From Acrylics to Oil Painting in 5 Easy Steps

1. Course Introduction: thin this course, I'm going to show you a great way to transition into oil painting. If you've never painted in oil painting before, you might find the idea intimidating frequently, especially for beginners. The oil painting medium being a slow drying medium, can cause a lot of problems as the painting progresses in mixing to lower layers or you simply afterward. For the oils to drive, all of these things can lead to frustration. Muddy paint You're scraping off paint, getting into all sorts off problems like that, or if you in a hurry and you want to get to finalize a painting in oils, you could find the drying time to be a real problem as well. The critic painting solves a lot of problems, especially with the time for dry. But there are many reasons why you'd want to take the painting further into oils. Whether it's valid or not, there is still some sort of bias towards just a critic. Painting oils might be the thing that you want or your collectors are looking for, so you want to give them an oil painting now, using the benefits off quick drying with acrylics, plus the convenience off being able to get all the color ideas on foundations. Test art In the early stage, starting a painting with acrylics makes a lot of sense. In fact, over centuries, the process off building up a painting what using layers is not new. The old masters used to use a method called Chris I, which is simply of building up the painting, using a monochrome layer off painting to establish the values off the painting at an early stage. And then they would go over it and add color. Of course, they didn't have critics on we fortunate that we do. And the critics can take things a lot further, hoping you establish your composition, testing archer colors and getting in a lot of the basic color structure off your painting, and then you can finish it off in beautiful, thick, juicy and vibrant oil paint. You may find that there are parts of the acrylic painting. You don't have to go over in oils, for example, the dogs and that can be left as it is. How does this affect the painting? In the end, you can stall, varnished the painting you can stall have it completed mostly in oils as well or completely in oils. That's up to you. The end result is you have an oil painting that is strong, that is vibrant and that you have developed quickly and confidently. So we're going to go through some of the important building blocks off a painting such as composition, and then get into the five step method off moving from acrylics into oil painting. 2. Materials Required: right. What materials to use on this course? Quite simple. A pencil for drawing in your composition, the printing. In this instance, I'm working off a painting panel. It's just a nimby of board and primed it with two coats off Jessa. Then you can also use a canvas. If you prefer the critic paint standards set their basic. A student quality is fun. If you have professional, that's even better. Titanium white, some yellow ca burnt sienna, some basic yellow and red. And if you can't use a lizard in crimson or in my case, I'm using magenta for the acrylic stage. Ultra marine blue. So really and blue as well, I add in a bit of Sepp Green has just for convenience, although I don't use that in the oil stage for the grazing stage off this painting process . Going to use a medium on oil painting medium well, you can make your own using a 50 50 mix off linseed oil and auto swat spirits. You need a nice eyes palette as well to mix the paint so anything in the rains range of about 60 centimeters long will be just right for the oil prints. Titanium white. Once again, some cabin yellow lemon son kept him red. Light yellow, Erica Burnt sienna, burnt amber, some ultra marine blue and cerulean blue and l is rem crimson, and that's it. You ready to start? But let's not forget the brushes. You can use synthetic brushes for the critics. Stage something in the range about size six to size. It will be perfect. Nothing too small. We went to put in a nice big shapes with this painting. I prefer anything in that is like a long flat or a full bird shaped brush, Then for the paint. The oil pain stage I don't like to use. Synthetic brushes are prefer authentic good quality bristle brush or so size 62 size eight is just perfect for that. To clean your brushes, obviously, acrylics. You just need water. And with the oils, something like to open time or some proprietary cleaner. You need a few cleaning materials as well. Kitchen to shoot Tao or some wreg just as long as it's lint free. You don't want anything lived on your painting surface when you use them and that's it. You get your materials and let's get started 3. Better Composition: well, composition is such an important part of every painting that I couldn't leave it out of this course as well. And although we're going to be indeed ing specifically with critics to oil painting in the upcoming demonstration, I thought it would be good to touch on a few important composition elements to always keep in the back of your mind. And we also have a look at how these elements relate to the painting we're going to do in this course as well. So let's have a quick run through some important composition elements for this painting. OK, let's have a look at the composition elements that relate to the reference that I'm gonna be using in this demonstration. It's one of the first and most important issues to keep in mind with composition is keeping the eye away from the edges off the painting. You want to do everything you can to keep the viewer's eye going around in the painting, especially the focal area salt. So in the reference we concede where the focal area is at the end of the road and everything is leading to that and then we're gonna use lines, natural lines that occur in every scene. So look out for them. Yeah, we've got some wonderful diagnose lines, and the diagonal lines lead us into the painting or so diagonals off the hill. And then all of these lines relate to shapes and their overlapping. So we use overlapping shapes to also give a sense off depth and distance. And instead of having them all standing on their own, isolated in the painting, we've got vertical shapes. We got horizontal shapes, but they're overlapping, and that gives my sense of distance. And then, of course, you familiar with the rule of thirds or the golden section, the golden mean all of these terms that relate to these ideal spacing of the focal area into the 1/3 section off painting. And as you can see, the road foots that in quite nicely and shapes. Variety of shapes is so important. Keep things interesting with a variety. We've got the roof line of the building. We got telephone poles, trees, overlapping vegetation, the war or variety, and, uh, then ultimately, we want to keep distractions out of the painting area and necessary details, things that don't add anything we're gonna leave out everything that's on history or distracting from the main idea off this painting or the painting concept. You working with what you leave in what you leave out very often, what you leave out is what's most important. 