Impressionism - Paint this Venice painting in oil or acrylic | Christopher Clark | Skillshare

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Impressionism - Paint this Venice painting in oil or acrylic

teacher avatar Christopher Clark, Professional fine artist and instructor

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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.

      1 1 Intro1


    • 2.

      1 2 Intro2


    • 3.

      2 1 Preliminary Drawing


    • 4.

      2 2 Preliminary Drawing


    • 5.

      2 3 Preliminary Drawing


    • 6.

      2 4 Preliminary Drawing


    • 7.

      3 1 Underpainting


    • 8.

      3 2 Underpainting


    • 9.

      3 3 Underpainting


    • 10.

      3 4 Underpainting


    • 11.

      3 5 Underpainting


    • 12.

      4 1 Opaque Painting


    • 13.

      4 2 Opaque Painting


    • 14.

      4 3 Opaque Painting


    • 15.

      4 4 Opaque Painting


    • 16.

      4 5 Opaque Painting


    • 17.

      4 6 Opaque Painting


    • 18.

      4 7 Opaque Painting


    • 19.

      4 8 Opaque Painting


    • 20.

      5 1 Finishing Touches


    • 21.

      5 2 Summary


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About This Class

Impressionist painting with a focus on light. Bring a luminous quality to your paintings you’ve never thought possible. Learn how to build a painting in one sitting, “alla prima”, and how to savor interesting brushwork. You will also learn the invaluable concepts of drawing, value, color, and edges. Use these methods and knowledge to start your painting off right if you're a total beginner, or to take your painting style to the next level if you're more experienced. You’ve never painted like this before.

You can paint along with me during this entire course. I even have a camera angle that shows my palette as I'm mixing colors. You will learn crucial painting techniques in the process of creating a beautiful painting. Or feel free to just sit back and enjoy the show as I create a painting from scratch. 

The reference photo I'm using is provided, as well as a materials list. You're free to use your own style of materials of course, but I'll list every single thing I use.

This course is partial toward using oil paint, and I highly recommend it, however you can use acrylics also. Many of the concepts I discuss in this course apply to all mediums of art. 

So take this course if you're ready to improve your painting with methods you've probably never seen before, and will have you thinking about painting in a new way. For all levels of painters.

Meet Your Teacher

Teacher Profile Image

Christopher Clark

Professional fine artist and instructor


I've been passionate about telling stories through art since I was a kid. In my home in Orange County, California, I used to watch Bob Ross (the afro-wearing painter of "happy little trees" on public access TV) and I would mimic his paintings using crayons. I grew up knowing that creating art would always be my life's endeavor. I was never fortunate enough to pursue a formal art education, but I've more than compensated by private study with accomplished instructors, collaborating with highly-esteemed local artists, and devouring countless art books and videos.

The art instructor who had the most profound impact on my technique was impressionist master Vadim Zanginian. Private study with Vadim in Los Angeles, California completely reinvented everything I knew about painting, and ... See full profile

