do sell glass palettes for artists, but they tend to be a little bit more pricey than something like this, which is a surface protector. I can see that the edges a smooth, you won't get cut or anything. And it's got rounded corners and it's very heavy-duty and won't shatter. Now, I would stay clear of using glass from a frame or something because obviously that will shatter easily and it will have sharp edges and corners. Make sure it's something safe for you to use. Also, that's something that's very useful, is a color wheel. I'll explain more about that in color mixing later. You can download something like this from the internet. And that's all you're going to need for this class. 4. Choosing your surface: In this section we're gonna talk about surfaces. Now you can paint with acrylic paint on so many different surfaces, but there are a few that I would say the most popular. Just encourage you to try different surfaces because there are some that lend themselves more to certain paintings and two others. And you know, you might prefer to use a smooth surface or a textured surface. And that's all personal preference. So just have a go and see what you prefer. First of all, you can use watercolor paper. This is a 300 grams, so it's quite heavy duty and this one's from hobby craft, has got a slight texture to it. It's very useful for things like just practicing or doing small paintings. You shouldn't need to stretch it if it's a really thick watercolor paper. But if you need to, There's plenty of tutorials on stretching paper on the Internet. The other thing you can use is acrylic paper. Now this one's from WH Smith's, but again, you can get them all different places, art stores, craft stores online. And this has a very fine texture to it as well. So another good option just for practicing on. You can also get Canvas bolts, which are very popular. You can get these from places like the range hobby craft online or wherever you live, you'll be able to get them from your local craft store, probably. This one's Winsor and Newton and it's 14 inches by ten inches. Now is pre primed. But as with all the campuses, I always add another layer of primer. So that's a good option. You can get it. You can get square ones, rectangular ones, very, very small ones, enlarge cameras boards. Now this is a deep edge stretched canvas. It's about four centimeters deep, and the canvas is stretched over a wooden frame and stapled on. So you might prefer this. I mean, it's got a nice little bit of given it, but you don't want too much good when you're buying stretched canvases, especially they have crossbars at the back that the larger canvases. Because when you're painting, if it keeps banging against the crossbar, you can imagine you get lines down your pain, your painting, and it's very annoying. So make sure it's nice and taut, but it got a slight give to it. So that's a square edge to Canvas. Or you can get standard canvases and this, these ones are about two centimeters deep. You can also get these and all sorts of shapes and sizes. What I would say is don't get the cheapest of the cheap but middle of the road sort of price bracket should be fine. Always check the corners to make sure they're not gathered. And just check it for dinner. And dense. Just have a look round it to make sure it's not torn anywhere. And you should be good to go. So choose what kind of surface you'd prefer or try a few different surfaces. And I'll show you how to prepare the surface in the next class. 5. Preparing your surface: In this section we're talking about preparing your surface. Now this can make a huge difference in how your surface feels when you paint onto it. Especially when you use the cheaper variety of Canvas or canvas board. So let's get into it. So most campuses or Canvas boards are pre primed. But you'll find when you're trying to paint with them, sometimes they've got slightly shiny surface and I don't know, the paint just doesn't go down very well. That's why I like to give them another coat of Jess. So I've got golden gesture here, but you can use other brands. There's things like Winsor and Newton gallery adjust so which is fine and plenty of other ones to choose from. A potter just so a two inch flat brush and just some water to your brush and I'm just going to wet the brush and take the excess water off and dip it in the Jess. So just give it a nice coating, not too thick, necessarily. Gonna go down. Get it into all the texture. Then I'm going to go across nice and smoothly. You can also use gesture to add texture to your paintings, which is another great way to add more interest into it. If you've got any little particles in there, just take it out with the corner of your brush. Make sure it's nice and smooth. No pooling anyway. When you're doing the stretch canvases, just make sure there's non dripping down the sides which there can be just scoop them up on the sides like that. Then I would suggest you put your brush straight in the water and go and wash it out as soon as she can. Meet this overnight to dry. So it's as simple as that. That's how you just so your canvas. 6. Tonal Ground : In this section we're talking about turning your ground. And this can be a very effective way of getting rid of those sort of grainy white bits of the canvas that can show through. If you look at some paintings, particularly if people are just starting out, it can get rid of that scary white canvas feel. And it can also create atmosphere and it can unify your painting. I do leave part showing through. Some great portraits are done on a gray tonal ground. I've seen people do their terminal ground fluorescent pink and it can look very effective. So just try different colors. Think about what atmosphere you want to create with your painting and have a go. We're now going to add a tonal ground to our Canvas. It can give a more professional look and get rid of that scary white canvas. Now you can use any color you want. Think about the overall effect that you want to achieve. A toned canvas can add atmosphere or drama. If you leave part showing through. Today, I'm going to use yellow ocher. You can also mix yellow ocher by mixing together yellow, a little bit of red, a tiny bit of blue. And then by you can add white to that as well if you, if you need to. I'm going to squeeze a good amount into a plastic tray. I'm also adding a touch of white and a bit of water. I'm going to mix it with my two inch brush. You don't want it too thick or thin, just the sort of creamy consistency. So that needs a little bit more water. So I'm just going to add a touch more water. You can also add flow medium, which actually helps it to glide on the Canvas easier as well. And saves on paint a little bit. So you can see that this sort of consistency, that it is just going to add another drop of water just to loosen it a bit more. I'm just going to paint really quickly across the canvas. It doesn't have to be perfect. You just try and cover up all the white. So I'm just going to paint really quickly right across the canvas. If my brush gets too dry, this out a little more water. Then just go across again just to smooth out a bit more. Most of this will be covered up, but you can have parts showing through as well. Being taken up a nice glow showing through maybe in the sky or something. I'm also just going along the sides and the corners. Just catch any drips and also yeah, just make sure you get in the little creases in the corner. Just check that all around and leave it to dry. If you really impatient, of course, you can use the hairdryer and that's how you do tonal. 