Impressionism: Paint Like Claude Monet

1. Impressionism: Paint Like Monet, Introduction: Hello bonjour. Welcome to my new course. Impressionism. Paint like Claude Monet. My name is Isabella and I'm an artist painter from Edmonton, Alberta in Canada. It is my pleasure to introduce you to the painterly technique of the great French impressionist master Claude Monet. I have chosen three masterpieces of his. First, or the water lilies. The second is one of his amazing landscapes. And the third is an image representing venues to paint for you. While painting, I will provide you with step-by-step instructions to help guide you through the process of painting your own masterpieces. In matter of seconds, beautiful masterpieces will come to life in front of your eyes. And all of it by discussing more or less color palette, compositions, mark-making, texture, and all the possible painterly tricks of the trade that to make such an amazing and unique master. By the end of this course, you should be able to recreate three of his masterpieces and beer either to create your own paintings in style of bone that you can use and reference, as well as subject matter. Since moon there was a very versatile artists. For your convenience, I have included supply list. Please feel free to use any additional color you have available to you. This course is divided into sections, each providing queue with a specific set of information to guide you in your own process of creation. And don't worry, the instructions are simple and easy to follow. So without further ado, let us begin our artistic journey. Have fun. 2. Project 1 (Water Lilies), P1, Primer & Sketch: We'll begin with application of our primer. For this purpose, we will use blue color and then blue will do. For example, you can use Sergio Leon, ultramarine blue or even tale of law, makes sure that you dilute the paint with water and apply it on the surface of your canvas with a white brush without paying attention to visible brushstrokes. The purpose of the primer is to cover the white surface of the canvas and nothing else. Then we can move on to sketching. We will use the same blue color. This time we will not dilute it with water. With the pointed small brush. We will start creating the outline of the water lily pads or leaves in terms of grouping them together, will be not concerned about victim them exactly. This can be changed. Why continue painting more details? 3. Project 1 (Water Lilies), P2, Water : To paint Walter, we will need to switch to either field bird shaped or blob brush. This size, I also change to a medium width, for example, half an inch up to three-quarters of an inch. Remember that we can use the brush in its full length or sight of it. Week, use two different kinds of blue colors, such as, for example, ultramarine blue and cerulean blue. Or maybe if you prefer, ultramarine blue, paler blue, and mix it with different amounts of white to achieve various tints of those two blue colors. We don't want to get the same tone of blue applied all over the surface of the water. Instead, we will vary those tones. Depending of the placement. The paint should be applied with horizontal brushstrokes of one to two inches, blank. 4. Project 1 (Water Lilies), P3, Tree Reflections in Water: To create a reflection of the trees in the water, will need to switch to green color. For that purpose, we can use the log green mixed with some yellow color and y or amacrine available to us. The trick is that we have to mix it with some white and maybe even some of the oxide yellow color to give it proper opacity. That means when we will apply the green color on the surface of the canvas, we will not see anything else, but this particular green color that we mixed beforehand. The strokes will vary from vertical to horizontal and the length as so, we'll switch between one to two, even four inches in length. The trick is to mix the paint wet on wet. 5. Project 1 (Water Lilies), P4, Lily Pads: Time to switch to painting their water lily pads. We'll use variety of green collar, but most importantly, we can reuse the grid color that we used to paint reflections of the trace in water. We also are some of the purple color mixed, of course, with tiny bit of white to get the proper opacity and recreate the oval shapes of the lily pads. Then using green color with more of the white mixed or blended with it. We'll apply the paint to this surface representing the empire leaves. For the contrast. We will also add in some places and light pink color and work with some additional yellow colors. My strokes, as you can see, a very loose, they are not following exactly, just approximately the shape of the lily pads that were created during sketching. What I pay attention to is to create a nice contrast. When I talk about contrast, I mean the complimentary color contrast by using pinkish or in this case say, kinds of light reddish color, alkanes, green color of the lily pads. 6. Project 1 (Water Lilies), P5, Water Lilies: Once the lily pads are established using green and light green and light pinkish color. We can then move to painting water lilies. Just a remark. To give extra edge to our lily pads. We will use purple, mostly underneath of them to give a little bit