Level: All Levels

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1. 1 1 Intro1: Hello everybody and welcome to my oil painting course called Impressionism painting with light. My name is Christopher Clark and I'm a professional artist. I actually do this for living. I've been painting my entire life as long as I can remember, I used to watch those old Bob Ross TV shows as a kid and he was painting, I would have crayons and I'd be doing what he was doing on the screen with paint Avenue and with crayons and paper. So anyway, for doing this for a long time. So I want to talk a little bit about what impressionism is. Real quick. I can get more into it as I'm painting. So does real brief. It's basically focusing on what light does to something and what light looks on an object versus what the object is itself. So sometimes we tried to forget what an object is and we just look at what light does to it, and that's what we want to paint. So we're going to be painting more of the light and dark of a thing instead of the thing itself. That makes sense. We'll get more of that later. So, and also, it's more about implying detail with clever, interesting brushwork rather than actually painting every single detail. So instead of painting every leaf on the tree, he would do a few interesting brushstrokes and that would imply foliage. So that's the kind of thing that we're gonna be focusing on. That's really what impressionism is. It does not mean where lazy with detail or we just don't put it in the detail. There are places where we do put in detail, but in such a way that it's, it's more focused on brushwork versus actually spelling it out in holding someone's hand and showing them every detail. So with that, we're gonna get into some more concepts about painting. 2. 1 2 Intro2: Okay, the four main concepts that apply to any painting are drawing values, color, and edges. We'll get into those more in-depth as we're doing the painting, you'll see them happen, but I'll just touch on them briefly now, drawing means the construction within a painting. It doesn't mean necessarily a line drawing with pencil and paper, like what you might think of. You can draw with any medium, with pencil, with charcoal, with paint. You can draw with anything. It means the way something is constructed in the painting, linear perspective and size and measurements, and proportions and things like that and anatomy, if it's for people or animals, that kind of thing. If a painting is in good drawing, everything is aligned right, everything looks right. And here's how we see things naturally. If it's out of drawing or it has bad drawing, something that's too big and too angled, funny. And you know, the horizon is tilted in someone's arm is too long and that's a, that's a bad drawing in a painting. The next thing would be values. That means light or dark or any regime in there. And that's what value means. And we're gonna do is show how to break down any scene into a small number of simple values, darks, mids, and lights. And we'll try to group those together into large pieces as opposed to scattered all over the place. The fewer number of values you have, the better, the more powerful and easy to read your painting will be. Color. Everyone knows what color is. The Hughes reds and greens and yellows and everything. We'll talk about color, temperature, warm colors versus cool colors, and how they relate to each other. And we'll also be using a very simplified color palette. So that will keep your painting experience will be less overwhelming if you have fewer colors to work with. And also keep your pallet looking more controlled and uniform and really nice when you're, when you're done. And lastly, edges are the way colors, shapes, and objects fit together in a painting almost like as if you were to make it into a jigsaw puzzle like the side of my arm when it ends. That's an edge between the blue and the color and the background. So some edges like that are very hard and easy to define. Some edges like the folds in the shirt, there's a different color shapes. They're a little softer edges. So there's hard edges and soft edges and everything in between. And those can help define contour and help redirect the eye. And having a nice variety of edges will give a lot of life to your painting. 3. 2 1 Preliminary Drawing: Now we're going to actually begin our painting by starting with a charcoal drawing, a preliminary sketch of the piece. Basically, what this does is solves many problems upfront before you actually get knee deep in paint. One of the main reasons why painting takes so long for many people is because they spend time correcting mistakes. Usually those are drawing mistakes actually. So what the preliminary sketch does, we're going to use charcoal on paper. And we're going to simplify the drawing into large groups and large pieces that will help us solve, fix a lot of things and really familiarize yourself with the piece. And then also we're going to simplify the values into three main values. The darkest, the meds, and the lightest. We're going to see how those can be grouped together into large pieces. So here we go. 4. 2 2 Preliminary Drawing: Okay, we're going to start with our initial sketch of arsine, which is gonna be a drawing and value study mainly. So we start by making an approximation of our scene on the paper here. And we're going to start with are 50% value or half tone, which is basically halfway between the lightest light, which is the paper or the canvas, and the darkest dark, which is the darkest. My medium can go. Starting with our mid tones is halfway between those two things. With a nice piece of vine charcoal as a nice big edge. You can make this in just a few seconds. And there we go. And we can take our foam brush and do a quick little smooth out there. There we go. Okay, now we're gonna do a very simple line drawing of our scene. Let's see. We're going to start with some large shapes here. The right where the water meets that building looks like it's about halfway in the middle of our scene. So it's kind of a nice measure, a point at angles down a tiny little bit. And that's okay. And it meets that corner about here. And that little sidewalk, whatever comes to out there. So there's a couple major lines. Let's see here. Looks like it might be a little less than half. And I've actually down here, which is fine that we noticed that now that's the whole point of this exercise is to notice those kinds of things. Now, while it's still just a quick chalk drawing, charcoal and can be corrected very easily. You don't wanna do this in the middle of your painting session. We want to find these problems now. Okay? And then See I did, I made all those buildings one big piece and we can simply add more details it or simplify it first, add more details later. Let's see, there's all those buildings come off the scene about here. And we're gonna do this. This goes down and then watch this. That's all those buildings right there. Very simple. I just wanna make sure they're in the right place and they are. If we add all these details. Ok, let's see, bridge. That's a good piece. That bridge kinda lines up with this building. It's a little further somewhere around there. That's the bottom, the center of the bridge. And you do encircles and things look for centers and thought, well, that's a good place to start. The bottom of the other dissenters right there, ends here, it kinda goes on this angled line, ends about there. And then the top of that is actually straight lines. There aren't any curves. That curve comes to, sort of that line comes to about there. And then this one, it comes to like here. This one actually I might go up a tiny little bit and this comes down a little sooner. Okay? Yeah, I find these things now, and there's always boats right here, but this is what we really need to do called the squint. You squinted at your scene, squint your eyes very gently, very relaxed. And you'll see all the complicated values and all the details that you don't need right now all go away. So this whole area, all the boats turns into one value, c that I just reduced that to one value. We will put the boats in later. But right now we just need to see that as one dark shape. See the whole water is really one, really one dark value, SR, dark is values this water. The mids are going to be, these houses are about the mid tones and then we're gonna disguise is going to be the lighter part. Okay, so there we've got our mid tones done by doing a nice value field over the whole thing. And we've got a simple line drawing of arsine. So from there we're going to add dark values and then light values, and then we have all three values and a nice drawing. This'll be a great study for us to get started with our painting. 5. 2 3 Preliminary Drawing: Okay, let's get to our dark values here. The darkest value is this whole section in the corner, which we're going to just shade as one dark piece. Squint your eyes very gently. Don't strain yourself and get headache or anything, you know, just gently squint your eyes and see this whole thing turns into one dark shape. And next, let's see, we'll make that nice and dark. And it says our darkest dark. Next we have sort of under the bridge here. And this whole, there's something here not worried about details yet. Just squint your eyes and see the darkest pieces, large pieces underneath this bridge. It's a little bit, you can't see the bottom anymore. And then this or there's a reflection, looks like on the water. And back here, there's a couple of boats and stuff. You know, not really too worried about that as just dark, dark value. And there's actually a shadow of the bridge underneath here. And then in general, the water is pretty dark. So I'm going to sort of shake out a little darker while I'm doing this. And you might think that this was a painting class, not a charcoal drawing class. You'd be surprised how much those things correlate. I'm drawing and painting are the same thing. You are really drawing with any medium. Right now we're drawing with charcoal and a little bit we're going to be drawing with paint. Same thing. There are some dark shapes here up in the up in the windows and stuff. They're really just little details. I might put a couple of indications that there, there, there's a roof or something here. I guess now we can start doing maybe some perspective lines. Here's our horizon. You wanna look for where the lines start to be flat. You notice they sort of have this angle as they progress on to get higher. That's linear perspective. And unfortunately, for us, Venice, the buildings don't run parallel. So the vanishing point changes for each building. As building. This one goes this way and then they gradually, they turn as it goes around this corner. So this doesn't always work for everything, but, you know, we can do are we, we know it's there and it will help us, but sometimes we just have to eyeball it. So here's See how the windows sort of get taller as they get closer to us. That the lines tell us how much taller and that helps us line them up. Right now I'm just doing a little, little rectangles for these windows will add more details later. Does like a door right here, something I'll threaten the middle. Yeah, just dark shapes. Squint your eyes and see the dark shapes. And I'll get into crazy with details yet. So I'll kinda stuff happening here, a couple of windows there. So let's see, there's a few here. And you're doing architecture, sort of seeing like this. Yeah, the windows can be your biggest complication. Does a shadow that comes here. And yeah, you can change hands if you need to. It doesn't mean you're crazy, ambidextrous person. It just means that your hand is tired or you have a better angle from this heights. Don't, don't read too much into it. This roof actually is kinda dark to this whole thing. And remember, just squint your eyes at it. Squint your eyes and see all this turns into a dark shape. You need to group those values together. Yeah. Okay. Let's see here. Yeah, it's good as this one of these boats from the concert to define some of these, what are in the shadows underneath the boat. This art comes up a little bit more. I'm not trying to get to exact here. This is really just to help us do this value study. We're finding out what the darkest places are and what the lightest place cell which we had here in a second, we found out that the darkest places, darkest place is this water. And the water is really dark. It's got lots of light little highlights on it, but don't let that fool you. The water is a dark value and we have to find that out. It's like we're finding all these clues before we actually blast out the pain and start doing this. You don't want to paint this water to light or it might not look right. And all this stuff's going to be nice and dark grouping the values together. Okay, next we're gonna do the light values by taking our eraser and removing the charcoal. 6. 