4. Shapes and Values Basics: Okay, so let's have a look at how these composition, shapes and values relate to the reference. And as you can see, the nice Dagnall off the hill, the roof and the tree line all seemed to point to the focal area. And this is an important composition ever meant that you need to look out for when choosing a subject and getting your references. Balancing out the Wagnalls are these nice, strong vertical shapes. The signals can be very in energy, fooled. Even. This road and the wall create a lot of movement, so we want to balance that out with vertical shapes as well so we can mark off. We've got composition elements, lots of good, strong composition elements we can exploit in this scene. What about shapes? I win assessing your scene or doing a thumbnail sketch or anything like that. Look out for a variety of shapes. We've got a lot various round shapes off the bushes, vertical shapes of the trees, this really lovely war full of interest. So I'll be making a feature that and of course, the roads and etcetera. So we've got a good variety of shapes, all interacting, overlapping and complementing each other, and this makes and naturally interesting painting and subject to to use for a painting. And hopefully you find these shapes in in various scenes you look at and you respond naturally to them, a pleasing seen you'll know it when you see it so we can take that off is, well, composition and shapes. Chick. It's all them now let's look at values, and I'm looking at where the good, strong, dark shapes because values means the relationship off latte and dark. What's light failures and dark failures. And it's these contrast ing values that make a really powerful painting something that is going to get your attention. So try look for strong dogs and counter act them with lights. So good light elements. The road especially stands out and, of course, the sky. But all of these elements catching the or shapes catching the latte, which will create a counter change against the dark or shadow shapes. Um, it's that count to change that speaks to us, and we respond to it. If you can find that and exploit the counter change of light and dark values, they're gonna have a good painting. It's all of these things. All of these elements come together and give a painting that has impact and gives you a really good chance of doing a strong impactful painting. But there's one other element that we need to consider before we get stuck into a painting . But you got to know what is the idea behind it all the concept For me, the scene means peaceful, warm Country village. So I'm not gonna do anything that's gonna make it, Ah, detract from that idea. So I got to carry that idea through with the the way I paint the painting. 5. Step 1: Tone the Painting Surface: right. We're about to start port one of the acrylic stage and kick this painting off to a good start. I'm gonna be painting on a painting panel and I'm going to show you this video how I prepare the painting surface. The painting surface actually has an important part of play before you even start the actual painting itself, which I'll now explain in this video and also at the same time, show you how I go about preparing the surface itself. Right? So years are pellet, and I'm using a critics. A titanium. What? Some cobalt blue, some red light, some yellow lemon and some burnt sienna and ah, nice big bristle brush to get in some big shapes quickly. So, yes, the landscape surface that I'm gonna be painting on its a panel, which off put two layers off just so on it. Let that dry first. And then I want to turn this because it's a landscape or one toe a warm turn to get rid of all this white area which is very cold and doesn't shop the values very well. So but the burnt sienna, some water of us sort of loose slurry their bit of yellow in to make it even warmer. And we'll get rid of this white surface with some broad strokes with the large breast. Get in there and just work from through warmest and darkest colors in the foreground. Last warm, sunny landscape This so I'm gonna have for lots of warm, burnt sienna and, uh, just sort of phase it up into the sky area, making it cooler as you go quickly, just get it and get rid of all the cold. What? Andi, already you're making progress being a little bit of blue and just sort of a cool gray, bluish gray up into the hills in the distance and the sky showing a natural transition which you will be working in in your painting as well. So keep your reference in mind when you do this and ah, graduated down a little. So it's already and there it is, a good turn panel and some of this I will let so through in the final painting maybe a few little happy accidents as we go through. But let this dry and then we can start drawing in the composition and laying out the start for our actual painting 6. Step 2: Draw in Composition: okay are painting. Fennel is now dry and ready to start working in our composition. I've got a photo off the reference that I'm going to be using above the painting, and I'm going to just get the main shapes resolved on this panel by comparing and getting a structure. I can see we're important points or and where the focal point is going to be on the third line. More lis. This would be a golden section point, so that is where the roads will be leading. That's too worried about details. It's just about placement off the shapes. Yeah, has a nice diagonal as well, working off the hills to this reef