more volume and contrast. The water lilies can be created by using first a little bit of the green color representing this time. And then flowers. How we do them well by using some yellow color, some pinkish Scala, as well as white in some section. Now, when I talk about pink, I'm talking the color that is in a very nice contrast to the lily pads. It's a darker pink with some addition of white pink. And why? 7. Project 1 (Water Lilies), P6, Water Light Reflections: To bring my own life to our painting, we will need to include some lighter reflection in the water. This time, we will use a light pink. Even in some sections, white collar apply with horizontal brushstrokes. Specifically there, where we have some green color reflected in the water. It's important to have the pin. So here we're playing with two different aspects of successful painting. One of them is to create temperature contrast, having quorum color of the pink and the cool color of water, as well as reflections of the trees and leaves. But the second as equally important contracts is the contrast of tongue. We have the light colors versus dark colors as the reflections of the light in the water at, in contrast to the dark blue collar or medium dark blue color of the water. 8. Project 1 (Water Lilies), P7, Details: We will be moving now to the details of our painting. We pay attention to creating a nice contrast if in terms of their use of dark and light tones, as well as playing with the direction of the strokes. This time, they can be horizontal as well as vertical. The most important is to bring this beautiful contrast of water with its reflection to the groupings of the water lily pads. Since this is an impressionistic painting, we want to make sure that the colors that we use are bringing the brightness and happiness to the entire image. And that we also, with the brush strokes, create this effect. Almost like a drops of rain hitting the surface of the water that we can see. Each of them separated, but at the same time, those strokes create a unified composition. So there's vibrancy created with the use of colors that are in contrast to each other, as well as with the brush strokes, then bring more energy into our painting. 9. Project 1 (Water Lilies), P8, Water Lilies Refinement: We are almost at the end of completing our painting. We add some contrasts. We add some new colors by looking and the entire composition to make sure that the painting is colorful. That brings the vibration of the colors through the use of strokes, either horizontal or vertical. That we also bring a little bit darker color underneath of our lily pads to create a contrast and to also let them sit on the water. As you'll notice, they're lily pads and flowers that are placed in the back or in the space after I present, the back are less refined, is just even more of the impression of the flowers. What we want to concentrate in terms of giving more of their shape or details. Or the water lilies. On the first plane, the one that we can see in the lower left corner. Where do we use a little bit more of the yellow and pink colors to represent them. But at the same time, we can't forget about the beautiful settings and groupings of the lily in the back dose without specific details, but with using the contrast can so beautiful at, to the entire block of our painting. 10. Project 1 (Water Lilies), P9, Water Reflection Refinement : At this final step, we want to have a good look at our painting to determine what still needs to be added or maybe what needs to be covered with a new set of paint. We have to have a strong clock on our composition to see if the groupings of water lily pads are correctly introducing our viewers into the space, then we want to see if the water lilies are creating contrast to the leaves and water. And again receiving bag, they should just show us the grouping cup flowers without any specific details. And of course, to unify the empire colors composition, I like to call it and see if nothing is coming out of balance. We have to adjust the reflection in the water. A little bit of civilian blue attach of ultramarine blue, sometimes mixed with tiny bit of white or just with cerulean, will give us the proper contrast between the lily pads, water lilies and the reflections of the trace in water. The stroke that we'll use should be either horizontal or vertical. This way, the painting is complete. The last look at it. And evil are satisfied. We can put our brush down. 11. Project 2 (Le Grand Canal), P1, Primer & Sketch: We begin our second project, lead crown canal, by applying primer to the surface of the canvas. I'm using pink color because I want to create an interesting contrast, having blue and green colors applied on the surface of the water and buildings. Later on. Notice how I apply the paint. I do it with the wide brush without being very much concerned about direction of the strokes. Because later on, our smooth the surface by moving the brush vertically and horizontally. Once the surface of the canvas is covered with primer, we have to let the surface dry. After that, we can proceed with a sketch using green and blue colors. The most important feature of the sketch will be the line that defines where is the water