2 4 Preliminary Drawing: Okay, now we've got our eraser here. We're going to add our light values in. So we have all three dark made enlight, squint your eyes. Very obviously lightest value is this guy. And frankly, almost always delight as value and you're seeing it's going to be this guy. There, maybe some highlights and things here and there. But one big value almost always is your sky or big light value. And this up a little roofs and there is a little chimney and a little, couple little shapes with some of them you can start to carve out now if you want. You can add a little chimney and later, she's got your eraser pulling off the charcoal. Now we're literally drawing with light because we're not adding medium to make it lighter, we're taking away medium. Again. We're gonna do something similar to this with our underpinning. And when we do paint, and you'll see how similar they are, why it's really good at every painting I do, I do a charcoal study like this. It helps so tremendously. Well. It gets a tiny bit darker as it gets to this side. You know, we can do is make this a bit later, also has a little bit of a gradual Fade there and it was a couple of clouds. You can push a little harder. When you're eraser gets fully charcoal saturated, you can just pinch it and move it to another spot. Is that building I accelerate, just erased right through that. Okay, now we have a few other light values in some details on some of the buildings here. Let's see here these are all kind of grouped together. Is a tiny little bit there. But not much. Biggest one, maybe there's one on this bridge. That's an important one right above. I'm going to change hands here. And it's not really about your dexterity. Yeah, you need a little bit of dexterity. Do this, but it's more about the way you see things. So the more you try to try to change hands and you'll find it helps you out in a pinch. And you gotta tough angle. Instead of doing this, I'm lefty. But either way, if you're, you know, just put it in the other hand and make the marketing anti-American and go back to what you're doing. And it's got these little rectangles. Is it just a little details I'll throw in there right now. You don't have to do all these details. Nice to try out. You know, you can try it out and see if you like them. Because maybe when you do, you'll put him in there and say, oh, that's too much or that doesn't really help me or is confusing or whatever. So it's good to figure those out now and see what you think. May decide to leave them out. It may make the decision that you like them, which is, you know. So this is about is making some crucial decisions. There's sort of a balcony thing here. And these windows have Soma. Well, what do you call it? Tremor, something around them. One of these buildings here is lighter. That's the pedal light value. And then there's sort of yellow one off in the distance. And I think we're gonna lighten that value anyway. And we do our painting to make, to add some distance to this, is to gently erase some of the value to make it push further away. And will help read when we do our thing and we do our actual pain. Okay. And then yes, there are underneath here underneath the bridge as a couple things going on. Looks like I could bring this down a tiny bit as it boat there. And now we can start doing some of these maybe water highlights. Reflections are literally just a mirror of whatever's above the surface there. And that adds a lot of character real quick. You got these two like pylon things didn't do, but we can try them out now. And we're doing the lights. But I guess this is an important little detail that I missed. It's a little reflection. All sudden. Suddenly things started to look like a Venice, seen little more or a couple of reflections here, all this boats. So there's a piece right there, that's a boat. There's another boat. And this one is not that because it's got a blue tarp over it or something. See how simple that was. We can add more details later. But for now, we just indicate that they're there and there's decently dark value in between them. So let's see, and maybe it gets a little bit lighter way up here as you start to see the sky, the sky starts to poke through couple here. So these will be nice to get. These little tiny details will matter later. So we can try them out. Then we can look at are seen as a whole and say, does this scene even look good? Because sometimes you do this, you know, like this scene, this doesn't look good and I don't know why. Well, figure out now because you can solve the problem. And then when you do the paint, you'll have all of these problems solved. And it will go so much easier if you're painting will just come together magically. Well, not magically. It's still a lot of work, but, you know, you've solved the problems. So when you do the painting, everything comes together much more easily. Keeps saying easy, it's not easy, but you get what I'm saying anyway. So there's our study. So we can say OK, the scene looks nice. We have our light values, are dark values and our mid tones. We play with some details. We practiced the drawing once we laid everything out, found move things though I made that too high. If it down, find all the angles, make sure things in the right place. So nothing will surprise us later or you don't want to spend all this time doing your detail and then realize you move everything over to far room so everything's in the right place. So this was a good study. Now we're ready to do this exact same procedure but with paint. So there we go. 7. 3 1 Underpainting: Okay, we finished with our charcoal drawing, which serves as a drawing study and a value study hairs right here. Basically, we laid out our three most important values, the darks and lights. And we did a drawing study of the whole scene. Starting by simplifying everything into large shapes. We did same thing with our values. We grouped them all together into large pieces. And we're going to do the same thing in our under painting. And now we're going to add some color and some temperature because we can do that and we can pass the black and white now and go to some color. And you'll see the process between the charcoal drawing into painting is remarkably similar. Another important thing about an under painting is it helps set up your layers of paint. Because translucent properties of oil paint helps refract light through the painting because it's pigment suspended in linseed oil. So light passes through all the layers of color, hits the white of the canvas and then bounces back to you through all those layers of color again. So they all combine to add a nice effects similar to a spotlight that has different colored gels over it. That's what we're gonna do. So that underpinning will be our first layer of color underneath all your other layers of color. And that will effect, that will affect every subsequent layer of color that you put on there. So let's get started. 8. 3 2 Underpainting: Okay, so we're ready for underpinning. As you can see here, I've got only three colors laid out. I've got yellow ochre, ultramarine blue, and cadmium red deep. I think in this branded as I've got them arranged in a certain fashion. I'll explain that later as I add more colors, is basically holes left where the other colors are going to go because it goes in color temperature sort of order here. Very simple color palette to start with. It. A little bit of medium on here. And just a little bit of mostly yellow ochre and a baby attached to the other colors is to deaden down a tiny bit. So it's not so garish Lee and yellow ochre were gonna come right in here and start from the sun. We're gonna do a full layer of this. To start with a nice layer of yellow ochre underneath everything. And just a touch of these other things here. Just so it's, you notice we have all three primary colours. We have a yellow, a red, and blue. And then combined with the white of the canvas, this, we have a full range colors with just these just these few colors in our simple color palette. One thing we're going to start noting now is the direction that the light is coming from in our scene. It is coming from the right, that the sun is coming from this way. So the light's coming this way. So we want a light to dark and warm to cool effect coming from this corner to this corner. We're going to establish that now. And that's going to affect everything else we do in this painting. So as I'm coming through to this other corner, I'm gradually adding a tiny bit more of the red. And I'll, I'll make it more drastic here in a moment a little bit, but then a little bit more than ultramarine blue. To make this motif of light to dark, warm to cool. Our whole painting is going to have that effect on it, which will really add a sense of light to it. And those notes have gigantic brush that I'm using. Huge, big ol, two inch brush size 20. This just makes this part go really fast. Kinda like this is exactly like the, the charcoal drawing we just did. We laid there and this is our midtone. Laying this down as our middle value. We're going to go into a little bit more here and let's see. I'm going to exaggerate that. Warm to cool by adding some more red. And blue make it a little bit of a purple here. And start in this corner. Started in the corner and work your way across. Don't start in the middle and go back and forth. Started in the corner on the sides. Right now I'm not thinking about shapes or drawing or anything. I'm thinking about just the overall temperature and the value motif for the whole thing. It's darker here and cooler and it gets lighter and warmer as it goes across. So you can gradually move over and I'm pushing less hard with the paint brush. But said you, you start from one end and work together. I'm gonna go back to the other end here and started again and make it even more exaggerated. This has a really, really nice effect to it. Let me do it well. Which I know you will do it well, because it's very easy and it's very fast. Should always spend a few minutes on this big brush. Figure out your light direction. Sometimes the direction of life comes from the center of it's like a sunset or something. And then it starts in the center and then it would radiate out. So it would be warm here and I've got cooler and darker as you get to the edges. So sometimes that happens. In this case though. This one is very obviously coming from the right to the left, and then it's going from top to bottom. So there's our midtone value. And now we'll move on to our line drawing. And for this, you can just use, I usually just mix a couple of these. You know, the, the blue and the red makes sort of a darkish brown, purple. Okay. So we're going to do the same thing was he didn't our charcoal drawing, we're going to start with this line was a nice one to start with. They've just made a dot c that wears that. I'm looking for the corner of those little sidewalk. It was a little lower than Center. We learned that by doing the charcoal drawing and angles up a little bit because of linear perspective. So it's about there maybe. And you know, I see, I made a few dots and move them around until I find the one that's actually accurate. And then you can connect them just like that. Notice I'm holding the paint brush. Don't hold it like a pencil. And you signed your name at the end, just like we did pencil. But until then you are using your paint brush as a paintbrush. Hold it like this. You can hold it instead of like a, like a pencil. You can move it back a little bit and use the whole length. So it uses your whole arm or you can put your hand on top of it. And I'll like this or sometimes hold it at the very end and I do something that, so that's very useful. Anyway, back to what we're doing. So here's that corner. It's a little off center. You can use the center of your scene and the edges to, to help you measure stuff. And that goes off the scene about here. Find where it leaves, maybe it's a little higher. Say, I'm making mistakes. I'm just correcting them now. Correct them now while it's just real thin paint and you can whisk it away or just draw over it. Do it now before it's your knee deep in paint. That's when you don't want to be making drawing corrections. Here's that building comes to about there. And then this peak is about here maybe. And then it leaves about there. So remember we did this. That's a little higher. There we go. Everyone makes mistakes, just make them as early as you possibly can. That's the whole reason for one of its, one of the reasons for this under painting. There's that one building that was important, that's where the bridge was. And then let's see, this one comes across. There's that yellow filled in like that and then it all just sort of goes like that. See that it is group all those buildings together. Just for now. We'll add more details later. Okay, that bridge, it starts just a little bit over from where that building ends when you get a little more color here. And low, medium to thin it out. And here's the bridge. The center of the bridge was about here. Maybe. Yeah. And then let's see. Oh, we didn't. It would be a good place to the braid sort of angles down a little bit. So see, I tracked it. I started here and I followed it down. And when Mark and I check it before you draw this big line that's inaccurate, check a few places and make a few dots and moving around. And there we go. So now I can connect to that. And I can connect to this. I'm good at and ISIL arch. And then here's the top of the bridge. This is pretty that's a little higher. Let's do it this way. So you make a couple of Until you like the one that you got. And it ends here. That was a little Archie instead of straight, there we go. And then same thing. This one comes about here. There we go. And we'll hire that out as we go along. But we've got our brains in the right place. Buildings. Let's see. There's this group of darkness, dark shapes that comes to about here. All those boats, 5'2, those boats are all grouped together in one piece. I found with the last bullet was the last boat isn't here. Find where it is and you can group them all together. We'll add the details in later. But get your largest pieces in the right place now. And as you get smaller and smaller into your little details, they will be in the right place. And you don't want to spend hours making these lovely details. Olin, If I nod, they're all three and just to the right too far and you don't have room for your scene or whatever else is going to happen. So we go, that's all we need and we will make this one here. This roof is kinda important. I think it goes and angles down a little bit. Get a little more on there. And there's our line drawing. From here. We can make the rest of our painting very easily because everything's in the right place. So next what we're gonna do is our dark values. 