lon. So that will be an important fault off the composition. How closely are stick to reference just really depends on what I'm trying to achieve in this case. It's not about trying to get a photo accurate on painting, but I'm more interested in getting a lot. Fold a view off this peaceful country village with lots of lots and doc shapes going on in the for lige, some strong verticals in me trees. The last movement in the grave eating I into the painting and some as atmospheric perspective. Going into the distance towards our for cook point, I'm sure to bring in the figure or two. Towards the end of the painting. There's a good balance of shapes verticals, horizontal ritual. Stand us in good stead for that pleasing result. In the end, also figure out some shadows bring some shadows across the road. Always good. Okay, so that's pretty much what the shapes that I want all within minutes of having put on our under turn. So Stage one of our process is almost complete. Shannara can move into an important part off the acrylic stage, which is establishing major shapes in a critic color and the important light and dark shapes to get there's light, dark relationships set up nicely for our oil painting stage. 7. Step 3: Acrylic Block In (Part 1): okay. Time to start blocking with the critics. I've added a few extra colors to Mark Pellet, Sepp green, yellow polka and magenta. Magenta goes very nicely into darks, these convenience colors also helpful. It speeds things up and working on a pallet like this. I can get the colors I need mixed pretty quickly, and then we can get over into the oil stage and use an aspic pellet like this form or space as well. So here's our panel. It's ready. Onda. We can quickly get going with the critics. Stage my conventions. This is a very quick stage. I'm using a sauce. Six full Burton brush. That's a synthetic hair brush, which works nicely with critics. And starting with the docks, I'm just mixing a loose, dark, made up, off burnt sienna and the curb. All please, maybe it's a little magenta thrown in as well and remembering to squint at the reference of slightly to remove details and just see those dark shapes take form in front of you. All the details disappear, and you can quickly pick out where the distinct dark shapes are brushes him working with some paint. Remember, we work from thin to thick. And so this painting is going to consist of a number of layers, and that's what it is leads to nice, rich paintings. But remember, start off with a thin paint and work thick over some, and I really love seeing how the painting starts taking shape. Most artists and beginners don't start off with darks like this, and the planning immediately is weakened for it. But we're restarting. We're getting the strong darks, and and it immediately creates a strong abstract pattern, a powerful abstract pattern that is immediately eye catching. And we're gonna bulled on this foundation as we go on and you'll immediately think, start noticing that this painting has potential to be eye catching strong, and it's gonna look really good or stand a good chance of looking good. Let's not jump the gun that I think that if you follow this approach with any subject you choose, you stand yourself in good state for ah, good, strong and interesting painting. So when I'm painting darks like this, I'm also thinking about warm darks and cool docks, and in most cases, in the sunny um, situation, you going to be painting a cool, dark so it leans towards the blue, but more blue. You could use ultra marine or as amusing Assam kobold and darks and shadows in sunny conditions. Always gonna be somewhat cool. Avoid using warm darks like a burnt number. For instance, that doesn't really work right now into the lights. I've clean my brush or you take a new brush and you use theological color titanium warrant , but never tight anymore to straight out the tube and onto the can whistle panel. All is mixing a little color with it. So with them color close to the horizon, I had a little touch of yellow polka just to warm that white up, because why straight out the tube is quite cold. As the sky moves up to its zenith, the I'm Scott will start a cool so at a little bit of blue, and you'll get that grid ated. Appearance to the Skynet looks more natural. Well, it's a very clear sky in this reference. I like to create a little bit off texture and movement, so a variety off lights and darks suggestion off clouds moving across the sky, but nothing too obvious on the painting specific clouds. But a broken color effect is what you're after. And then the road pretty a large light area in this painting, and when painting a straight road like this, try and break up the edges off the road a bit. Which will swill do as we start adding in the colors on the sidewalk and etcetera, but avoid having a perfectly straight sort of trained trek effect. It can look really fake, and also the lines draw the eye and far too fast. So we'll break up the edges a bit. Some of the colors from the toning showing through the white as well. That can have quite a pleasing effect, so you don't have to paint it all out, bringing in a this building on the writer inside. It's obviously not a focal point, but it's there to add some interest. Remember, look at the color that you're putting down and refer to your reference and decide if it's a warm or cool color. If it's in the shadow side off the building, for instance, your what will have but more blue in it could even lean towards the violet side of things and put that down. So that is a definite cool or shadow effect if it's getting direct. Light the touch of yellow touch Iloka toe warm up the white into the distant hills and with aerial perspective. I've got to push those colors back. So there's a bit more blue on a bit off white to de saturate the color, so it's not straight yellow. Card the tube. I gotta add some white better blew cool it down and push it back. Water crate illusion Off distance into the greens. There's quite a lot of green shapes, but as with most shapes in the landscape, there are a lot sides catching the direct light and then shadow sides and sort of in between where they is reflected light. So you'll have warm green and then a dark green and a cooler green on the sides. And this gives the shape to the bushes and trees and gives a more natural appearance as well. You want to cool down the green, you add more blue, gonna warm it up. You add a bit more yellow. So simple is that if the green is too strong, I'm too broad toe etcetera. Then you can add a little bit of red the compliment off green, and that just knocks down the intensity of it, so moving quickly, squinting at the reference. The's greens, of course, are not an extreme light or extreme dark. There were trickle middle value color and the occupy the area in between the Latin dark extremes We've already got down. So basically we filling up the rest of painting now with middle value colors and taking Shope. As you can see now I notice and putting cool greens over the docks. Okay, just a little bit mawr into the screen areas, and then we'll go on to part two off this acrylic block in stage. 