and where the buildings place, as well as the beak wooden pole. We can use green color such as Yellow Crane while moving to the buildings. They're preferable color will be blue color, the darkest one. Therefore, by using acrylics, will want to make sure that the blue paint will be diluted with water to get a lighter tone. We start with the big domes. The first one, the closest one to the wooden pole, and then the smaller one. We are not worried about defining every little detail at this stage, this will happen later on. Why applying more colors will then define all the shapes of the architectural structures by working from outside, for example, on the sky, as well as from inside, adding the colors and shapes inside of the things. We also have to consider. The real things work consist on two different planes, one facing the water and the second one that will represent the side. These planes have to be created with slightly different color combinations, which we will work on later on. Another important section is the one on the left side of our Canvas. There's even less refinement or details to present on what you want to have. There are indication of the older buildings very far away, as well as some of the wooden poles receding back into the space. This time we can rely on the use of blue collar as a base for the wooden poles. Now, those wooden poles should not follow just a vertical line. They have to have this organic cloak of the polls that have been immersed in water for long time. And therefore, they can be slightly placed under the diagonal line, al-Assad receding back into the space. Those wooden poles have to become slightly shorter as well as narrower. 12. Project 2 (Le Grand Canal), P2, Water & Sky: First Layer: Moving on to painting. Our water. Of course, the water won't be completed in one layer. So therefore, we have to think what will be the first layer and then which colors will we use later on to create the effect of water with reflections of the things in water that is moving, water that has vibrancy and live in it. Therefore, as a first Karla, we will use Naples and white. If you don't have Naples color, you can simply mix white a little bit better, a little bit of yellow ocher, and some of the cadmium yellow light. The stroke should be short. It could be quite wide and horizontal. Then we'll move on to painting the sky. This time, we'll be using quite mixed with blue color. For that purpose, you can use ultramarine blue, cerulean, or even paler blue. But in the super small amount, then our strokes will be skinnier or narrower in comparison to the strokes. We are applied in section representing quarter and the direction will be diagonal. We don't want to create the same poem. It's all over. We also want some of the primer color coming through. So therefore, not every inch of the surface of the canvas has to be covered with paint. Remember, there's a reason why we use primer and why this primer is of the pink color. We want to show it so that we can create even more interesting contrast among colors applied on the surface of our canvas. We can also add or tone up Beth ignition and color definition to our wooden poles. And then move to painting or refining. The blue color on our buildings. That blue color that we want to use could be ultramarine blue, pale blue, or even if you have cobalt blue. Now, we will concentrate with the application of slightly darker blue on one part of one side of our buildings. The blue, of course, will be prevalent in all parts of the buildings. But the main position of the blue collar should be placed on one side of those two sites represent, think our buildings. 13. Project 2 (Le Grand Canal), P3, Buildings & Water: Blue & Green Layers: We are moving to this stage in which it is important to divide various planes on the facades of our buildings. We have to make sure that there will be a dominant color on each of the planes. The one that we chose presently, the plane facing water or canal, will make sure to use blue collar at different than cerulean blue. The blue collar has to be darker. Either ultramarine blue, cobalt blue, or even fail or blue will do the job. The strokes are approximately one to two inches long, skinny, narrow. Mostly. The tone of the blue is medium dark. In some places for greater axons, we can apply the blue in its full strength. At the same time, we can also bring some of the light blue cerulean mixed with lots of white or even ultramarine blue or cobalt with a gain greater amount of white. And with diagonal strokes, we can apply the color in the sections representing our sky. The far south, covered with predominantly blue, is the plane facing canal. For the other plane of the architectural structures, we will use another dominant color. It is always important to differentiate them. Otherwise, the 3D effect won't be achieved even though the structure can be well drawn in terms of lines and perspective. At the same time, when we have a right color, we want to add reflections to our water. So we have green color and the blue collar as present in our walls. At the same time, we strengthen the blue collar in the wooden poles. Of course, as reflections of the buildings in the water, especially the line that divides water from the sky. And buildings, needs to be emphasized with strokes of darker blue and darker green color. So again, the facade of the buildings that phase the canal needs to be emphasized with the use of blue as a dominant color. Green color as well. At the same time, will pay a close attention to developing some structures. In our buildings. This doesn't need to happen right away, but with each additional stroke apply, we will get the structure more detailed or more characterized. 