7. Mediums & paints: So now I want to go through some different mediums that you can add to your acrylic paints. The first one is made by Liquitex, and it's called natural sand. Gives a medium grade sandy texture and it's non yellowing. Or you can put this straight on your canvas board or canvas just as it comes out the tub and leave it to dry. You can also make some of your acrylic paint with it. So that's the one that's mixed with pain. Obviously. You can also add it to your Canvas and just leave it to dry and then paint on top. Once it's dry. I'm not going to try some golden crackle paste. You can put it straight onto your canvas. The thin you spread it with the new cracks will be a thicker. You put it on, the thick of the cracks will be I'll just try to thin 1 first. You have to leave it to dry for a few days. And then you can paint over it. You can add a little bit of pigment at this stage, but not too much. We're now going to try some structured gel. You can get more of an impostor effect with your brush strokes and your palette knife marks will show up more. Some people really liked that thick paint effect. Just mix it in while you'll see how it becomes a lot firmer and stands up. Now this is matte medium and this increases flow and transparency. When mixed with your acrylic paint on it provides a matte finish. You can use this instead of water if you'd like to do that. It's also fluid retards. Now if you add this to your acrylic paints, they won't dry as quick and it'll give you more time to blend in your colors. This one is Liquitex and it's a heavy body acrylic. You can see the difference. This is great for giving interesting textures. Just moving it around with your palette knife. You can see the lovely textures that you can get. Or you could also do that with a dry brush. These ones are high flow by golden acrylics. Squeeze it back out, just goes on really smoothly and thinly. And also we have acrylic inks. I love using these. They're really vibrant. Now. I will just shake it gently because the pigment sometimes goes to the bottom. But if you shake it too hard, you're going to get loads of air bubbles in there. So just gently shake the bottle around. They can use the NPS to make marks. We can use a brush. You can see what an interesting effect that can give. You can squeeze the end bear little bit more if you want some more. This gives when, when water is added, you can have a lovely watercolor effect with this. There's lots of scope, lots of textures. You can do lots of different ways of painting, known as the right way. So these are just the different consistencies of acrylics you can buy. I hope that's been helpful. We'll come back to the crackle paste a bit later when it's dried. Okay, so now we've come back to the golden crackle paste, and I've put it on quite thinly on this board and left it for a few days. And then I put it on thicker and left it for a few days again. Now you can see with a thicker you put it on, the larger the cracks are and the more obviously effect. So it depends what you're after really. Now I'm going to try just putting some quite thin. Then down acrylic paint. You can either add water or add a medium, just a gel medium. Let's try this one. I'm also going to try it when you rub it off as well. A little bit. Just stays in the cracks. Just gives a sort of washy effect. That's quite nice. I guess you could paint over it and gold actually wash that off and you get lovely gold cracks as well. So that is quite a nice effect really. You could use that in landscapes or anything else. Now let's just try the thinner one. You can also mix your paint with the crackle paste before it dries. But I think the more pigment you add, the less crackly it goes. So you just want a tiny bit of pigment added in paint antigen. So it's quite a nice effect. To try out. There. We have it golden crackled paste. 8. Mark Making: In this section I'm going to talk about how just use palette knives and brushes for your painting. But if you want to add more interest in certain types of paintings, I just wanted to go through a few ways that I've done it. Now. Just encourage you to write this kitchen cupboards. If you have a garage, the toolkit, anywhere where you can find something that will make a good mark. Maybe the recycling bin, all sorts of packaging has really interesting textures. So go out there, have a good search around. Let's get into it. Now. I'm going to just go through some tools and things from around the house and around the studio that I've found that I can make marks with. I've just painted half of this piece of paper just to show you different effects on an already painted piece. So say we want to do a texture with the scrambled up the piece of paper. I've added that orange. If I go in with a lighter color. Just add a bit more too. If it's Tuesday. You could, you could do use this in a foreground or something. Just ignore the color of the foreground. Something. You could use this as a texture. Just looks more interesting than maybe just painting it with a paintbrush. Just adds more interest. Rarely. You can also use bubble wrap and things maybe don't make it look too obvious that it's bubble wrap. So you could do some with bubble wrap and then maybe paint over parts of it. I know a lot of people use this type of thing, abstract painting. That's not obviously bubble wrap, but it gives a texture. Maybe merge a bit in. And you can obviously scrape into paint when it's wet, which I really liked doing, especially for grasses and things at the foreground. You can also get these catalysts, wedges. So I can add a different effect. This is just, I don't know what this is, to be honest, but it's got a little texture in it. I'm just going to darken my paint a little bit so you can see what I'm doing. Brighten it up. A nice pink. I like that one. That's a lovely texture. Don't ask me where I got it because I can't tell you. Can use things like sponges, rollers. Is it a tape I've got with the texture on one side and it's like policy on the other hand, the DIY store, not sure what it's called, but you could get something similar. I'm sure. This was just some packaging. It's another interesting texture. You might get paint more watery. Draw with sticks and things. That's far more interesting. Maybe then a paintbrush mark on certain landscapes. One of these tools, I did go into the garage, but I thought my husband might not appreciate me using all these tools for a paint demonstration. Fork. Perhaps. Get these little spongy things have not used. This actually before. Was quite nice on the pink actually. You see how that looks on top of that. Sponge to pink. It gives a nice effect. Credit cards, point, points cards. Maybe you doing a boat and you need to get a straight line in there. That can look more natural than just trying to draw a straight line with the brush. Can use a bit of tissue. Kitchen roll to give subtle effects. Let's just go on to page a minute. I'll just try that one on. As I've shown you before, you can use these acrylic inks. Can also use them like this. Please wear an apron. See what else I've got here. This is just an old dry brush. I haven't got a toothbrush, two hands, but you could use something like this. I'm sure those two techniques would look good on a seascape. Just put some paint on here. That's wet on wet, but just scratching along. You can also do nice drip effects, which are really popular