8. Step 3: Acrylics Block In cont.: That's a getting into the next part of theocratic stage, and we'll finish off the critics stage. Just getting a few off the relationship of shapes. Correct the perspective lines. I can see this wall needs some adjustment to get it correctly related, and we're gonna work in on the right and side. Get the tree established. Some of the greens brought him few details fence post or telephone poles. And, of course, because this is, ah, the a critic stage. We can work in broad strokes. Don't worry about details. Just eyeball everything, get it all correctly placed, and then it'll be ready for the oil storage. The school is really interesting part of the painting, Um, a lot sort of brown colors, but it's also in the shade, a snow direct light on it. It's reflected latte, so we have to keep the colors cool, and that means adding a bit of blue to the brown. Obviously, when you working with a nationally warm color like brown and the tendency or the, it's very easy to put it down as it is. And then um really worry about how you can get the color related correctly, but just remember with shudder cutters that really you need to cool things down. And but of blue, in most cases, some cerulean blue will do the trick. So really nice variety of shapes, variety of little colors and details to still simplify. But bring them in into this lovely wall, suggesting the rounded shape very simply, a few brushstrokes that all it it's required, but a broken color to suggest the stones in the wall itself. Simplicity off the shapes, I think, is so critical. It's so important. And if you can learn anything from this course, it is about the simplification off shapes, suggesting a lot of detail. There's a lot of information in this reference, but we don't have to put it in. We just have to suggest it, filling in a few of these cool shadow colors as well middle value greens, in fact, because the mater off the countryside, most of the grasses leans towards the yellow green, so we actually use more yellow and yellow worker in the grass colors than green itself. Now in the writer inside, getting more direct sunlight so warmer color this blue in the green s'more Euller and he saturated as you go into the distance, but more blue, but more white, broken lines, Broken edges don't make things too symmetrical. You don't want this road. You don't want this road with the solid lines hitting into the distance at speed. We go to break those those lines up and get the more gentle moving into the distance. Little firm handouts on the edges, off the trees. That's what it takes to suggest the sunlight and warm light so warm light have more yellow because yellow is the color of light, really, so just follows. You add a bit more yellow and you get a sunny color fruit. What I tend to do is look quickly at the reference, not spending too much time on trying to digest the shapes in that reference, but quick loans and then putting down the shape on the painting, only working over with the critics the darks of nice and dry. I can paint over them with quick strokes on confidently, knowing I'm not going to mix in to those. And that also will help us without oil stage, just rough lines for the roof line. I'm not using a ruler or any devices. We're painting in a loose style or a painterly style, so we don't have to worry about that top thing. I always tell people when I'm doing buildings in my paintings. I'm not an architect. I'm not paid to build a house that's going to, um, that's an architect's plan. I'm just painting a loose impression. So I went to building Teoh suggest it's shapes, not have them drawn with the lines on painting. In fact, with shapes and not lines. That's cool. Reds off trees in the distance, a bit of a lizard in crimson or magenta, and you've got that color. A few little highlights here and there. Suggestions off flowers and remember, just squint your eyes. Little closer islands Just a little to squint and look at the reference and your You lose all the distracting details and just takes a bit of warm white to suggest those flowers on the left, for instance. So there it is. We're pretty much at the end of our critic stage, and I think we've set a good basis for oils on Doyle's Always a fun pot. So as you can see everything necessary already down in acrylics 9. Step 4: Oils - Prepare Surface: Okay, These are critic painting completed, and we're ready to start the oil painting stage. But before we start putting all paint onto this painting, we have to do a blaze. What is a place where basically, it's a mixture off parents with a medium? In this case, we're using some oil paint and I'll be using a bit of burnt sienna. And then the medium comprises Morris, 50 50 proportion off linseed oil and artists plant spirits. So what's the purpose of it? Plays or put it glaze onto the completely dry critic painting to create a wit surface on the critic, painting a surface that is going to make that will paint much more workable and go on nice and smooth. The wit, Super says, well helps me to modify the edges of the world paint because, in effect, on getting a wit into wit painting surface. Remember, there's no oil paint or no wit oil paint layer that I'm painting on top of. So I'm substituting that with the glaze, and it has. There is some effect. Another Ed wanted off the squeezes. It gives a nice, warm overall harmony to the painting as well. I'm painting a warm, sunny landscape. So I'm putting on a nice warm glaze. The glaze is gonna effect some off the