14. Project 2 (Le Grand Canal), P4, Yellow, Red & Pink Colour Application: In our next stage, we are moving to defining the second plane of our buildings. This time, we will rely on the use yellow ocher or oxide yellow color and some pink and red. The yellow ocher color. It's a very warm, earthy color that is very opaque and therefore nicely overs the surface of our Canvas. We will not see true the pink color of the primer. Therefore, if you plan to let some of the primer be visible, make sure that the entire surface of the wall of facade, representing the second plane of the buildings, is not completely covered with yellow ocher or oxide yellow color. This trucks will be most of the case, applied vertically. Well be skinny, approximately one to two inches long. At the same time while working on the buildings with yellow ocher color, we also apply it in other sections of our painting so that we have an overview on the entire work in progress. The oxide, yellow or yellow ocher color in the full strength, all with addition of white would be also applied to the surface of the water. This time, the strokes will change direction. Two horizontal, one on the poles, stake in the water, so that partially we will be able to see green and blue coming true. However, the dominant color will be the color of the wall. And you can see that this addition of a little bit of burnt sienna mixed with yellow ocher. But we should not forget that the dorms of their architectural structures have to be also covered with the lighter colors to represent the plane on the buildings that is kept in line. Read will nicely suit the roofs of our buildings at the same time creating nice contrast. And of course, the color has to be repeated in our wooden posts. Then pink, well nicely complement yellow. Yellow, as well as the green color that we can still see in the windows. And at the same time the whole structure becomes more and more defined. The strokes that were applied, our body diagonal when it comes to the sky, vertical when it comes to the buildings, and horizontal when it comes to the treatment of the water and wood, the pulse, depending of its position, if it's vertical, strokes will be vertical and give the poll, leans towards one direction or another, will be diagonal. 15. Project 2 (Le Grand Canal), P5, Back To Light Blue: We are going back to the light blue to apply it on the sections of this guy in the water. This wireless, and mostly on the facade of our buildings. We already use darker blue. Some of the grain on this section of the buildings that is kept in the shadow. And now it's time to bring a lighter blue with the skinny short strokes, we need to feel the energy. And how can we achieve it? Well, by applying shorter, not too long, skinny strokes, one next to another. In some places. In some places some of those strokes overlap each other. And of course, the texture, we shouldn't be no cheap on the plane. We want to apply it a little bit heavier. So this way, we will create our soft texture on the surface of the canvas that will have natural shadows. And you can see that painting becomes more refined. Each of the strokes that you are applying refined particular shapes. For example, it gives us this sense, where are the reflections of the building is placed in the water. It helps us to feel where is the right position of the windows, as well as the shy of the DOM. 16. Project 2 (Le Grand Canal), P6, Creation of Contrast: At this time to work on contrast creation in our painting, we achieve it by using different tones as well as colors of different temperature. The contrast can be achieved by implementing complimentary color contrast using purple versus yellow. In our case, we are using column such as ultramarine blue being pose to the Naples column created by the use of white and yellow ocher or oxides yellow color. The same is with red that is mostly applied on the roofs of our buildings. In contrast to the sale of green collar use to create plans of our buildings. So these are very important ways of creating contrast in the painting. To spice it up, as I like to call it. And we'll play into it all the time. Attention. Similarity to more mad dog, use the complimentary color contrast extensively in his paintings. As you can see here. There's the use of the word and fall of the blue color contrasting with burnt sienna color, representing the regular color of the world, which again can be treated as orange color. All of it allows the objects included in the paintings become more vibrant. And as you'll notice, I constantly add plain, making the surface thicker. And the reflection in the water. It's a nice contrast to the water by itself, represented with the yellow, Naples, yellow and pinkish colors. This guy, of course, has this nice feel of light blue, light purplish color with some of the pink coming through. That's helping to create even stronger contrasts. Now, I can afford at this stage to define to the greater detail different elements included in our painting. So for example, the dome smell have the nice 3D effect. And this is done just by using the line, but also by creating this very interesting contrast between the darker tones and the lighter tones on both separate sites. Similarity stories with our wouldn't pose the colors that we have as the base. Now, our emphasize by some of the darker colors being in contrast to the basic ones. I am, the water constantly adding horizontal strokes of lighter and darker colors. Gouache keeping some of the pink color being present there. 