9. 3 3 Underpainting: Okay, now onto our dark values, I have a couple of bristle brushes here, size 12, right? Such shape. And we're going to start by making, let's see, darkest value, as we said, was you some blue here. And we'll get a red was underneath are these boats are here so we can just start laying that a1 is one dark shape. Don't pick out details yet. That will come later. For now, we just need to group these values together. As we said, we, we figured out that the water is actually a pretty dark value in general, but it's not quite as dark as a few of these places that we're going to pick out right now. For reason we eliminate a lot of these details now and we can add them in later. And things that's how you really see things. You don't see every detail of everything all the time. And you look at a scene, you you get the general gist of it. Your eye groups things together. Here's this water, this is reflection thing here. You're either things together. So that's why we paint it this way because it looks more natural. You can add the details in later. Only VD does that we'd need we're not going to add in every detail because you don't see that either unless you're saving their scrutinizing it. But when you just look at a scene, you don't see every single detail. Adding login, which medium don't add too much medium. It'll pull the paint right off because it's still pretty wet. So there's that side of the bridge. And then there's a few of those, a boat or something over here. I'm just gonna go for our blue, ultramarine blue by itself can get pretty dark. You mix a lot of the darker valued colors together and they get pretty dark black in almost to the point of being black. And it's really helpful. This is some kind of a shadow. I don't know if this is the shadow of the bridge. It looks like it's too far back. I think it's a building or something back there. There's buildings on this side that we can't see casting shadows down and that's what's happening here. Okay. So now let's do the water will do a nice dark green for the water. Yellow and blue make green. And the direction of our brushstrokes helps to indicate texture. So I'm gonna do some nice horizontal brushstrokes here. And again, this water at everything's getting lighter towards this side. So I'm going to just use some yellow ochre with no blue in it for a second. And then it's gonna get darker again. And don't worry, if it looks too dark, it's much better to go a little darker than you need and lighten it up later. It works really well. Almost too much medium there. So why a little more paint? And these horizontal brushstrokes will help us to indicate the water. By DID vertical brush strokes, it would look like a different object. It wouldn't look right. So sometimes, not always. But this sort of helps and it gets darker and almost a little more red down here. So we'll add some of that action. And again, I'll get into crazy with the details. Just getting everything laid in. There we go. So there's our water. That's by far our largest darkest shape. We gotta couple a little dark or ones we can even had a little harder. Now, this paint when it's got mineral spirits or turpentine or whatever you're using, dries a little faster and you can come back later or even just a few minutes later, it's been four minutes doing that. And it's a little dry now so it helps us. Okay, so there's that other dark values. Let's see. It's gonna get a little darker here. These are sort of midtone ish, but it might get a little darker as we go across. So I have another brush. I had two brushes I Have you saw that? One's going to be for cooler blues on stuff that's going to be for a warmer reds and yellows. So that way we can use the same size brush. And we don't want to rinse off all the time. And I want to wash the brush every time you change colors, saves you some time. Okay. I'm going to hit these decently dark and I can come back and lighten them later if I want. I might not. Because if you squint arising and squint your eyes and you're seeing very gentle squint. Sometimes you didn't. You tilt your head back a little bit and you close your eyes like you're almost going to fall asleep. That's kinda nice that we can do it for a few hours and not get a headache from straining your whole faced, squishing your face together. Some people do that and you don't need to go that far. So here, squinting my eyes and seeing dark shapes. Ok, this bridge is actually kinda dark too. So we're targeting that up right now. You can make a nice brown, reddish brown with your reds and blues and yellows. I do this direction here. And watch what happens. It gets lighter as it gets across. So I'm going to squeeze a little bit of this red out. And, and just use some more yellow ochre, a little more yellow ochre. And everything is going our light to dark, warm to cool. I mean, really dry brushing Edison and a lot of paint on here, which is what I want. Okay, see it's lighter here and it gets darker as it gets to the side of this, what we want. There's a few other sort of darkish shapes. We could have gone a little darker with our under our first initial Midtown that would've helped us a little bit. So that's kind of important. Ok, so that is that this building here, sort of a darkish orangey. And again, this one gets lighter too as it gets towards the other side. So I'm going to just add a little bit of yellow ochre. I'll describe that in their Stig and do long. Okay. Oh, you'd see it's really dark under here. I didn't see those. So go back to my other brush because it's already got the nice dark colors on all underneath this bridge because a couple of light places will pick those out in a second. You'll see what we're going to use an eraser. I'm sorry. Just like the eraser with the charcoal hit, we're gonna use a paper towel and some of our mineral spirits. Let's see. This roofs of these houses up here is kinda darkish. Follow up here. And again it gets lighter. Towards this side is one of the sun's coming from. So I'll leave that didn't get that much lighter, but we can make it lighter in a second. So there's that. Okay, there's a few little window. I'll use my first little pressure. And you know, we can do, we can make some perspective lines. So as will help us. As okay, if you draw through stuff because we're going to paint over it anyway. And again, the perspective lines and change for these buildings because quite line up there because they're not parallel. This building. It they they it turns down this alley way. And you know, I know that because I was there, I took this picture. But if you weren't there, you hopefully will notice that when you're doing this that the vanishing points change. So I'm going to quickly just do some rectangles for these windows. And I'm using my lines that I just drew, as guys has shown me how tall they are using linear perspective. Which means, I guess I should explain that if you don't want, that means at this FI phenomenon that as things get further away from you and they appear to be smaller. And as they get closer to you or they appear to be larger. So we're emulating now to make this look like a nice three-dimensional scene. On this flat two-dimensional surface. It's an optical illusion. There's a window. Lets see. That window actually comes down here because there's a big door right here. And see the door is a rectangle right now. There's a fancy little peek on it and everything will have that in later. But right now it's just a rectangle. And this one also comes down a little further. And then there's a whole mess of stuff going on in here, which let's see, why don't you do it. There's a were indicating some details and we're just trying to place some things in the right place. I'm looking, I'm squinting my eyes, see the biggest and most obvious ones. So there's always balconies and things that I just reduced it down to one piece. He squint your eyes, it all turns into one shape. I just want to get it in the right place. And this building is the lighter one. And the V omega mark, that's where that, that lighter colored building as a couple of windows there. This dark overhang to have like an awning over them as a chimney up there. Let's see here, right. There's a couple of windows there. Who tall. There's a big group of windows right by that. And you can check your other pieces. This window and ends right by that bridge. So that means we're in the right place. And there is an awning there. Have a Windows number deal will do those later. Okay, these need to be a little lower. So there we go. And then here are the details get less apparent as they get further away. There's something called aerial perspective, which says that as objects get farther away, their color diminishes in saturation and contrast intensive and you get less intense as they get further away. So here's this dark shadow being cast by this thing. There's a couple of dark things up here, shadows and stuff. Let's see. There's a some kinda building there, so we'll just we'll get those in there later. Okay. There's a couple of window. And then we'll be just about done with our dark values. There's one there, there's one there. Let's say there's a group of them between here and here. Before we put them all in, there's four. And then there's one more way over here. That one's not so dark. So window here, window here is 1234. There's a little taller. See how simple that is. We're now just placing them in the right place. This is going to end with not so dark. There's some kind of a doorway or something there. Okay. And maybe we can hit really dark stuff going on right here. So why it goes kinda hard now, this is the more of these boats are. And there we go. There's our tree or something over there. There's our darkest values. I got them all on my for oh, you know, what I didn't do is these little beams or wherever these all posts are in the water. Those were kind of fun to do the reflections with. So we put those in, no. Okay. This shadow down here. So there's darkness shapes. We will now, If I can quit fiddling, are that now we'll get to do our light values by just like we did with the charcoal. We're going to erase the paint as we can add our lightest values in by revealing the white of the canvas. 10. 3 4 Underpainting: Okay, now we're going to get to our light values. Paper towel. I use the viva Fran paper towels because they work really well. They really absorbent and tough Zotero a little piece off. And you wrap it around your finger like this, and you dip it into your mineral spirits and light values. And here we go. The lightest value, as we said, was our sky. And this is one technique that you really can't do with acrylic. You have to use oil. If you are using acrylic paint at this point, you have to now introduce white paint to your painting, which isn't the end of the world. But what it means is you're going to start cooling down all your colors because white is the lightest color blue that you have. So as soon as we introduce white into your painting, you start cooling colors down. Right now we're keeping everything warm and translucent. We're not adding any opaque white paints and they're actually, you know, our, our paints are pretty thin and general. That helps with the translucent effect that oil paints. So well known for. Ok, and yes, the sky is the wrong color. We're going to be, you know, it's a nice blue sky. But for now, we're just concerned with the value. It's pretty light on the side. And I keep moving, it tightens and find a nice clean spot of paper towel. So so there's that that's actually okay already. Okay. Next lightest place would be some of these details here. We can start with this bridge, and hopefully by now you'll really start to see the correlation between this process and the charcoal drawing that we did, which is why we did it. Because they're so similar. You've already practiced this, you've already done this once. So this time it should be easier. You've solved a lot of problems. Hoop cells a little too low. Accidentally took out the shadow underneath the bridge there. That's okay. There we go. And I can put that right back in there. That never go. See like that. There's also a couple of these little rectangles is one right in the center. So find the center. There's one here. And there's one here. Same thing. There's one here. And there's one over here. Okay. What else we got? There's this white building. That's a nice fun interruption from all these other colors of buildings here. And there's lots of lots of little details. And now that I'm not going to worry about trying to