actually in abstract paintings. I saved, we get maybe some paint here. You can tell them a very messy painter can just do that. I'm like It's a lovely effect going down the painting, not necessarily through the green, but you get the idea. I'm back to my other one. Well, that one's drying. This is a graphite pencil. You can obviously draw into the landscape. Different pencils, oil pastels, anything really normal pastels. You can also cover things with different mediums so that they don't smudge and things like that before you varnish them. What else have we got here? This is another, instead of maybe a catalyst wedge, you can use something like this, a spreader. Please excuse shy those little pull, pull sounds coming into the studio. She's wanting some attention. Well, things like this. She wants to be in the video. Think all the filming is getting too ahead. I don't think I've ever used this brush. It's like a soft It's like a blush of brush. Though we have different tools, techniques that you can use. I often think it adds a lot more interests when you use things like pencils on top of acrylic or a different consistency of acrylic on top as well. That looks nice. You see a lot of things just come about when you experiment. I wasn't, hadn't really done that before, but that looks really nice. Effects that you try you won't like. But it's all part of the experimentation, isn't it? This is an old tin-pot, not just found in the garage. I didn't buy it. I think it's my my husband's from a plant store but he did. I can always wash it off, so don't worry. There we go. Textures and mark making with acrylic paints and inks. So get your paints out, go searching for some tools and just have a bad enjoy yourself. 9. Palette knife and Brushes: In this section, we're gonna go through how to use a palette knife or the different kinds of brushes that you can use a new painting. And also the amount of water that you should add to your paint to make different effects. Quite often in my paintings I use a dry brush effect. So I take the excess water off with a kitchen towel and then it gives a nice texture on the edges and it softens things like clouds or hills and things like that. So it's a very useful technique. So again, just experiment with a palette knife and with your different brushes and see which affects you like. Let's just have a look at the palette knife and different brushes that you can use. Some people do the whole painting with a palette knife. But you can just do part of it obviously. It could you use a thin wash on the background and then do this on top? And that would look quite nice in a foreground. Can use it as I'll be doing later. Just for little flowers that you don't want it to look really realistic. We just wanted to give an impression of them. Any part of the palette knife. Then obviously scratching into it as well. You can use brushes, dry, can use a lot smaller square ended brushes obviously, to get different thicknesses. Can use brushes that you have wrecked in the past. Hopefully not too many. Can use round brushes. And depending on how heavily press down, get thicker or thinner line. Can you use been brushes. You can also use filbert brushes, the ones that are rounded at the end. I don't think I've ever used this brush. It's like a soft It's like a blush brush. So that we have different brush marks, palette knife marks, different size brushes, and just have a go. 10. Colour Mixing: In this section we're gonna talk about color mixing. You only really need a few tubes of color to make hundreds and hundreds of beautiful colors. It just takes a little bit of time and experimentation. In this section, I'm going to give you a few tips to create some lovely natural greens. You can also check out my class on cityscapes, and I'd go into color mixing a little bit further. I'll also upload some more information on color mixing, just so you can have a read of that and study it further to get yourself a nice cup of coffee or drink of your choice. And let's get into this section. We're going to start off trying out our color mixing by having a dollop of ultramarine here and your cadmium yellow light here. So if you take your palette knife, take a decent blob of yellow. Just put it next to it, then add a little bit blue. So there we can see we have quite a sort of acid, the green. Now just lift some of that off. A bit more blue. Left a bit of that off. And add another bit of blue. You can go on and on with this. Adding small amounts are larger amounts and get all kinds of different shades. So once you get the hang of color mixing, it's really handy and you don't have to keep buying new colors of acrylic paint, but you can mix your own. Let's just leave it at that for demonstration purposes. I'm just going to wipe that off my palette. Knife. You just tip your brush in water. Just take her square and did brush like this. I'm going to paint it out on here and write down what the colors are. And this is a really good reference point. You know, when you deciding what kind of green you want for a painting, you just go back to this book and you can see what shade, how to make certain shapes. This is just a sketch book. It's a 150 grams. So this is fine. First of all, I'm just going to paint a little square of the ultramarine. Wash out your brush on the yellow at this end. Now you might want to do more shades and I've done, I've just done a few today. But it's good to see all the different shades you can get to take the excess off if you need to in the other jar of water. So I'm just going to write on here what these are. You may also want to see different shades of that, so you can add some white. It's quite good to get a large tube of white because you go through a lot, lots of system three tub of white paint. So I'm just going to add some white to these. Again, you could go on and on, but add a bit more white. Outside of that, I'm going to put, I also want to show you that if you're green is too bright and acidic, you can tell it down with the opposite color on the color wheel. Rotate the color wheel and have a look on here. Green. The opposite color to green is red. And that's a really good thing to know with any color mixing. If you put a tiny bit of the opposite color in, it will dull down the color and give you some really nice colors. So let's try that. I'm taking some cadmium red. You don't need to touch because obviously that's a very strong color. Probably put a little bit much in there actually. You can see what I mean. You got it takes the acidity out of the green, gives you a lot nicer shade, rarely would, depending on what you like. A little bit more white. So look at the difference there. All of the green. A touch more white in there. So you can see the variety that you can get. I want to show you another way of mixing green, which you might be surprised at all. You might not be. You take a yellow, a black. Let's take a touch of black. I can see now it looks green. Lovely, olive green block here. So there's a lovely, lovely shades of green. Then again, you can add some white. As you can see. It's never-ending. Go on and on and on. It's kinda mixing. I'll do one more shade of that one. I'll just add another one of those as well. I'll make that slightly duller. Some white and get some lovely neutral colors. So in some ways they look a lot more natural. I really liked those with black and yellow mixed together. And obviously you can do a lot more shades in between is to give you a quick demonstration. So try out color