we'll paint. I'm gonna put over it as well. Special on the road, on on the wall and maybe on the sunlit trees so you will get a bit of that warm color. Influencing the oil paint us well blazing is an excellent technique to use, and when you'll be using in the future with your oil paintings as well, it gives a nice rich I'm effect to cover. Just remember all those painters over a fully dry painting. Let's over look at the materials I'm going to use and the glazing stage. And here we have the completed a critic painting, ready for a coat of clothes. And, uh, I've made a few little changes to the painting. The pitch of the roof. Just alter that have added a couple of figures in the distance. They for a touch off life and interest on the roadway. Other than that, we really I think so. Let's have a look at the materials, a typical sort of pallets that I will use more warm earth colors, especially with the subject on and but otherwise titanium white, yellow polka, burnt sienna kept me, um, yellow lemon cap being read a lot. Listen crimson burnt umber and on the cool side, ox marine blue surreally in blue. I go toe all the smart spirits, which I usually used as a medium if necessary. But other than that, the elements for putting together the glaze. As I explained some linseed oil, I'll just pour that into container more or less off 50 50 ratio. You don't need really a lot, but here's a little white spirits into it as well. Not too much. And that'll help to dissolve. But a for paint. I'm going to use a nice big brush as well. That's big bristle brush. We want to get the glazing over quickly and quite generously on, just to get that nice and loose and soupy. Okay, there you go. Drop painting. Now just brush it on. Just get a whole thing covered you can see is the Glasgow goes over. The darks, especially on the greens, are the richness off those colors just comes out. So definitely grazing is a technique can use more off in all your paintings and just look it over that road. Immediate harmony, as well as the entire painting, is covered with the clays. Almost like Falter on a camera, for instance, influences the entire huh thing that you see. Okay, now you conceived wet surface, oily and ready to accept the oil paints. It will be a few things that we still have to do in the next video. We'll show you wiping off what needs to be worked off on where we can leave a bit more plays, and when that's done, we can begin to paint. 10. Step 4: Oils - Remove Glaze: Okay, now we've got all the glares on the painting panel. Now it's time to take it up. We need a cloth, lint free cloth or some tissue paper, and we're gonna wipe off the excess glows from the panel. But don't worry. They will always be a home of oil left over. And that's what we're looking for. Let's see how this is done. So years are painting panel completely covered with the delays. I've got some tissue paper on day, I'm going to start wiping off the glares, especially the road and sky. So you restored with sky area. See the glaze coming off quite easily. Just wipe. It'll off. As I said, quite a bit more in the sky. It's still got the form off oil on it and just keep working the entire surface and get the excess off so you can see all the excess oil is off. But they're still a form off oil on the surface, which will help us without painting and an overall lovely warm harmony as well. Right now we've got all the blaze or for the excess clothes that we don't need, and the painting surface is primed and ready for the oil painting stage. We're going to get stuck in with some nice, juicy brought rich oil print and turn this painting into something really special. 11. Step 4: Oils - Block In: so generally work from the top down and work from darkest to lightest and then block in the middle values. So a few things to have a look, it in the structure or composition off the painting. A few guarding lines, the line of the hill diagnosed there, just below the roof line. And then the horizon line at the end of the road, just slightly under the halfway point of the painting. I think so. All these lines balancing out like this actually create quite a nice, peaceful composition. The color above the horizon or sheets above the I'm Hill is woman, as you can see, and we're going to Grid eight, that scar with a warmer a lot heading to the cooler blues as we go up. I like to keep the sky a bit off activity in the sky, but of texture, bit of movement. So first things first into the titanium white oil paint, mixing a little bit of Iloka and bring that in above the hill and you get that lovely, bright, strong oil working already. I really love the stage with the painting. My favorite part. Add a touch of cerulean blue into the mix as well, and they are times when you may see. See that thesis early in blue. Angela Erica give a slightly greenish tinge to the mix as well, but that doesn't bother me as long as it's very subtle and is leaning towards the yellow arca in landscapes. There is always a bit off reflection from the land into the sky as well, and that greenish tones can be quite a realistic. And one doesn't actually realize that until you leave it in there and you see it looks just fine. So working fairly quickly, using the number six brush on and bringing in the bit of blue to grid eight the sky as it rises up, getting some scar holes into those trees as we work but were touched on those and a little more detail just now. The brush doing all the work, really just moving the pain, Theron blocking and pretty quickly and getting a natural texture. Now the scar holes slightly dark of value to the blue because the slightest coming through those holes, so we have to make valuable darker we can work back into these sky holds. You don't have to doing putting too many. But if you have done work over them again later on and also it hopes to soften the edges a little Aziz, you can see now that we've got the scar pretty much blocked in the scar being the lighter slight. There's also a lot of reflection onto the road. So I'm going to treat the road as also a light, slightly talk up, then the scar but but nevertheless is quite a lot area. So I'm gonna work that in now and get the road blocked in before we move on to the darks. In normal circumstances are probably get the darks in first. But the thing with working from acrylics