indicate yet, this is a pretty crude tool. Your finger in a paper towel. And if you have long fingernails and a lot of women have fingernails there, what you can do is just use more of the pad of your finger instead of the point because you're fingering, I will get in the way. Or you can take a brush and wrap the paper towel in rush and you can do it that way too. So whatever you like, I just prefer using my finger extended our fingernails, but there's an alternative for people out there who have fingernails. There's a couple of shapes down here. Underneath the bridge. There's this one, it's right there. And you can line things up of the other objects in your picture underneath us. White rectangle is this other shape. So that's how I can find that pretty easily. And then also over here, see I said we can go darker and we can make them lighter it later and see how easy that is. But having the dark shapes in their first, it's really helpful. Okay, some of these boats, there's this boat here. This is this the where the light exposes the boat. And then there's the other one here. And if you want to get real tricky, you can push not very hard and just take a little bit value out. And then we can indicate some of the boat that way. Don't make it nearly as light as the highlighted part. You do a little bit and that will read just fine. It's everyone took any off there. You can already tell that it's a lighter part there. Is that blue one there? Okay, and let's see what else. Maybe we will do. This is it's not really that, that's a detail. I'm just trying to indicate for now those pylons there on top of this bridge. And little tiny thin details. You can't get as thin as you can with an eraser because it's your big fat finger. And that's really not that important. Think we got most of what we need and I'm not going to go and do the little trim around the windows or anything. You're trying to get the large pieces. There's one here with his door thing is and also this helps us see what the scene is going to look like, kinda just like with the charcoal drawing here, you get a sense for how it is and how it's looking, you're seeing should start to look nice right about now. And if it doesn't, you need to figure that out before you start adding pain because adding paint isn't necessarily going to make it any better. If it looks weird now find out why and fix it. Those we're gonna keep together as one value. And I think that's about it for now. Oh, you know, I didn't do the reflections though. That's what makes water liquid water is having nice pretty reflections. So there's that. And again, keeping my direction and the direction of the waters for like a horizontal action. They're just little tap and okay, linear perspective. The further away that little droplets or the little ripples are, the closer they are together and the smaller they get when they're real close to you, they get bigger and further apart if the reflection even makes it down that far, but see real close together and it gets further apart as you get down further away from that object. And then here's where a little bit, you know, not gonna get too crazy with this just to kinda help indicate what's happening here. It's also satisfying. You see, oh look, my scene actually looks like something real. And I'd like to continue with this. Deny that that's an important part of it. So minus all the crazy details of Windows and trim, the whole scene as a whole are starting to come together. So that's good. Okay, so this is our successful underpinning. The next stage would be to fill out our palette and with all of our other colors that we are going to be using. And then actually started to add opaque paint. 11. 3 5 Underpainting: Okay, here's a little bonus on cleaning our palette. We have a mass here and we're about to add some nice clean paint and start to mix some new things. So we're going to take our palette knife. I have the old Bob Ross palette knife here and scrape away the dirty paint from the edges of organized clean piles of paints. Him get them there at the edge of the scraping away so that we don't have this contaminated pile of clean paint. Get in there and scrape that away. Which also lends to the point that when you take your paint with your paintbrush and you want to come in from the bottom side, not right on the top, but come in on the side so that you don't contaminate your paint with whatever's on your brush. You got white paint on your brush. You go in there, dip it into your yellow ochre right on top and you suddenly put a bunch of white paint right on top of your yellow ochre. You do that with a few other colors. And next thing you know, you've got muddle over your palate and then you're painting looks like lead and you're not really sure why. Keeping your piles of paying clean are really important and also keeping your mixing surface cleans really important. I use a glass palette so that I can do this. So you can reclaim your palate up in-between places where it's convenient or you know, even just in the middle of the painting and your palette is a mess. Take a minute and clean it up. You can't mix clean colors on a big muddy pilot mud. Whatever is on your palate will end up on your canvas. So there we go, that's getting better. So now I have a clean, untainted service to start mixing my new colors in. Otherwise, you get all of that all over your brush and then your other nice clean colors and it turns into mud on your cave painting. So there's a little bonus and how to clean your valid Yay. 12. 4 1 Opaque Painting: Here we've got our opaque colors laid out and ready to go. Starting with the warmest color, cad yellow, and then going similar to a color wheel, it's gonna go towards the reds here, cad Orange, cad Red, burnt sienna, Alizarin, crimson thing going the other direction we have yellow ochre, white, fellow Blue, ultramarine blue, and what would be dioxazine purple. This is like a cobalt violet and this brand, some sort of purple there. Similar to a color wheel starts warm, goes Cool toward the blues, hose cooler toward the reds. And I'll have a black here because mixing a lot of your darker, cooler values or you can make some different blacks for Interesting. Okay, we're going to start with the sky because we're moving back to front. That means where doing the farthest object away from us and then moving toward our eyes here. So that's going to be starting with the furthest object away, which is the sky. Okay? See very light value. Sort of a warm blue, a little bit more. Yellow. Lunar sailor Blue is a greenish blue. And ultramarine blue is more of a reddish blue. They're just a little different and they have their different uses. Starting here on the left. And I'm going to continue gradually moving over until I get to the other side of the sky, gonna go light to dark and warm to cool, just like we've been doing for everything else so far. And notice when I apply the paint, I only do one brush stroke at a time and I don't go over it a 100 times. Only once. While people I've seen, a lot of my students will peck at the same area for 56 times. Really, for no reason. I ask them why and they really don't know. I think it's just habit. So to have any good out of he put the pain on once. If it doesn't go on right, you can go on, you know, you kind of tack a different time. But do it intentionally. Don't just mindlessly. Every time you put on pain, peck at the same area, 3-4 times. There's absolutely no reason to. Because the first time you put on the paint or the sorry, the first stroke you do applies the paint and every subsequent stroke you make after that removes the pain? There is no reason to to go over the paint more than once. If it's in the right place. And how do you get in the right place where you just need to stop and think every brush stroke. I'm going faster because I'm doing this for awhile and I am making these decisions fairly quickly. There's a little chimney there that I'll just carve out. Forgot to put that in there. If I painted it over with white or I'm sorry, with Sky value now that's okay. I can paint over later. I'm going to start using a little more ultramarine blue. And the color will get a little more toward the reds. As opposed to a greenish blue. That's for that chimney is going to be I'm just gonna leave a hole for it and I'll put it in there later. Okay. And then there's some cloud stuff happening here. I'll come back and add that in a second. I just wanted to lay down my general sky color. And I keep adding a tiny little bit of yellow ochre just so the color isn't to garish. When you, when you just use the pure Blues for something like a sky that can be a little harsh. So you have to turn them down a little bit. And I'm getting I don't want and let's make sure we use enough paint. That's one thing also, you need to use enough paint. There'll be stingy with your pain. Don't be afraid to use a bunch, but I put a bunch of your brush and use it. Sometimes I'll even I'll mix My Color and then I will scoop the paint up like that. And that way I can just really laid on scoop it up like here, like you're digging with a shovel or something all the way to the end and paint right through the edges that you made before. Don't leave a gap in between. I don't need to paint that FAR over that a little too much there. That's okay. But don't don't leave a gap between the two edges there. Go all the way to the edge of that roof or, you know, if it's a mountain or whatever it was right through it, you know where it is. You can add it back later. You're going to want that you want the paint to overlap. You don't want to leave gaps in between. And I want this value a little bit lighter. Knows I get my pay, I'm getting it from the bottom side of my little pile. As opposed to come at it from the top. You come at it from the top, all you're gonna do is contaminate your nice clean pile of paint with whatever sons you brush currently. Ok, so there's some sky going on, fades very gradually. Light to dark and warm to cool. I'm going to put a little bit more. These clouds are real simple, just wispy little white things to change how I hold the brush even. Let's see, these clouds even have some perspective that the angle is go up here and they start to gradually get more horizontal as they get over to the side here. Maybe I'll make a more horizontal than that. And this last one is right across here like this. You know, if it's okay, if I've actually got a little paint there, I'm going to come back later. And these are wispy sort of things. The more Also if you're painting over another layer of paint, the more you brush and brush and brush it, you're just going to mix the painting with whatever's underneath it and it will turn into mud. But it will say oil paints really hard because it just turns into mud. Well, it's because too many brush strokes in the same area. Delimit yourself. Here we go. So I've got my very simple sky. Just some blues and this a little bit of clouds there. This is a simple one that the main focus isn't right, this guy here. Okay? So now we're going to move forward in the landscape and start working on some of the buildings. I think the next thing we're gonna do, we might do this set of buildings on the left because it's the furthest one back. This one goes behind, this one, this red one in front. So we'll do that one next. 13. 4 2 Opaque Painting: Okay, now we're going to work on these distant buildings. And for those, I'm going to use a different brush. I'm gonna use a like a synthetic brush that has a much sharper edge to it. For that I used for this guy as a bristle brush, bright shape. And it's a little fuzzier edge. And I want a little crisper as so this is like a synthetic hair brush. Size ten. I should be okay. K, Let's get mixing here. The distant one. Now these are further away, so we're going to soften these colors a little bit. What you can even do sometimes is used some of your sky color to make them up here further away. Because the further away something gets, the closer is to the color of the sky. Because there's more atmosphere between you and that object. Eventually it gets so far enough away that it is this guy. And I'm gonna paint right through those windows. Then I made before. If it's if they're close enough and the windows were large enough, I would say now we'll we'll just go ahead and paint around them. But right now, they're far enough away. I'm more concerned about first getting the general color of the building. And this building has a side. I'm using this brush to make one stroke at a time. And I'm thinking about planes, where the object changes shape. Here's the front and it bends and goes sideways so that those are the two different planes and indicated those with those two different colors here. And then I need to do, sort of has a little bit of a shape on the top there. That's OK. And there we go. And the further away it gets, the details get a little lost anyway, so that's okay. Okay. I'm gonna do before I do the roof something, I'll do a few more. This surfaces here. This, what color is this? Sort of a peachy, but it's not too saturated. You need to tone down your colors. You can add in some of the opposite side of the wheel here. And it will dull down and colors a little bit. This is a little too orange. There we go. I think I want to make this a little lighter and value oil paint. The only way we have to lighten up a value is to add white paint. It's very different from, let's say, watercolor, where