mixing and mixing the other yellow with the cyan. And obviously you can mix it with cadmium yellow light. There's never-ending possibilities. But the main points I want to make our, There's so many different shades of green. If you'd prefer a more, a brighter, more vivid green, then you'll go for certain colors. If you prefer a more neutral natural green, then you'll tend to go to the other. So it's a matter of knowing what you like and recognizing what you like in a painting. There you go. Have a go at color mixing and just enjoy yourself. I'm just going to continue writing on here what I put. 11. Clouds: Okay, I just painted in this sky and I just want to show you a couple of things you can do with clouds. So I'm just going to dampen my brush, take the excess off, go into the white paint and just get it all over my brush just by turning it over. Then just gonna go in straight away. It's not really, really way you don't want it just pooling all over the place. So I'm just gonna do a general shape. Little bit more paint. Also, any doings guys, although I haven't done that on this one, just take notice about the background. Is it sort of darker blue at the top? What color is it near the horizon? Just have a little study of your photograph or your scene first of all, and take note of these kind of things. When I dry brush that you can see it makes the Cloud Edge really lovely. And so that's a really nice effect as a kind of dreamy look about it. Like clouds or three days, there's gonna be lots of different shades and they're usually go in with thicker paint. Just to accentuate certain parts of the Cloud. You might have a nice yellow ocher coming through the sky. Or you could do a glaze, which is a thin layer of paint over the whole sky to give it a nice glow. There's all sorts of different techniques you can learn as you go along with acrylics. Now I'm just going to different brush. I'm gonna go in with a bit of a shadow. So I'm going to take a bit of ultramarine brushes. I'm just going to try this brush out of it. Then I'm going to add a little bit of yellow. I could find my palette knife, I'd use that icon, so it's going to add a little bit yellow. Don't do this at home. You said those off a bit and then a bit if read, you've got a nice shadow color. You can also combine techniques. I've done a wet, wet on wet, and also the dry brush around the edge and then that's still wet. I'm going in with this now. No hard and fast rules. You can make up your own rules. I'm sure there's hundreds of ways people do clouds and none of them is right. Do you know everybody has had to have a go and see what suits them. I'm going to just blend that in a little bit. Some more contemporary paintings, they might want to not blended in, but just more obvious than it might just go in with a palette knife or something. I'm gonna go even darker. Because I say, you use your palette knife. It's just because it's disappeared for the moment. So I'm using the brush. But obviously like colors going into all my different paint colors now, which is not a good example. I know. Now this is even darker. It all depends how hard you press your brush down as to what effect you get. So just be aware of what you're doing with your brush that you're pressing down hard or very lightly. And just take note of the different effects. I'll give you. Really smooth effect. Little bit start with the nail. That is one example of a cloud. You gave me. 12. Trees: Not just going to show you a couple of ways and come to a tree, although there are numerous ways that you could do it. First of all, I'm just going to mix a very dark green. I'm just mixing a black and yellow together. Extremely dark. There was some paints, it will dry a little bit darker as well with a student grade acrylic. Just going to dip my brush in the water. I'm just going to go for the general shape of a tree. Sycamore tree. You can leave some little gaps coming through because when you're actually doing your painting, you will have a background color in there. But I'm just doing this to show you different techniques. So you could do that with a little bit of a background coming through, whether it'd be the sky or the sort of yellow ocher color. You can go straight on to that. If I mix a little bit more yellow, I can just do wet on wet. Just going to go a few shades that that's not really lighten it. Why? In a bit more, you let the knees are slightly smaller. Brush can use it on its side or you might have a squaring did brush. This one is a filbert brush. I'm just doing this sort of mid tones. You might have to play around with your color of it. Because obviously it needs to be some difference. Then I'm going to go even lighter. You can use any bit of the brush you want because you just want it to be loose looking. As you're going through a very realistic love which is completely different wave plate. And then I'm going to add a little white. Just highlight a few areas. When you have it. That's the loose impressionistic style tree. And then if the other one, I'm going to add dark color first and then I'm going to let it dry. And then I'll show you a different technique. So say I'm sometimes pushing harder on the brush and sometimes I'm hardly pushing down at all, just depending on how much paint I want to put on the canvas. So I'm going to leave that one to dry and come back to it. Remember to just put your brushes in the water evaluating. Now I'm going to try the dry brush effect. So I've added a little bit more white and yellow into my mic. Just a very small touch of white brush into the water. I've just dipped it into the paint and then I'm going to just take the excess paint off. So this gives a lovely effect. Let me just show you down here first. It gives a nice texture to effect. This can be a very good Technique just for softening your edges. If you're not into sort of hard edges on your paintings, be clouds or trees or flowers. You can use this on any subject matter really, and it just blends it in a bit and softens it. Just lighten a bit and then I can do a highlights of the tree. You just go gentle on the pressure you put on the brush, depending on how much texture you want to show. Maybe go very lightly on the edges. Leaves, so form these so small clumps when you're looking at it from a distance. So if you close your eyes, close your eyes, it's totally obvious anyone see anything. But if you have closure eyes, then you will see these clumps of leaves and it just makes it a bit easier. So you can see that's quite a nice effect as well. Then of course you could try a palette knife and see if you like that effect. I'm just going to add in the trunks of the trees. So I'm going to take a bit Fred, little bit of yellow and hope for the best. It's really funny when you're teaching instead of just doing it, because you just have to just good thing, well, how to mix brown where you usually just makes brown and there wouldn't be a problem. But because you're showing somebody else, you just suddenly think, how do I mix brown? This is adding a blue bit more blue, I think. Cloud a little bit of water on the brush and take surplus. Or I'm not just looking for perfectly straight lines or anything, it's just a loose style. And again, you can either go wet on wet, just add a little bit of white. Another bit of yellow depending on kind of color your tree is that you're going from add some highlights. Now should mix the color with your brush. You can just twirl it around to mix it in more. Obviously without one, he can wait for that to dry and do the dry brush effect if you want to. Again. Now we have our trees, two different techniques, but obviously there's numerous techniques that you could use. So just have a little go at doing trees. You can do a real watercolor effect if you'd like that. By using acrylic inks are the ones that are more free flowing. You can add different mediums to them to get different effects. You can use palette knives. You can use scrunched up tissue to bring a texture to a tree. So yeah, just have a go and have a go. What takes your fancy really? 