17. Project 2 (Le Grand Canal), P7, Defining Planes: Time to define planes in our painting. That means we have to use more precise strokes as well as manipulate with colors. The way that we can clearly see which side of the building is, which. Now we change of cross strokes direction will change the colors, will create the tone now, complimentary color, as well as color, temperature, color, contrast to achieve those effects. So the precision at this stage will be important. We have to make sure that the facades of our buildings are the cup. That we don't have the buildings leaning towards one on another side, like in case of our wooden poles stick in the water. This is the regular process of corrosion of time. But in case of the things that would be impossible to be happening. We also want to make sure that you can see the chimneys on the buildings, that the dome structure is strike that the top of it does not move it in one or another direction, but it's perfectly placed in the center. And at the same time that the Windows, rows and columns follow the proper direction and scale. We constantly work with the cars by applying layer upon layer. And the best way to work is by working with technique cost wet on wet. And since we are using acrylics, we tried to paint quite fast and apply the paint with heavier strokes so that even when we come to particular place in our painting, 23 or even five minutes later, we still will be able to bring our mix, the new color onto the old one. This can only happen when the paint underneath is still wet or not. Try. Refinement is very important because the refinement allow us to see clearly the structure of the buildings. Which plane is the one that faces canal or water, and which one faces the site. And we do it by working with also the direction of the sun. One side is Lee Tuan by the sun. So therefore, we use lighter colors on it. Then on the other side, we use darker colors and different tones. As you can see, the sides of the buildings facing canal is created with blue and green colors. It doesn't mean that, that the only colors used in this particular section of the buildings. Now they add the domain that and actually the blue would be the dominant. And the second one will be the green with addition of other colors. Why it's there. Facades of the buildings. The exterior wall facing this side, o painted with strokes, Brinkema, colors such as yellow Oxide, red and pink. And even in some places, we can see the use of burnt sienna color. It's important that the colors will not perfectly blend with each other. Otherwise, the effect of this thinking Kali will be gone. We want to see separate strokes of tones and values, colors. We want to feel the thickness of the pain by observing the separate strokes of paint applied the surface, that texture is also an integral part of the process of painting used by Claude Monet. I'm still on the lighter colors. Actually I'm working with both the darker and the lighter ones. I'm emphasizing the shadow a little bit underneath of the roofs of the buildings to give her better contrast. Even though I'm busy working on the architectural structures, I'm still adding the colors that I have on the brush to all the parts of the painting. Since in my opinion, they tell us on nicely fit the other sections. That's how you do it by painting or by using the technique of loan that you dance with your brush on the entire surface of the canvas. The painting, which color do you have on your brush will bring their change, is the direction of the strokes of your brush. 18. Project 2 (Le Grand Canal), P8, Finishing Touches: Time for the last touches on our painting. I'll, what they have to do is to look carefully at our painting and make the decision. If we need to spice it up a little bit contrast here or there. Or if maybe one of the building structure needs to be straighten up a little bit, perhaps one of the domes need to have more of a vertical plane and place its top or peak exactly in the center. We also can low if Bechtel or composition is perfectly ways and if necessary, we can always change the tone or even color to adjust to the color scheme that we used in our painting. We can also look if some of the windows need to be straightened up. If the planes of the chimneys are correctly stated. And if necessary, add some extra lines here and there. The reflection, as you notice, don't look as strong as they used to have the backing and that it's