the only way you have to light the value is to not painted. Veto the white of the paper is the widest white you get. And if you paint over that, you have to know if it was a mistake, then you can show it this way is to say, I'm not watercolour artists, but I know that's, that's one of the big things is you gotta be careful about that. Okay, maybe here I'm gonna paint through some of the apparent around some of those windows. Okay. There's a shadow under there is a big door or I think that's a group of Windows or something. To this nice sharp edge brush is perfect to get in there. And you get those sharp edges. Okay, and then there's a little bit, a little more colors in here. There's a little bit on top. Second story action out there. And sometimes it's a little indication is all you need. Will say, Well, since I got this color and we'll do that roof over there, that's sort of orangey. Notice that's a little too orange. So you can start coming into your cool side if you need to double down a color. That's good. Scored out of scooping it up and scoop up a big piece and come over here. Let's see. This is the further away household. Lighten that up a little bit and see my sky when I painted my sky and I went right past this point. So now I'm painting back up into it. Here we go. As a few other things here. Okay. There's this red is a little sliver of a red orangey house. It's kind of the same color, actually. Already got it. And a lot of this stuff is really just shapes. And because these houses are so far away and they were kinda complicated, lots of windows and lots of things. So we're just going to paint whatever shapes we can get. The shape in between that as like a rectangle there, there's a blob of color there. That's, that's kind of an impressionist thing. Is painting more what's something appears versus what it actually is. I'm not. Sometimes it's like this weird double think more. You're doing both at the same time. You're painting what something looks like. But then sometimes you just have to forget that. Think about what it is, what you know about it. You paint that. And sometimes you have to forget what you know about it and just paint what you see. And those are, those are tough sometimes. Alright, I'm gonna use the same. Then I have two brushes of the same size. I'm gonna use my one I haven't used that. I'll use that for the dark colors. So this one I'll keep for light. What I'm doing is little bit of mineral spirits and then I can just squeeze out some of the pain. So that should be just dip it in there once and squeeze it out so I can get some of the pain out so I can keep working here. I don't need to wash the brush. Yep. That'll be a pretty light. Maybe a touch a yellow in there. But it's a pretty light. This is the White House that's right here. So whitehouse boo. And thinking about my perspective, there's a shadow up there, so I'm not going to put the white all the way out. There's gonna be some windows. Sometimes I'll paint right through the whole building And sometimes I'll leave spaces for the windows to come in. It's really a case-by-case basis. And in this case, I'm going to leave some spaces and they're all sliver and there. And again, holding the brush, used the whole length of your brush. There's a little bit over here. And these brushes are great too because I've got a lot of variations of stroke. I could do out really skinny, thin one. I can do a big fat one because it's a skinny chisel shaped rush there. There's a little bit of some darker something here. I'm not really sure. It's a shadow or something and that's okay. We'll come back in and we hit that. What the darker color you get some of those balconies indoors and things that'll look good. Okay. So there's the light-colored building. Ok. Next we got I'm just going coming forward. Here's I got already got some of this sort of peachy color that's building up here. And some of these windows, they got a lot of white on them because there's a lot of trim and stuff. So they're not necessarily black and I mark them black when I was first doing that. And that's okay. And they get to do a shadow up in there. Okay. A lot of stuff. Okay. There's some red. But it's not going to be careful when you have white. He's our Adding red, you'd get pink. There's, these look like these are some kind of red columns. Lotta intricacies to the buildings. So at this angle you really can't tell that anything is just paint the shape that you see. There's a lot of dark happening in here. So come back and get that in later. There's a lot of balconies and things. When you have read like a red object like this, like an umbrella OR something here. When red is getting hit by direct sunlight, very often turns yellow or it goes toward yellowish orange. So just read by itself is not a read enough. It'll make it look. Got to cool. So yeah, it's an orange in there. And all accurate. Okay. I'm going to start moving toward these close curly and I'm just going to sort of make sure I use the paint that I got on my palette. I mixed it and put it on here, might as well use it. There's this building and this goes all the way up on paying through that bit of sky that I painted over before. And then there's a window there. I'll leave space for that. This is like a brick texture or something. And this actually comes out a little further on a pain in the direction of my perspective sometimes that helps to okay, there's more red and, and honestly a lot of these buildings, the colors changed so much because they're old morn. So if you're a Red isn't the same all the way through, it actually will probably look more accurate. Okay. There's that. And that's about where the bridge starts. I will leave that. And then here it gets nice and red, orange. I'm going to tone it down a tiny little bit. Yeah. Let's see here there's some kind of a archway over that. I'll just leave room for that. I'm gradually moving over, just like I said, from light to dark. He gradually work your way over. The whole building will have this faded light to dark field to it underneath there. Making sure you grab enough paint on there. Don't be stingy with your pain. And then it really starts to get a little bit of burnt sienna even in there now, same gradually moving. I was in yellows and whites and gradually moving around this way around my palette because that's where the colors are gone. Oops, that was too much. If you have too much in you rush, don't try to mix it in there forever. Just squeeze it out, squeeze it out. And then keep gone. There we go. And it's actually pretty close to the color of my under painting. So that's fine. And if you've got is you've got somewhat underpinning sticking out. That's okay. What are you painting under their underwear or her get it. Remember that Joe from second grade. Okay. So there's that. And then here's some nice orangey and S. Cool it off a tiny bit, tone it down a little bit. Scoop up lunch, come over here and laid in. And there's this sort of wanes coding thing wherever that is. We'll get to that in a second. Painting around some of these windows. That actually gets a little brighter again, right here. And that's that window. Okay. Yeah. There's some sort of dirty brick stuff happening over here. As long as you are drawing is accurate, all the shapes from the right place your perspective is right. You can take some liberties with some of these, some of these colors and shapes and such. Come back here and finish this, finish this strong this part right here. Look at that nice, beautiful orange. Rusty, you read whatever color that is. Giving names to colors isn't always very useful. Like out of the crayon box, you know, having I don't know, Indian yellow and burnt orange or even worse like, you know, great purple. That's kinda colors. Those names are pretty worthless. Set of set of naming and color. That's kind of a toolbox blood or is it to I don't know. What's what's like. Magenta or y is two wine colored. Think about what, what pigments you're going to use to mix those together to make the color. Don't think about some silly name of a color. And a crayon box or on a Home Depot shelf or you know, whatever. Okay. So there's this row houses. When I can come in and do is start to do some of the darks for this part of the house. Will do some, some of the details in here, and then this whole section of houses will be done. So we'll do that right now. 14. 4 3 Opaque Painting: Okay, and we're back. I'm going to use my my clean Russia might use a small I wanted to start because some of these details are kind of tiny. We'll come back in there in a second. Okay. Quickly gonna make some colors here. There's a little window of here. Couple windows, there is some stuff happening. I'm not really sure what these little shapes are. But this put them as you see them. When I'm a kind of orangey, that's too much. These colors definitely need to be pushed back. To push this whole scene. This whole part of the scene back can be a little darker. A lot of times when you have underneath an awning or something like this against a wall, like underneath this one. It's called an open shadow. Cast shadow or core shadow or something that has a lot of reflected light coming back up into it, which makes it really warm. It can do interesting things. And it looks pretty nice. It looks accurate. If you do those sorta do open shadows and things in your, in your paintings and it'll look real. And in an interesting way that you might not be able to put your finger on it. Other people won't put their finger on it. Like wow, it looks so real. Open shadows are real, but part of that having those warm shadows underneath places that are cast down like that. See these are quick details. I mean, there's a little window up there. Sometimes it is add a window if it needs it. Let's see. There's these windows here and put some purple and some blue on hair. And your aim will get better if, if you're having trouble hitting that Mark. As you do it more, your aim gets better. A little bit of this for this doorway here. What kind of details around this? I think it has some like little archways or something. Skinny little windows here and get some paint on there. There's some kind of an arch up here, a little overhang thing. Let's make that nice and warm sun as if you can't see that it's warm. You got to just know that it probably is because of what kinda shadow it is. And then there's some more windows. Punk skinny one there to me to get really tiny. What sizes? This is six and this is also a bright shape. Like the brights, because they're square edge, but they're not too long. So they're little stiffer. For too long. They get a little flimsy and they're hard to pick up and push around the paint. There's some light stuff down there. We'll get into second. Here's a nice overhang, so we'll put some orange down there. So I'm using the color. They've already got mixed. Hmm. Let's see, here's the part that excellent unless you can scrape off some paint to ever go, is like extreme. It up off the palette. You can scrape it off if it's in the wrong place. Instead of trying to mix over it with a 1000 other colors. I don't know what this thing is. A balcony or a little ledge or something. And we'll put some of these white colors will then add in a lot of the details that we need here to. There's that nice warm shadow coming down. Okay, and then we got lots of little windows here. Boom, boom, boom, boom. That nice line. How tall are these things? They kinda go all the way down and on. C one time, how many times that I brushed up? Once just once. You hit it, right. That's all I need to hit it right by practicing. There's maybe a little bit of shadow there on the lower. Okay. And then there is another sort of little balcony thing here. I don't wash the brush a lot, but I'll just wipe off the paint with my paper towel. There's a big red banner. So here we need some red and some orange. That could be a lot brighter and value actually, it's a little better. It's an awning or something. I don't know. It is. Some more darks here. It's like there's a row of windows through here. Couple little dots of detail. And I don't know whatever the thing is, I'm not doing it, willy nilly, I'm really doing and how I'm trying to, I'm trying to see what it is. Not this flinging paint everywhere. It's a very calculated willy nilly. Willy nilly easy, like Willie Nelson's doesn't own the room. Laughing, Love is making paintings with my friends. That was dumb. Do, do, do. I normally have music playing when I'm painting? But of course this is an instructional video, so it has to be quiet. So you can hear me yap, instead of not fun. I missed a little bit of a part of the house, they're wounded. And then there's something there that's not look into grad yet. And we come back in with a lighter details that'll look nice to, okay, so more, I might switch to a large brush. Now, switch this now. I will add to peck at it once or twice and it'll fill the whole area. Let's see. They use some other colors here to make a nice black. Maybe it won't be too black because it's a little further away. But to make sure that the stuff down here is our blackest. So maybe this won't be a pure dark as we can get dark, but it'll be decently dark. So that's pretty dark value. And don't get me wrong. Black isn't important color. Nothing will hit harder than black. If you need some really, really dark value somewhere, you can't mix a color that is as dark a value as black. And also a Black