13. Blocking in: The next four sections, I'm going to go through the process of painting this poppy field now broken up into sections. So it's not so long. And you don't have to do everything all at once, but you can do it in stages. Now when you're painting a painting, it's really good. Every now and again, every couple of hours walk away from it because you get totally immersed in painting. You stop seeing things really as a truly, sometimes it's great to walk away, come back, and you'll see your painting with fresh eyes and a new perspective. That can be really helpful. Because it can, It's easier to see things that need improving and things that will enhance your painting. So I'd encourage you to do that on a regular basis. If you're the type of person that wants to do it all in one go and you're full of enthusiasm, that's fine. But I would encourage you after you've finished to leave it overnight and come back the next day. And really be honest and assess your painting because that is the most helpful tool you can have to grow as an artist to look at your painting with honest eyes and say, Is this good? Can I improve it? What would improve it? And continually study other paintings and works of art. Look at the way they do their skies. Look at the way the paint the trees, not to copy, but just so you can see what makes things look better. Sometimes I think, are more subtle like look much better than a clear, crisp line on the horizon. These are things that you learn as you go along because you look at your painting and you suddenly think, Well, it doesn't look quite as nice as the one over there. Not to compare yourself, but just to improve. It's also good to look at your own paintings that you've done maybe in the past, and you'll see your own improvement. It's not great to compare yourself and feel bad about your own painting. That's not the purpose. Because when you compare your painting with bonds that you've done maybe a few years ago, you'll see a vast improvement. Or if you haven't done any before you look at your paintings in a year or two. And you'll be amazed at how much improvement you can make. But often with art, people think either you're gifted at it or not. But a lot of art is practice. It's hard work and practice. And year after year after year you will improve. So yes, some people might have a natural and head start, but it still means that the majority of people will have to practice and put in the hard work. Of course, if you love painting, that hard work is a joy as well. Be encouraged. And let's get into these sections. So now we're going to look at the poppy field reference photo that I have and I'm gonna go through it sort stage by stage high. Think about it. We have this guy, obviously there's a lot of clouds in the sky and then we have the puppies and more blurred in the distance. And then the ones in the foreground. We also have the hills in the background. I'm going to kind of think the three sections. Now, you have to decide really at this stage, what you want to make the most of the clouds or the poppy field. So today we're gonna, we're gonna make the most of the poppy field. I would say. We want the horizon to be sort of around about a third of the way down the canvas. This canvas is 30 centimeters. I'm just going to draw, I'm just going to feel benefit really. I'm just going to draw a horizon about ten centimeters down. Obviously, I'm not going to make it as just like a very, very harsh straight line. Just put it in loosely. But then we've got this other section or its narrow at this side than this side. That's made up of slightly paler colors. So I'm just going to put that in. It's enough to be exact. We can always amend it later on. So what I'm going to do is I'm going to block in the sky. If you look at the photograph, the sky's darker at the top and then it goes lighter towards the horizon. And I might, so I'll do that on the first layer. Then I'm going to do this lightest section. Then I'm going to go on to the foreground, which I'm probably going to do a mid green. Because sometimes I go for the darker shade first I'm going to do a mid green and then I'm going to flip the darker shapes and I'm going to put the darker trees in after this section painted. I'll put the darks in there and then we'll go from there. So first of all, I'm going to Sky color. So it'll need quite a bit of white. So I'll take some of that white little bit of ultramarine blue. As I said earlier, there's the open, even though I haven't got opened on my palette room, they open acrylics would be quite useful in this kind of scenario where you want it to go from dark to light just so it doesn't dry so quickly. But I'm presuming most of you won't have that, so I'm just going to do it the way I would normally do it. If you don't want a very bright blue and you would dial it down with a sort of orangey color, just a tiny bit. But if you want to at this stage you can use black, that's fine. I'll just add a little bit of red touch of yellow. Just so it's not such an offbeat. Bright blue colored. Very good. Now, obviously this guy is a bright blue sometimes I don't want a really vivid blue. So personal preference really isn't there. At the end of the day. I'm going to add a little bit more ultramarine. Like it slightly stronger. Right? I'm gonna go with that for moments. Got my two inch brush here, which I can use for the time being, just for the stopped starting point. Now at this stage, if you want to, you can leave a bit of that yellow shining through. That can give a nice effect. Or you can go back in and just wipes and other offer the cloth. That's another way of doing it. Obviously, if you don't want yellow coming through, you would do it slightly thicker. And I'm just going to quickly go along the edges as well once I've got that color mixed in the corners. Now I'm going to add a little bit quite, quite a lot of white just for the horizon part. I'm going to just go over that again. Slightly thicker paint. And again, just remember that acrylics are very forgiving. You can keep going over as many times as you want. I still think it needs to be a touch lighter at the bottom. And also maybe because we want to do that a bit better, you can use your palette knife. I'm just going to apply a lighter part. And most are any blue. I'm going to use a small brush actually. Well, that's completely dried. I'm going to add to this blue. I'm just going to add some yellow. The light yellow, the lemony yellow. This gray blue, bit more white. Ultramarine. Wanting to get that sort of dusky gray color meets the horizon. So I'm just going to add a touch of black. In this case. A bit more ultramarine, little bit more white. You just have to keep mixing until you get what you want to. Really. I'm just going to go in that section. There. Doesn't matter, it's not as straight as the ruler line. I wanted a more blended in look anyway. Going to add some more yellow. Just get a