to oils is theme. The critic darks already so mostly established that our fuel, it's I could go straight into the lights. No, the road has really got a lot off mass texture going for it already. So I'm not gonna paint over everything are more concerned about the direction line. So I'm bringing those in and leaving some of the existing acrylic showing through in the distance or so quite light store, but slightly cooler so you can put a little bird off blew into that mix just to make the distant road. I'm settled down and but and improved aerial perspective, lots off direction lines in the road, naturally. So don't try and lose those. There are different colors as well. There are bluish gray lines, um, a little cut out into the sidewalk area. Put those in the crate on amazing natural appearance and look as well, and the glaze that is on the surface is working as well. It does tend toe womb. The cools up a little, especially the white, so that's a pleasing result of the glares. So they little butts off blue. Revel um, almost ah, warm blue or gray violet. You can make set with the best to really in wired. The touch of a lizard in and bring that in adds to the texture adds to the warm, cool, contrast and color temperature all far more naturalistic and try and do these lines with some confidence. Lords of brushstrokes. Now we're going into the docks. As I said, a lot of the docks already established, but the oils are just stronger. So let's get those in and my favorite mixes for darks and oils, burnt sienna and ultra marine blue, a bit of a lizard in crimson as well. Another alternative and more advanced color, perhaps, is Sailor Green and Eliza in crimson was to very strong, transparent colors. But in the sex size, stick to the burnt sienna and ultra marine. Put those darks in with some confidence. Some swiftness. No need to be too precious about it. If you need some gardens, the best tip is store. Look at your reference and just squint a little and that'll show you with the dark. Shapes are in your reference and just go with that. Put the dark stone obviously direction off light from left to right in this painting, so make sure your darks correspond with that. Sometimes you do find beginners. Put term darks on the incorrect side, and something just doesn't read correctly. And it's a simple little error like that, so make sure your darks and shadows correspond with the reference and the natural effects of light. In the reference, you can see immediately these oils or darker as well, creating a lot off dynamic power to the painting. The contrast Dream light and dark, and I do everything I can to take advantage of that natural phenomenon. As the dogs progress to the middle on and back area, you can add a bit more blue to cool those dark stung. These distant features off the trees keep the edges softer, so just feather the the brush a bit. You're working wit into it so you can use the brush to just break the edges down. Soften them, which is a natural effect created by aerial perspective and your notice on us byproduct. Off that off, modifying the edges is the bluest. Dark creates a nice little violet halo to the distant trees, which helps once again to soften those edges and create a natural effect. So there we can also see in the distance we need to emphasised zero perspective. It's on. Bring a bit more off white and blue into that green to credible grey green effect on immediately that just pushes the road back some more and creates a sense off something around the corner them so we can move into that area. So a few extra darks to keep in mind as well, and you're in these trees on the right. Re establishing a few of those darks are very often lost in the printing process. So in the mid way stage, you always look to reestablish. Compare shapes, compare values, see if you need to bring any of those darks back in again. That's building on the right n side, getting a bit off direct lights. That's going to be a little warmer. The titanium arts, some yellow curry just to warm it up the house in the focal area ever is not getting direct lot, so that what is actually fairly dull, um, a bit of blue in there just to break it and put it in the cooler range. Bring in the center and you get a much more natural effect that's not trying to compete with the wrist off the painting. 12. Step 5: Refine Shapes: right now into the middle value stage where I'm developing those colors, really the bulk of the colors, probably ranging between the darks and the extreme lattes. Now this sort of middle distance to distant trees, I went, Oh, a soft sort of edge to these trees. Your notice that they appears to be sort of a violet bluish haze around the edge, off the trees as lattice filtering through the ages of those trees. So I'm expert of Eliza Rin and little bit of ultra marine blue into that mix and just touch around those trees, and it creates that visual impression off luring ages. I think that's probably a good description of it, and it has a very natural feel to it. You don't want those for shapes to have hard edges like you've stuck them down onto the canvas. They need to blue a bit and head off into the distant areas, now, adding some broad green but not highlighters, yet very little white coming into the mix as well. That's mostly cabin, you know, Lemon Onda, bit off arch, marine blue, but obviously leaning towards the yellow spectrum, I'll bring in more white for the highlights but this is middle value. So it's mostly, um, color in the form off yellow and but of blue. If I want these greens as I'm doing your little cooler, prefer to add a bit of surreal Ian blue, which is a cooler blue, in my opinion. And that just cools down. There's greens that are not in direct sunlight. Andi. Just now a little bit of white into that mix, and you can see what a difference has little highlights to make. Of course, we love putting on highlights, and we tend to overdo it. A swell, but try to have less highlights on. Set it all up with middle values and dark so that a few highlights have a lot of impact. And this is sort of a focal areas. Well, this building, so few more highlights around it, right? This mountain, I just got Teoh bring up a little bit of information into it. Yellow polka, cool down with a bit of blue and de saturated with a bit of white. I don't have to do too much