is a very cool color. It's the dark is blue. You have an odd people don't really realize that. But it is a very dark blue value. Here's a couple little shadows here is going to be some kind of balcony or something later about and he's up there. Okay. A little bit of that, they're right about here. So put that as a big piece and I'll separate it later with some whites and it'll be fine. Here's that. There's a big other big red awning. She just sort of indicated earlier, but we'll put a little bit more than they're now see a multiple buses, different sizes, different colors on them, and they're all useful. This is kinda dark up inside here behind this bridge. So that's not sharp edge boom, I can make a nice line like that. Okay, now we're ready to do that for this next building here. There's lots of reds and things going on in here too. So because there's some little pieces of brick sticking out there, a lot of this dark is already done for me. I did this already. The paint isn't very opaque. That's okay. This is going to be interesting. This, this shape kind of warm because it's going to be an open shadow. So it gets some. It's in red on there. Some oranges stuff. Looks like sort of more of an eastern themed arch with the point on the top. And then it'll be dark wave out here. This is all really dark in here. This looks like the shadow with a it's like an open little hallway or doorway or something as a balcony right there. Okay. Some of these places are not terribly dark. Will come back and do the red parts later. Let's do this. Really dark in here. This is another point, y1. And then one more here. And it following my perspective, make sure it goes high enough. Okay, and then we got this one's kinda dark brown, so we'll make sure we get some rounds in there. And there we go. Yeah, this purple can really serve as a dark, dark value. Almost black, almost black, pretty darn close. Curve one, the varieties in the windows you do here will lend to that. V authenticity, a feeling of the whole thing. You put all square windows, but you know, there's a lot of sort of cheap looking at Italian scenes where every windows the same, they're all the same color, green with the shutters and whatever, like, you know, and they don't all look like that. And if you paint them all like that, it'll look just FEC has an authenticity when you vary, sometimes the shutters are open and sometimes they're closed and sometimes the grain and a lot of these are really dark. They might've been black. They do have black shutters in Italy. Here's some cast shadows of things. And sometimes we just have, you know, dripping Marx. Who old stuff that helps to, okay, let's see if I can add it in some whites here. Got another brush, my little tiny brush. I've never used before. It's a brand new brush. While we do that, break those bristles apart a little bit there we go. Far away stuff here, some of that white trim around this, this side of the window. This will really make somebody's windows. The details here will really start to work. Putting the paint right on the very tip, almost like as if the paintbrush was a little chisel. Sometimes that works really, really well. And I'm just touching it. And just like placing the paint on the canvas. You know, they say a brush stroke. Sometimes it doesn't have to be a brushstrokes and those you literally just touch it on there. And that's as far as it needs to go. Light value in here for some reason that faded bricks or something. And you can use the point to do all kinds of, you know, these things have a sharp little edge and a corner. These are great brushes. Very versatile. And it looks like there's some little bit of that up there. There's one I always little details will really start to add up. There's a bit here. There's two windows there, so I'm gonna separate those. See, I group the windows together and then I just separated them made one went to Windows. How about that? A little bit of a white across that awning. And it's not always white sometimes it's just a lighter value. And as it's like a light yellow or something, it doesn't get close for me. I'm gonna start adding a little bit of yellow just once. Not pure, pure white. Like a dirty off white. Because, you know, in real life, these things are really old and faded and there probably weren't pure why there was a whiteness happening. Said even a word both whiteness. Okay, there's a couple balconies and here, let's see, right over this awning is a bit slim Good. Now we can do some of the trim area on this building detail there. That's a little too yellow. Mos switch to my bigger brush. Where's my larger here it is. And it's got some orange paint. I see this bigger one. Agonist go I can make longer. Peace is some sort of a bottom that there haven't been a brick or something on them. Then I'll get that in a second. This part. So railing sticks out a bit. There's a couple details in there. And my pain is getting a little pink because it's mixing with the orange, it's on their site to be careful about that. And then here's the edge of this guy here. Okay, and, or approaching the 20-minute mark. So I'll start a new lecture in just boom, 1 second. Okay, we'll finish this building up here. The next one. 15. 4 4 Opaque Painting: Okay, we're finishing up this building. How these little bits of travel on these windows. And then we'll have this whole bank of buildings all finished. That's part of the bridge actually, but it's right in front of me, so I'm just gonna do it now. Tone that white down a tiny bit. And then this goes all the way down there. Making sure I check my perspective so that all these windows, the line's going the right direction here. If you've never studied linear perspective, it's just so crucial to your painting. I should do a video just on that. Because it is everything. Your perspective is off, then your whole painting looks amateur. And not everyone knows why. You know even your viewers that this thing can sense something is wrong. So having that in your arsenal is just necessity. Now these things are Smile posters. The angle changes. And you're up here, it's this angle. As it goes down, the angle changes. You can see that there's this one here. And as it goes down, language, as it points towards the vanishing point. And I apologize if my angle is here, look a little jacked up. It's because the camera is not perpendicular to the Canvas. It's not because I'm in the way, you know, my head is perpendicular to the canvas so the camera can't be there unless I wore one of those like action skydiving helmet cans. But then look it up and down and looking around my people nauseous. Nothing else. Couple little details here and there, say Galway brushes, all the different colors on them. So I can I can change things and add little details that you hold while your hand or settled down or whatever you gotta do. There's some kind of some come out of there unless they've got little light pole. A little detail there. And these little details are important. Also, is this, these red brick things that are right in here. Some kind of what those are. It's a little brick pillars, something. And there's a nice highlight on those little details all add up. And they don't be complicated. Some days have a little bit of sunlight coming in the window. So indicate that C, Those are made of shadow. I have my lighter value. Painting it through the dark where I set that up. And there we go. There's one here too. That somehow there's like sunlight coming in, a little bit of something going on there. Okay. Think that about does it for this, building. The wrong rush, the wrong color. When a couple makes sure that edge is nice. Little tiny window here. There's a balcony. See as you go on, you start to notice all these details that you just messed before. Never really truly observes something. They have to paint it. And you know, everything about it. Ok, so there's that set of buildings. Why don't we move on to, let's say we'll do this side of the buildings. That's our next goal. I think I can start those in this lecture. I have enough time. We'll do it for all these brushes down over here. Take off some of this dark. Okay? We will do this whole setup here. So dark orange, not too dark, but actually not this. My values right there. If I can match that, I'm doing good. This putting more paint on it this time. I'm going to say it's more orange and it's going to be brighter. And those are some windows and we're gonna paint around. This is gonna get real bright orange real quick. I don't want to harsh and color though. And and I'll leave that checksum for sure my palate camera was still recording. Don't want that thing to stop because then you can't see mixing colors is getting a little too yellow. This whole thing is a little too yellow. Group of windows here. I separated them before, but I'm gonna make sure that they're all in one piece. So I will paint around them. And leave them as they are. There's also a balcony down there that I didn't indicate, so we'll leave that as it is. And now we can get nice him. Right with our color. Here we go. I'll say I'm just sort of gradually mixing a lighter and lighter color using sort of the same pile of paint does adding to it a little bit. That's why you go from one side. I started here, I worked my way over occasionally and come back and fix a little area. But they'll jump back and forth. And that nice gradation will happen. Ok. This is my darker brush. I'm gonna do that darker shadow down here. Already got some nice dark reds and burnt sienna and all that good stuff. This is a nice what I might do. Okay, this gets lighter as it gets again, the whole thing gets lighter as it works its way over. A cast shadow. In warm light, like sunlight is usually very light IS warm, the shadows cool. And the opposite is true also. If the light is cool, the shadows warm. So this cast shadow is going to be pretty cool, but it gets warmer as it gets up underneath that bonding and it turns into more of an open shadow. There's more reflected light. So I'm going to cool off that bottom, squeeze out some of that. Hey, I'm going to cool it off just a bit. Not terribly. It is still this dark orange. Here we go. It's sort of a more cooler version of that. Of course, cool. I mean, temperature cool, not like awesome, cool. It is more awesome than the shadow, but here we go. That's nice. Ok. And then what I can do is hit that shadow underneath it really hard. With some maybe put some Alizarin crimson in there. Boom. As they get older, sometimes they don't mix a new color. Ideas don't push as hard so the paint doesn't come off the brush as much. Okay. So now we have this rooftop which is sort of a darkish brown color. Looks like squint your eyes out. It's darker than you think. There we go. Yeah. And so you can test the car tested just a little bit and see what you think. And see I can make a dark color first. And then come out and lighten it with some of those little details of the shingles and stuff. But when we start darker first and then it's gonna get lighter. As I move over. Yeah, it really does get wider, doesn't there? This shape comes all the way over here. There's a little balcony thing there, OK. And some really, really lightness happening and will change hands because my hands getting tired because I'm sitting at a funny angle so that the camera can see what I'm painting, a painting over that sky. And I paint in there originally. Let's see, that's all one piece. Comes down like this. Sounds really don't notice it until you're actually right there doing it. You go. Oh, I didn't see that. Okay. I'm gonna use my lighter brush. Squeeze out a little paint. Do this really nice light part. Okay. And I'll come back and add those details like we've been doing. It looks like I need to make sure I get all the way up to this edge. Because there is no edge between those two colors goes from one to the next. So just push that pain right in there. What we should do is this is your angle is is better with your other hand. There we go. Wasn't that easy? Then the similar sort of color up here on this house or this dingy old color. It's a warm sort of beige. Apologize if my arm is in the way. See somebody's account from the top and get it whatever works. And there's a roof paint right through that sky. Here we go. A little bit of it here. Between those, make sure I get enough paint on. There. There we go. Okay. That's a nice let's do some of the dark shapes now. Even have time to maybe nail out some of these windows and such. And these windows, haha, Interesting. Now these windows are to reflect some light. So they're not just shutters are black or there's actually, I'm gonna make that a little more blue, little greener. Their glass and they're reflecting light. So they're showing us what's behind us. And yeah, there's some people right there in front of that window and I'm going to add them in later just because I'm one time, time to think about it. And let's see, let's make these windows really thick. They're not going to touch together. So maybe I'll just or ten, they don't. If necessary, you can make a little adjustment like that. Now, big deal. This is the landscape. It's not a figure, fits a figure. Here. You need to get everything right on. But landscape, you can take some liberties if you need to. And then this last one is some sort of greenish or something, whatever that color is. And these other ones are actually dark. Black. Put some kinda He I'll just separate those windows outer. Not a big deal. You're allowed to make a judgment call like that. It's not a major point in the scene. So I'm not terribly worried about it. There's this something like an awning or something right here. Nice dark value down there. And there's a cast shadow. All the cash shadow's going the same direction on the same plane. And we go, okay, maybe there's a few more up here. These a little darker here for this chimney. Okay. Now, and then come back and do some of these lighter house details. There's a house or a little bit of a house right there. Right there. Took him over a little bit. And so right. Visa come down that far. Let's see, there's another one over here. Okay, now I can start doing some of these. It's an awning or rooftop comes over. I don't know what you call. Okay. Couple bits of light over here. And then we go. All right, why don't we come back in two seconds. And I will go ahead and do all of the light values, all the white trims, the thing say here's some shutters, will finish a couple details. I've a few seconds left. I try to keep the videos to 20 minutes. For any technical reasons. Schroeder was her little things there. Okay. Oh, there's a Windows here to reflecting some blue light again. There. Alright. So now we'll come back and we'll do the light details on this building. 