paler green color a little bit, Fred. A little bit warmer. Now for the bottom section, I'm going to mix a nice green, quite a vibrant green, but you don't need to have it as vibrant as I said, it's all personal preference. That's quite blurry green. Maybe you prefer that. Make it a bit more yellowy. A little touch of red. I think that'll be a good base color to go with. It does get lighter. The further it goes back as well. Just very slightly actually. So you want to kind of creamy consistency. I'm just going to add a little bit of a lighter green can blend that in Arabic. Go around the sides. Also depends what you're doing with the Canvas. Afterwards. Once you get good and maybe you want to sell your paintings. Well, we just decide what frame you're going to use her now. Determine what you do with the sides as well. Probably made that tiny bit on the thin side, but it's no problem. You can just go over it. Okay. I can either work wet on wet at this stage and just put put those dark greens in or you can leave it to dry if you'd prefer to do that and work on them. 14. Blocking in Dark Green: Before I need a bit more ultramarine, I'll just pick some up my screen for me. You can also do it with black and yellow. You get a nice dark green. I'm just going to go in here and put some of the darks and now you can do it like I'm doing now, wet and wet. Or if you don't want it to blend in so much you can go in after it's completely dry. You just half close your eyes, you'll see where the darker areas are. I just blend it down the side to make a big who hire about the side. But I do blending the colors. So we've got a line of trees along, they're very dark. I'm just going to make a mix a little bit more. The dark green. If you go back to thinking about how you want to do trees, we're just doing a rough shape at the moment. Now if you do them on there too light, it's probably best to let it dry off and then go on top of them with a darker, I'll just do it like this for a moment. A bit more dark down here. So yeah, just how close your eyes and you'll see where the darker tones or just go in with your brush. Don't be scared to do that and just, just lightly put them in. Now there is a slightly darker tone. In the second section. I'm going to put that in there. You might think, gosh, that is a huge brush for doing those details. But to be honest, I like using a larger brush as much as I can send. You don't get too much into the detail when I want a more impressionist style painting. I do also like scratching into my paintings. I'll just show you that as well. While that's still wet. You can scratches and aggressors and we actually call it you've got to hand really. You might do that. I'm going to cover a bit over again. Use your palette knife. Just talked a little bit scratched in detail in that. It's too much, you can just rip it in an obscure parts that you've done that you're not keen on before it dries. You just want to hint at some scratches. Okay, that's fine. 15. Mid greens and Clouds: I've got that color, but Brian, any face, I'm going to have to look a bit dark color the gray gray blue tape, the excess off. Just going to gently go in with that. So again, you can close your eyes and see where the light areas are. Actually, I might add a little bit of that gray green in the foreground. Now you might not actually think, well, it's not much there, but you can add, you know, bits and pieces to make like a bit of the sky color coming in. It helps the painting tying together a bit better. So you can add a touch of this here and there. I'm just going to knock it back a little bit so it's not really standing out. Now I'm going to add a bit more blue to the top of the sky. I'm going to add a touch of ultramarine to my gray blue color. If you look at a sky often, it's brighter at the top, and then it goes paler towards the horizon. Obviously there's all sorts of Sky's the change every day, but on this particular one is bright and blue at the top. And then it goes lighter towards the horizon. Just blend that across the top. And just remember to go along the sides on the top of the painting at the same time while you've got that color on your brush. Now I'm just adding a bit more titanium white. One's a little bit so I can go in there. And then I'm just going to blend that into the top color. If you go gently with your brush to blend it across, then a little bit more white. I'll take it down to the horizon. Ok, now I'm going to start to put my clouds and got a little bit too much white on my brush. I'm just going to take it a little bit off. So Blend easy to begin with. A little bit tiny bit of sign in there as well. Obviously the clouds get smaller the further away they are towards the horizon. And larger towards the top of the painting. This stage, I'm really sort of plotting where they go. I'm not want to stand out so much at the beginning just so I can see where I want my clouds. And then you can start adding tones on top of that. I'm just adding some more highlights into the top. Obviously clouds, they are 3D. They have different shapes of grays and whites. Then you'll highlight why it should come at the end. I'm just taking the excess paint off than just blending the edges with a drier and drier brush. Obviously, you don't want harsh lines on your clouds. I'm just adding a touch of black, blue gray just to make a slightly darker shadow. That's probably a little bit too dark, lit bit more white. And then we're gonna give them some shape around the bottom of the cloud. I'm still kept it quiet, subtle at this stage. I'm going to add a touch of ultramarine into that mix as well. That's a little bit strong, so I'm just going to blend in those edges. I'm just going to add, I'm now I'm just going to make another green. Because I do believe that the dark greens needs to be even darker. Just go over green already got that and just make more contrast. I think painting that has more contrast and it is more interesting when I first started painting a lot of my tones, you still say me. So now I start to look out more for the contrast when I'm taking photos and things, you want a lot of variety in there, not just all the same. Now I'm just adding some more yellowy greens. Just give it a bit more interest as well. It's all a matter of just playing around with your paint, just having another look, waiting till it's dry and seeing how you tones dry. And then going back over it with colors to give it a bit more or a bit more interest. And you're constantly assessing your painting as you're going along. Non-important, some paler greens. Right knee, the horizon at the back. Then I'm also adding some paler greens to the foreground, again to get a bit more variety color. I'm still keeping it extremely loose. I think it's very light. It's right next to the horizon. Because the further you are away, the lighter they'll become. Obviously you can use your palette knife instead of the brush if you want to do it that way, just keep your marks loose. Now just going to add some dark tones of green to my little bushes at these pathways through the puppies as well. Just to give them more depth. If a line just becomes too harsh, you can just take off, I live with your brush or with a cloth. Now I'm going to add just some lighter greens in the distance. That's a bit harsh. Little bit of white in that green. Just want to add the field behind the trees to stand out. So I'm just putting a bit of a light green behind them. Just to add a bit more contrast there. Then a