to it, but we'll see as we go. How much remains? Just got a test that value little Mike decision, Is it its not too dark looks, erogenous. Just block that area in on. And now the the hill is nothing pushed back a little further nuts but off color. It was a good splash off. Cool, rid. So I'm gonna pop that in there. Contras ist burst off color like that and colors in the radio range. Very nice to add into the greens as well. A few spots off I'm bread in the green areas hope to just break up those greens, make them a little less boring. Perhaps just a few dots of red really set those greens off nicely. Now we go to get into these trees on the left, these eucalyptus on the right. I mean, these eucalyptus trees on the right, leaning towards the sort of orange color they're getting direct sunlight, and I'm gonna just push them towards the orange spectrum. So a little extra rid mixed in with the yellow touched off blue. Adding a little red to greens tends to de saturate the greens and pushes it towards the sort of olive green which also I think works quite nicely in this Well, these eucalyptus trees as well. So coming on pretty well. I think it's just develop a few of these shapes of the trees on the right. A little lighter touches here and there. Just a little color. Notes just dabs off color, not sweating about details, not trying to plant leaves or twigs or anything like that. I'm just squinting at the reference to oscillator shape, but that shape in and it's done so pretty happy now. Not too much more to do the cross and the runt, but a yellow polka nodal touch off cerulean blue into it. But just broken color, Really, But a your local, a little bit of burnt sienna and a few yellowish tinges off, but a cadmium yellow lemon but of yellow Erica Flick the brush up into the bushes. Create a bit of broken effect there as well, suggesting cross a little bit lighter. The main thing is to break up the line off the road on the side. Don't have it. A straight line just touches here and there were you wanna see a bit of lot, so in a cool, dark patches, throwing a little bit of light. But remember, it's reflected light, not direct lights. I don't overdo it. Okay, Now we have to look at these shadow areas as well on the wall. Got to get that sorted out. So with these shutters arm using a little bit of a Liz, Aerin and blue and some of the local color, which would be yellow Oka. So I've got a cool it down because it is in the shadow. That means throwing in a bit of blue on That gives us sort of gray bluish Tschetter. Shadows are cool, of course, in sunlight, so they must have some blue in it. And the shadows of such a nice effect throwing in a bit of violet Now into these shutters off the bush coming over the war Onda fear these shadows long wool touches off all its leaning towards the blue spectrum always had so much punch to the shallow areas. Bring some interest into the shadows. Don't leave it flat. And, of course, violets and blues next to yellows and oranges set up that was complementary relationship. Okay, this wool is as a mention before it's warm color, but in the shade Forget that. Just need some that a potential color the eye can see in the reference some blue or I should say, some yellow on, uh, adding a few color notes in there, breaking up some of those cool, dark areas curving. That's bitter. All right, let's get into this war looking set up correctly. Perspective reading correctly. So it's working some color I'm going to be using Been sienna. Similar orca Cool down a bit of cerulean blue, maybe wanting to get the broken color effect. So where you see you put down a color that is warmish some color next to it that is cooler , and the two work nicely together. Solar's Ask yourself, Is this color gonna be warmer? Isn't gonna be cooler than the color next to it and also is a gonna be lighter or darker than the color next to it. While having a variety off warm and cool and light and dark, you get an interesting painting just sort of happens, so don't worry about it too much. It's quite simple when you apply those basic principles of all in the distance, but darker and cooler as it heads away and warmer and lighter as it gets closer to us. That gives us the that sense off aerial perspective. Top of the wall catching a bit off hot, a little bit off yellow cake with butter. Warrant exactly cool down or the touch of surreal Ian as well, just to de saturated a bit more. Well, it will add in a couple of extra highlights. Just one eye tick. Try and get that curve of the wall suggested Very nice feature, and now they're highlight but a son catching the top of the wall, adding a nice bit of sparkle, obviously working really well against the dog shudder. You can adjust with finger a bit here and there just to soften an edge. Okay, that's looking pretty good. Few touches to the building, little highlights in the wall there in the road, bringing a touch off, brought of titanium and yeller, especially in the foreground. Here. Just a few, but of punch, I think, but a bunch of color just to add some energy into that full ground. I think we're almost there. We got to do something with this hedge that needs but more detail, blues and violets, bringing a bit of life, but of interest into the dark as well. That's quite nice, right heading towards the finishing touches 13. Step 5: Finishing Touches: and now we're getting to the finishing stages of the painting. So if you want todo cae out to finish off a painting, maybe the sole answer some of your questions. So now, looking at these roses, catching the sunlight on adding a bit of titanium white and a little bit of Iloka to get the highlighted flowers. Not too many, of course, just a suggestion. A lot of what we're doing in this final stage is just fine tuning, especially the little highlights, like flicking up a bit of warm titanium white on the cross as like catching some of the taller grasses. Obviously biggest shapes in the foreground and smaller shapes in middle distance and in the far distance. Nothing really, because those details disappear, so you don't want to add things like that in the distance. The flowers in shade add a bit more blue and cool them down, and you can see they're just some interest in the shadow areas as well. Overall, very close to completion. You've got to really think about where you need