happening when you have more time to apply more of the colors. Somehow. Some of those colors blend with each other and some of them just super only leaving on the top. So this way, the painting gets nice to refine. We are in control of its slope. And that also happens when we use color or specific color on the entire surface of the canvas. Even though we decide to print, for example, buildings, we still, if we think that this particular color that we just applied on one of the facades of the buildings will fit the water right away. We apply the color to the water as well. As you can see this painting, the primer Tala is feasible throughout the entire painting. Sometimes we had to strengthen, that needs to reapply some of the pink in number of sections. However, we also left enough of that uncovered surface to let the primer shine. I call it our painting comes to completion. I hope that this will be enough information for you to pick up your own canvas and working on this particular painting, learning the tricks of the trade of Mr. Claude Monet. 19. Project 3 (Wheatfield), P1, Primer & Sketch: All begin our third project the same way as we approach the first two. That means with the application of their primary color, I have chosen color called burnt sienna and dilute it with water. If you don't have burnt sienna, I would recommend to use either orange, which could be the mixture of red or yellow or red orange color or venetian red. You will apply it by using wide brush and don't worry about the direction of the strokes. At the end, you can go with another layer of the paint and smooth the surface. The sketch will be done with blue color, and I would recommend to use ultramarine blue and small pointed brush. You have to indicate where the horizon line up like couple of outlines for the trees, mountains. And that's it. You don't need to put more. 20. Project 3 (Wheatfield), P2, Sky: We were biking pink application with approaching our sky. For that purpose, I'm using a blue color mixed with white. You can use colors such as ultramarine blue mixed with white, cobalt blue mixed with white, or even paler blue. The most important thing that you'll mix the blue color with white in different amounts depending where you want to apply the strokes. Notice the way how I apply the paint I use for that purpose, A-flat brush that is approximately half of an inch. You can also use trick quarter of an inch or even one for. You can also use the side of the brush if you want to create skinnier strokes. Strokes will go diagonally. And also the direction would change of the diagonal lines in some places moving from left to right. Why India orders following from that right to the left? I use Y to indicate some of the clouds. However, as you can notice, some of the primary color is coming through. And even there are some sections that are not even color with that mixture of blue and why I've done it on purpose to create so-called complimentary color contrast, helping the blue of the sky become brighter. Remember we're still go back to the sky. So this is our first, the most important layer that will be later refined. 21. Project 3 (Wheatfield), P3, Field: We are moving to painting, our field. As you notice, there are two parts of it. The front one or on the first plane that is more greenish and the one in the bag that require us to apply orangey, yellowish, and red colors. At this stage, I made sure that they apply quite heavy layers of paint. I use horizontal strokes, very short and heavy for the top part on the field in the background. And vertical short strokes to indicate the height of the grass and whatever is growing on this part of the field. The field and the foreground has to have more of the green color apply. I'm using here the thaler green color. You can use any grain that you think will suit your painting. And of course, I mix it with y and some of the oxide yellow. It's even better to use Naples color. That is actually the mixture of white and yellow ocher or oxide yellow color. Strokes I applied similar way as the one in the upper field. They are short and vertical. Of course, a mixture of Greenland wide and some of them Naples color is not enough in this field to make it looking interesting. You have to also bring some strokes of the colors used in the upper field into the lower field to create coloristic balance. I also made sure that the tones of the green paint applied differentiate depending of the position. For example, the upper part of the Greenfield, since we want to create so-called complimentary color contrast by using dark green versus the red color placed in the upper fill. In the lower part of our Greenfield, we will be using more of the light green, yellow ocher Naples, as well as yellow, green colors to indicate that differentiation between what is in the folder grab and what is in the background of the green field. When we move to the upper field, we want to present the difference between the vertical and the horizontal plane of the top of the field. Therefore, not jars by using the horizontal strokes in the upper part and vertical or very steep diagonal strokes indicating the height of the grass or whatever is growing there. But also with the darker colors. Different cuts, of course, not just in terms of the tongue. Red, orange, as well as dark yellow will be the right colors to use on the vertical plane in the upper field in our painting. Now I'm still adding heavier layers of paint, especially in the horizontal plane of the yellow, orangey field. Because I want to almost like physically present that there's lots of going on. There's variety of different flowers or grasses. And that we really can feel them by even touching with our fingers. 