touch of yellow and more white. It's going to bring that along. So there's more contrast as well between the front grass on the mid section. I'm just adding some finer detail. Just an impression of the detail. Just before we get to the horizon line. Just going to put some light grasses in the foreground here. Add a little bit warm fire. Then I'm going to bring that color into the rest of my painting in various parts of the painting just to give it continuity. Now I'm going back to my clouds and I'm going to put some highlights in them. 16. Adding Bright Green & Poppies: So now I'm going to add a bit more bivalve whom I'm mixing up a brighter green with my yellow and blue. So I'm putting up quite watery wash over it so you can still see some of the tones throughout. Something I'm very gentle touch to the back. And then just blending in so it's not too bright. You can see how it instantly lifts it. This is how a painting goes backwards and forwards until he got what you're happy with. It's not that you're doing things wrong. It's just feel you're assessing it as you go along. It's not mixing a pale yellow and just adding a slight touch of green, a nice yellowy green. Then just put some loose brush strokes and blend them in to touch to the distance as well. About a lighter green is just ready to get the impressions of the fields further back. I'm just washing my brush out. And then I'm going to make some nice poppy red, but as it goes back in the field, it'll become paler. So I'm adding a little bit white and a little bit of yellow to my red. And then you can just gently move your, get some paint on your palette knife and just gently rub it against the grain of the canvas. You can try it on maybe his bare canvas first. So just very gently so you get some of the canvas showing through as well. You can do with your brushes with a dry brush as well. The jacket Jen E over this surface is start at the back. And then as we move to the front, I'm going to mix a slightly deeper red, the brighter red. And that'll be for the foreground. You can blur the puppies a little with a cloth or a way to make them appear further away and less in-focus. And I'm just going to add a few of the paler tones to the foreground. Puppies. Still think the green is a little bit more. Finally, I'm now adding some more white highlights to my clouds. I'm just going to finish off with a warmer green that's in-between the darks and the lights. 17. Assessing your Painting : After leaving the painting to dry last night, I just left it and then come back to it the next day. And I think that's a really good thing to do because often we get so involved in the painting that you don't really notice things until the next day or even a few days. So just leave it, walk away and then come back to it at a later time. So now that I've seen it, that there are things that I want to improve. I just want to give it more at the front if that's a proper word. And also add some more highlights to the clouds and just and make the horizon just very slightly lighter. Does a few things. So let's just have a go. I'm going to add a few more puppies in the foreground. Now I'm going to add a touch of white, tiny bit more. Sometimes reds can go a little bit dull. I'm also going to add a few little black centers. Not to all of them, but just do a few. It looks a bit contrived, just blend in a tiny bit. I'll just poke it with a palette knife or the brush. You don't want things to look very contrived. Most are going to add a few more lighter ones here. So a little bit more white, a little bit of yellow actually. Maybe you do too much just backend. Well, it looks a little bit too big, so just take out with a white I'll take part of it out. So obviously it a go further away, the poppies go smaller. Just remember to go over those edges a little bit. Otherwise, they'll just stop straight it just before the edge. And really odd. I'm going to add just a little bit lighter green because there are a lot of puppy heads that haven't come out yet. Take a yellow block and another bit white. If you find this easier to do with the brush, just do that total. Totally your choice. Just practice on a spare piece of paper if you like, first. Might just turn my palette knife the other way and do it like this. Okay. Scratch into it as well to fade nor the grasses are. Just gives it a bit more interest really in the foreground. Little bit light apart. So I'll just take my finger. And then I just wanted to add a bit more of a yellowy green into here as well. Particularly this part. I usually find it a lot easier actually to work on an easel rather than like this. But obviously I'm just doing this for demonstration purposes. But when you're working on an easel, it, it's a lot easier to see the painting and see what's going on. Even if it's just a table easel. Just kind of merging it in a bit more. Scrape it like a probably best. Obviously waiting until you poppies a dry before you do this, which I haven't because I like to live dangerously. Yeah. A lot happier with something, a bit of cyan to my ultramarine just to put the, the sky at the horizon. Can either touch more white. Was not a touch more. Why was it? I'm just going to blend it in. Might want to soften that horizon just with your finger before it dries. So it's not a harsh line. I also wanted to add a little bit more detail just underneath the horizon line. Because you can see just a tiny bit. It's just a hint of a field. Starting a little bit too warm, the chair maybe need to cool it down and see when a color is a little bit fresh. Just as tiniest bit of black, just to dial it down or the opposite color on the color wheel. So this is just right underneath the horizon. And also want to make this tree on the left a little bit bigger because it will look much the same size. And it's actually going up the horizon. I just wanted to make this a little bit here a bit darker because about half close my eyes does stand out a little bit more even though it's in the distance, it's a bit darken. This a little bit here, needs a bit more shadow in there. It's good to have quite a bit of contrast in your painting. As I said before. Otherwise it begins to look a bit Samy. I'm just going to add a little bit more highlight to the Cloud. Just to touch really. I mean, the thing is you can go on and on as well with the painting and then end up just overworking it, which is worse relieved than leaving it more loose. So that's the other thing. You just have to be a bit careful of knowing when to put your paint brush tool and say that's enough. I think I'm going to leave it there. So there we have it. A beautiful poppy field and an impressionistic style. And obviously you can leave it again. And if you see something you're not keen on, you can go back to it, but just be careful not to overwork your paintings. I've seen something now. Just when I've finished. There's a big sort of line here which I'm not keen on. I'm just going to try and take that out. If it won't come out, which it won't. Of course. I'm just going to add a little bit more green in there just to cover that up. Simple as that. Now we have it. 18. Fixings: I'm not going to show you how to finish up your canvas and put the D rings on the back. You can hang it up. Now often when you buy a canvas, you get these wedges that you put in the corners and these are the canvas at some point goes a bit slack. You meant to be able to tap these in a bit further and stretches the canvas again. I'm never really have to do that. But