to add more touches, but these trees on the right definitely need finishing off, re establishing some of those scar holes first and then going over them with any other details, suggestions off branches and tree trunks. In this case, I get out the thin brush and just start putting in a few loose lines, some darker ones to suggest raunch is in the Rio in the shadows, and then a few others with a bit of burnt sienna to indicate branches getting bit of latte . If you put up a stroke in it, it's too hard. Soften the edge. Could did you using my finger or the edge of a brush. But don't leave details like that with ages that are just too hard and you don't want it to stand. Artem grab too much attention, so suggestions off details. That's all it takes till a firm poll also be catching with a lot on the lift. Insides are added in but of warm color sort of. Do you saturated burn CNO. You don't want to to Shorty just a little defined. The three dimensional element off these eucalyptus trees will be emphasized with a few highlights on the edges, and coming around to the front from a tree is sort of rounded, shaped three dimension. It's not a flat, two dimensions. So we got to try and suggest that with a variety off light and color few touches along the way. What a team to do is just step back quite often at this point and just see what area comes first. To my eye may be that is the area that needs some a little bit off more attention. And, of course, like all artists are like putting in these highlights. But I got to be selective. Gotta pick out where it will have most impact. Few little touches like these telephone wires, just quick movements. Make it one movement attend to. I believe that if you look to where you want to paint the line than your reach, it it's like driving a call. Okay, a bit of Latin color into these figures, really. The only time I use the tiny rigger brush and just a little tip have one leg longer than the other, which suggests movement forward figures are walking. Tie up the figures with a shadow leading from where the foot is touching the ground and make sure the head is not too big. It's very easy to to do that and perhaps unavoidable sometimes in such tiny figures. But long as it looks mark, it's part off the landscape and then sanded off. Walk away and it's done. 14. Assess the Painting: right there we have it. The final oil stage complete and are painting is done. I'm quite happy with the final result. I think the nature off this little village on this roadway has being captured and what I really hope that has helped you to see that how quickly you can actually complete a painting like this painted in one day with, or not having to use too much oil paint. So if you are getting into all pants and you're nervous about all those layers of oils and building up the painting and getting into lower layers and mixing up a whole lot of muddy oil paint, this method can give you a lot off peace of mind and confidence. As you build up the painting with the acrylic state, one layer of oils and that is it. It is completed, and you can use this method throughout your painting career. It's not just for beginners. Many professionals use this approach as well to speed up the painting process and get to a more spontaneous approach, perhaps to the painting. It is part off a process, and you can adopt it would develop it as you like as you're painting progresses, you may going to exclusively in oils and start painting from that, which is fine, too. But there are times when I do take out the acrylics and use that to get a quick painting, taking advantages of the quick drying nature of their critics and then adding some oils for that punch off color and light. I think that is my biggest attraction with oils, and that is why I favor them is that they give me that lovely, opaque, strong, juicy energy and color, and I simply love using it. So best off birth worlds. I think the other aspect off this painting demonstration is to show you the effectiveness of using large shapes and a fairly large painting brush. I pretty much did this whole painting with a size six brush. I could have used a size eight very comfortably as well. A few little details. In the end, a few branches, telephone lines, things like that and the figures. I used a rigger brush and, of course, to sign my name. But that is fairly insignificant in the grand scheme off the painting, the energy and the liveliness would have been lost if I had started with a tiny brush and persisted with making little dabs and little brush strokes. So that is a big take away. You can get from this course as well. Larger brush larger shapes. Instead, focus on the LAT and the dark on the warm and the cool. If you can communicate those things, you will have a strong painting. I do go into these concepts in considerable detail. In my course, learn to paint with impact. So if that does grab you and you want to go into that in a lot more detail than you want to check out, learn to paint with impact. But even after you've done that course, you can, of course, still use the critic two oils system, and you'll be very happy with it. In the end, I want you to be able to communicate the idea that you had behind the painting, in this case a womb bright, colorful but peaceful village seem whatever that subject you painting. Focus on communicating that one idea used. These methods used bold brushstrokes, use color, use light and dark. But tell the story. Get that one thing over, and that is the essence that is what you need to achieve and always remember the light you want, a painting that conveys light, and the way to do that is to use the values of Latin dark effectively and color. Temperature warms cools. It's not that difficult. It does take practice but have the pleasure off knowing what you want to communicate and doing that in a simple and effective means like this. And that is the fun. That is when you know the painting as being a success. When you feel the mood when you convey that in your painting, you'll be so much happier for it. And I think this method is going to make that more achievable for you. So have fun with your painting. Approach it with confidence, approach it with Arthur K and just let it happen. And I wish you all the best with your painting. Enjoy it. And thanks for joining me on this course.