22. Project 3 (Wheatfield), P4, Trees Details: We have to move to our trace. We already have nice blue color applied on them while working on the sketch. This time we'll move to the application of dark green color that will be created either by mixing black into the payload grain or simply mixing yellow with green. The blue in such a mixture has to be the dark ultramarine blue or tail of the strokes have to follow physicians of the branches. So when you have cypress trees, those branches would be diagonal and short. To paint them, we will be using pointed small brush. If you prefer, a little bit wider brush than the filbert shape, will be the best. Now, don't forget that even when you paint the bushes, you still have to apply heavy paint, especially because they are placed in front of the trace. Some of the lighter green has to also go on top of the cypress trees as well as on the field. In the folder ground. There has to be connection between the colors that you use in your painting. To strengthen the contrast in our trees, we need to add additional layers of the blue paint. But the way how we do it is to fill the gaps between the darker green strokes. The blow pain can be the same we use on the sky. However, the tone has to be at least three times darker. We also need to add hills or mountains in the back. We don't need to mark the mountains too strong, only needs to be impression of them. Therefore, the tone of the mountains for which we will use the blue color will be maximum two tones darker than the tone used on the sky. Some of the blue, the darker one, has to also go on the line dividing our upper field and the trace. This way, we will create an interesting tonal as well as the complimentary contrasts, since we use orange or similar to orange color and the upper field, hello on the line. The trees on the right side don't need to be as pronounced as the trees on our left side. If I paint them with the same strength and details, then the painting could be boring. Also, the size of the trees has to be differentiated. The trees on the right side are shorter than the trees included on the left side. We add some smaller branches to make sure that the trees look natural. Of course, we only want to create an impression. If you prefer to add some of the purple in the trace, that will be fine. You can also add some of the purple, but very, very light tone of it onto the field in the folder. Grab. This way you will connect the colors within the entire painting. Check at this stage, if you need a little bit heavier paint application here and there, especially on the top of the field in the bath or the upper one to create this nice division between the sections in the painting. 23. Project 3 (Wheatfield), P5, Field Details: Time to move to our field again to add additional colors that will unify the entire painting. As you notice, some of the colors in their field or not the local colors. That means the colors that you can see over there, such as the greenfield, the variety of different green colors, yellowish green, and blueish greens are sight of those colors. We added light blue, Naples color, purple color, and even a couple of dots of red. We've done it because we wanted, I call it spicing the colors to create some intense variety that would help the viewer gets excited. Similarly, they felt on the top has variety of colors included in that. A site of the Naples colors, we have yellow, red, orange, as well as some of the brown and light blue colors included in it to make it looking more interesting. 24. Impressionism: Paint Like Monet Conclusion : Hi again. I hope you had fun by watching the videos and now are added to create your own masterpieces in style of the great artist, Mr. Claude Monet. As you have noticed already, it is not a difficult task. You have to know are the tricks of the trade of this specific artists. You can recreate the same images I painted. Or you can right away, begin with your own creations using your own reference images. And also don't forget that we want to have fun while painting, because that's what it is all about. If you're enjoying my style of teaching, I have more videos posted on Skillshare educational platform. Among the courses that I offer are the painting technique of the great Dutch post impressionist painter van gag. That technique of policies and as well as methods and techniques of painting mountains and flowers in impressionistic style. I also plan to complete a series of videos on how to create a realistic portrait, as well as portrait in expressionistic style. So just wait for them. They will appear on the Sign. In the meantime, I wanted to thank you very much for taking this course, and hopefully we'll see each other soon. So for now, thank you and bye-bye.