you can put them in. Anyway. When I first got these, I thought one. But it is quite simple. If you look the slots at the back, look at the lowest slot and put that one in first. So the lowest slot is here. And if you get your straight edge, and a straight edge is away from the slot, this one at the end. And the straight edge there, it goes along the side. So you just put it in the little slot, then push it in. Then you do the same for this side. So you've got your slant the end near the corner, straight and away from the corner and straight and it should slot in there. Well, that one's not going to cause because I'm bit here. Let's try this one. I have to just push that down slightly and I'll look at it in that slot. We go right to push it right to the side. And then in, that's how you put the corners. And now the D rings. You can get single ones like this. You can get double one's more heavy duty ones like this and that obviously that depends on the size of your picture and how heavy it is. These ones will be fine because this is quite a light Canvas. So these would do the trick. So I've got those two screws. I've got my All, which will make a whole and make it easy to screw them in my screwdriver. And then I've also got some of this picture code, different thicknesses as well of that. So that depends also on the weight of your your painting. First thing I would do, this one is a blank canvas, but check that you've got it the right way up because it's very annoying if you think you've got it the right way up and then you do it and then you realize you haven't. Now, I usually put it maybe a third of the way down or slightly up. Not quite a third of the way down. Sometimes I just guessed to be honest, so let's do it about here. Make a little mark. Chatter a little bit further over. And mark out here. I'm going to find that mark with a hole of the D ring. Now if it's very heavy, It's also, you can tilt them up very slightly in that also helps. This isn't so I'm just gonna do it straight like that. Like little hole. Can see that the very large paintings, I've often use actually two of these on each side and very thick chord or you can use wire as well. Picture why. I did try that at the beginning, but I just didn't like it very much. I'm personally, it's personal preference. Also. This dips in slightly. So the bit that dips and will go on the top. You can get these from places like there's a website called Lion pick, which is lying than PIC, that sells all sorts of framing things. And then you can probably just buy them on Amazon or get them at your local art store if you just want a few. I'm just going to measure out my code. You have enough room. I do do it doubled, but I know you can do single as well. Now I haven't got any scissors, which is a bit silly. Just wait there. You'll also need a pair of scissors, preferably sharp points. So now I'm gonna take my two ends. Threatened both through one side, pull through the loop. Fred them both through that side. Pull tight, is tight as I can get it and I hold this piece here so it doesn't loosen off. Well, I'm just going over and under pulling it tight. Then I go over and under that way. Now, if I could remember, I'd remember what kinda not this was, but it's a very secure one that can't come on down. I go over that way. Is there a reef not I should remember that I was in the guides over this way and under that over this way, the opposite way. And under it, if you can do it a few more times, have you want to make string bit longer? Now I'm going to add a little bit of PVA on the ends. Just cover the ends and then a little bit further up. You felt completely dry. When it's dry, you just get a bit framing tape. This won't stick properly because it's wet now, but I'll just show you how to do it. Then. Squeeze it around the cord and tightly wrap it. Just pinches off nicely. Like that. That is your earrings, cord and corners. That's it. Finished. Ready to hand. 19. Varnishing: I'm not going to show you how to varnish your painting. Now you might be at the stage where you think, I couldn't care less whether I finish my painting and you're just practicing and that's absolutely fine. But there might be a stage at the road where you're really pleased with the painting and you want to varnish it to protect it. So I'm just going to show you what you need to do that I've got some Galleria matte varnish, but obviously there's a lot of other brands that you can use and you can have it mapped. Or you might prefer a satin with just a very slight sheen or a gloss varnish depending on what kind of painting you do as well and what suits that painting. But I would say Matt is a popular choice. I've got a plastic container. I've got four wooden block. These are really handy just for lifting the painting of the surface while and varnishing it. So I'm going to put those under each corner. Obviously cover up any table or anything because it's a messy business. These just help it not to stick on all the edges to your surface. I'm going to gently shake my varnish. I'm not going to shake it vigorously because it'll get air bubbles in. Just sort of go up and down and swirl it around a bit. I'm going to put a good amount in here. Can always pour it back in the container. I've got my two inch brush, so I'm just going to give it a little stir around that plenty on my brush. You don't add anything to it. And you have to work quite quickly with varnish. I'm not trying to go over the same area too many times. Especially when it's on its way to drying. I'm going to just go down quite quickly. Tried to get it nice and level and getting all the texture of your Canvas. You can go over it straight away when it's still wet. But as I say, it's when it starts to dry, it becomes a problem. Then I'm gonna go across try and have a look in the light really while you're doing it, you're getting all the areas. But you can give it a second coat, you don't have to do, but there's little areas are uneven. You've got some shiny bits. I'm just going to very quickly, while it's still wet, go over that. Then I'm just going to go up the sides. Don't have too much varnish on your brush but just enough to cover it. Because then otherwise you'll get drifts down. When you've done it, just look at it from different angle. Make sure there's no pools of varnish before it starts to dry. I think at this stage I would just leave it. You can quickly get it out. Soon as you've done it, that's fine. But otherwise, just leave it to dry and then assess the situation. So that's easiest app really. The main thing is to work quickly and efficiently and just try and get it all level, go one direction than the other. Then reassess it after it's dry. Again. Wash your brush out straight away because that will go hard on there. So I usually do is put the remainder of the varnish container. If I'm not gonna give it a second coat. And then I'll go and wash my brush out. 20. Final Thoughts: Well, you've made it. I really hope that you've enjoyed this class. I know it's a lot to digest at once, but you can go back to different sections and watch the ones that you need to again and again. I'd really appreciate it if you could leave a review and also upload your project in the project and resources section. It'd be great to see what you've created. Thanks for watching. I hope you've enjoyed it and been inspired to start your own journey into landscape painting. See you next time. Good bye from me. And it's goodbye from this other little budding artist here.