16. 4 5 Opaque Painting: Okay, we're gonna do the light details on this building. Here. There's just nice and warm, so we're kind of running out of room. So in a few minutes, I will clean my palette again. And that's just what you do. And I make sure I got this angle right. I'm going to start on this side. Do you do there? That's why that I'm dragging it and or tapping it. There we go. Some of those find the angle of a line. You find both ends of it, and find a little bit in the middle. And you can connect them. You don't have to sweep it across dramatically in one try. You can tap away across habitat tamper Ru. He tells up here. Okay, underneath here there's lots of little owning things, keeping them very evenly space going one at a time. We wanna get to the end. I will even add more paint so it gets darker. Okay, let's do some of the trim around these windows here. I'll use the picker pressure again. I am going to make sure because as I'm painting over, there's wet orange paint down here and I'm picking some of that paint up. And I don't want to just keep putting it back down. There's these little pointed windows again. These are fun. Okay, here's all melodies. Maybe I'll make all these first new windows. You wanna make sure you know if they're uniform. Do them all. One, do the do the same part for all of them, and then come back and do the same part for all of them. So okay. Now I can come back and do those old tops. And these ones you can't see the side shutters because her the little wall trim, the molding because shutters revenue. Okay. There's a balcony here. Actually that's some dark value behind the balcony. This would have been a place where it should appear dark. First. I could just do that's much better. And then I can come back afterward and hit it with a few highlights. That's going to look much better. Here we go. Oh, bottom, bottom. And there's one over here. This right here. Has a couple little details there. And then inside the or, I'm sorry, underneath there's some dark value and a couple of little changes here. When I can do is maybe go a little darker, indicating some details underneath there. That's easy. Oh, there's a little square. I don't know what this thing is. But we'll put it there because it looks interesting. Alright, now next thing forward and say, well, I'm sure you got, you know, we're gonna do we're going to add a little bit lighter value to some of these shingles here. What I can do is put some paint on here and this dry brush or stumble. A little bit lighter value and this barely whispering that brush, I'm holding it and just letting the way that brush just barely touch the canvas. Some of those places. And you can't do this too much because then you're just gonna mix it in and turn it into a button. So he'll texture. And then I'd say one would use some of the stuff underneath. This should be quick work. Just a lot of dark values down here. So it makes my dark values together. This is going to be underneath this bridge. Can't really see. It looks like there's a boat here even. And we'll do some of those details. Underneath will do the water. Maybe that would be the water last the water. I'm looking forward to the water level. We find water inflections. That's the whole thing will come to life suddenly with the water and the reflections. You will see. It's going to be o. What does another boat here? Sees boats don't outline and draw about, draw what you, what you're seeing. There is this dark shape. That's that I know it's a boat because my mind says, okay, look, there's a bug. But if you painted like that, it'll look. Bill weird won't make sense. These are values are getting a little lighter. And when the whole thing dries for maybe a day, I'm gonna come back and do some interesting detailing and last minute touches that are pretty awesome. And you'll see those. Some of the light values down here. I can paint over that bridge park because I'm gonna, that's probably the thing off the part I'll do next is that bridge. I think well, I need to do before I do the water on the decline the palette, I can hold off until then. That will be cool. And sometimes one brushstroke, sometimes I'll tap it in. And sometimes I just want one boom restaurant. Do you think about it? And then you do it? I was told, look, decide, execute. So you think about what you're doing. You decide where it's going to go. We make see you sit in your head, you make a mental note, and then you do it one time. Boom. Okay, there's some variations and some of the dark values in here. Maybe this or Windows or something. I'm not really sure what was back here. But we can couple little details in there to indicate something's going on. And this was sort of a peachy color. Alright, so there's that, and I think we can start with the bridge. Let's see. I'll use my larger brush, my larger darker. I had a little bit a later value on that for some reason. Okay, this is another one of those nice dark orangey Brit reds here. Starting here. It's actually a lighter value here because it's a plain break plane as NPL a and E, right? So as you can think of these things like a, like a polygon, as if the shape changes the plane, the plane breaks and light hits at differently. And so whatever color it is is because of the way that it's facing or facing away from the light. Here I got brick. This is a brick bridge. So I make my brush strokes all go horizontal almost like a following the shape of the brick. And again, this is going to get lighter. As it moves toward our light source, there's a painting around those white little trim parts, whatever those are. Scoop up a big, nice bit of paint there is bridge animals turns like Tan as it gets to the other side. So that's what we're gonna do. Still brick, don't paint red because you see, oh, it's brick. You know, your brain tries to trick you because it's learned how to categorize things to well over your lifetime. And you have to learn how to undo that and see things for what they actually look like. That's our job. As painters, as noble as it is. To unlearn what you have learned. Thank you, Yoda. And there's a drop shadow, cast shadow, drop shadow banking Photoshop. Ok, so there's my brick bridge. And this comes out a little bit more. Ok. And now I think I'm going to add a little bit of There's some shadowing happening here. Just a touch. I'll do this before I do the light. These little details are really important. Not every details important. Di pane to every brick. Absolutely not. But I indicated them with some clever brushwork. So it looks like brick. Now I'm gonna do, let's see, I'll do this part of the light. I'm running out of room here to mix some nice light colors. We'll start over here. I will definitely clean this up before we do any other major partner. And say here I'm going to go. Instead of doing one big long stroke, I'm gonna do pieces. Usually a big long piece like this you don't want to do is one stroke. You want to break it apart and make sure your line is straight and go back and correct that so you can fix your line that needs correcting. Here's the same thickness and then it's straight coherently. This one picks up a little of that paint from the top of that. So Haven go over it one time, one stroke at a time. Boom. I'm not hitting it 345 times. There is just no need to do that. The first time you do it will PUT paint on and make it look good. Every subsequent stroke you make in the same spot, takes paint off and makes it look worse. The result of painting over something too many times, there's almost always, it just looks worse than it did before. So don't do it. And that's not quite straight now. Okay. Now, I'm gonna do this dark bid again. Which crush has a light on Iraq. And you're out. If you use your hands or do other things. And that works pretty well. There's this cast shadow. And here I want to maybe do a little bit of drag on this one. And it kinda turns blue. So but it's there. And then there we go. Okay. Can I do it? Let's do it. This top ones real thin. And bottom one is little thicker. We'll come from this side to hold the rush. Anyway, you need to think about applying paint. Get the paint on the canvas doesn't matter. There's no one right or wrong way to hold a brochure. We'll do that. The sidewalk partners second, I'll use my smaller light-colored rush to do these parts here. It's just the right size. But boom, with that. One stroke, if you can do it in one stroke, do it in one stroke. I heard a teacher say that if he charged his students a dollar for every brush stroke they made on their canvas. Not only we have EB rich, but his students would paint a lot better. So that's how I'm gonna tell you. You can pay pal me $1 for every brush stroke you do. And then I'll be rich and you'll be much better painters and it'll all be worth your while. Okay, now we'll do this part of the bridge here. This is a little thicker. Careful. You don't get paint too far up on the bristles because you'll accidentally smush the paint on there. I usually paint almost everything I do. The paint is on the very, very tip of the brush. Almost the whole time. Maybe if I'm doing a very large surface like the sky or when I start doing this river, I might I might play with that a little bit. But for the most part the paint isn't the very, very edge, very tip of the brush and put it on like that. Okay. Maybe I will get sassy and do some like, you know, Rick sort of scratch genus. Like there's faded bricks on there, something like that. And now it fun. Okay. The next thing I think it will do is maybe we'll do all this stuff on the side. And I can do is I can do this sidewalk. And then we're almost done. You know, I I always get done with the painting and I just take it one piece at a time, like what I'm doing. And before I know I might oh my gosh, that was the last bit. And now I'm finished. That happens a lot actually. And you can do a painting in one sitting. It is entirely possible that you're watching me do it right now. Live. If you plan out the painting well enough and if your drawing is accurate, you do a nice underpinning, of course, that that's what asthma helps. And values are accurate and consistent. There's no reason at all why you shouldn't be able to do painting in one sitting. Most people, their time is spent painting, making drawing corrections. The drawing is off. Some things too tall or too long or perspective isn't right or, you know, whatever whatever's going on there, that's what they spend their time doing. So fix those problems are like what you saw me do. And then you're painting will come together. Ok. We'll do these bolts on the right side next. 17. 4 6 Opaque Painting: Okay, now it's time for some boat action. This should be interesting. Okay, a lot of dark values in here. We're going to start with That's sort of like a dark green shadow right here. And I'm not sure where that came from. Not gonna trust it. And knows your camera. And I should say sometimes all the time your camera lies, your camera doesn't understand. And sometimes you see things. It shows you things that aren't actually there. So be careful. You see someone your camera. Make sure you ask yourself, is that accurate? Okay. So there's that shadow. A lot of this is going to be hard and heavy. Dark values come in that shot. Here we go. I'm, I didn't put a little bit of mineral spirits in here because this is not the most important part of our picture. It's a big area of dark value. So there's these pylon things right there in the corner. And then these, these three boats, boats we can put some interesting details in, but the most part it's dark values. Okay? This boat here has this sort of awning on it. You really see it more when it's in the sun. It's in the sun will stand out the most. Here's this woman, sin as we'll do like a local color. First of all, let's put the general color of the whole object and then I'll go in there and do some details with it later. This boat is way bluer than that. That's dark value, but it's suddenly to be actually blue. And this bow down here. So I'm running out of room. Running out of room. Painted myself into a little corner, corner of my palette where I have no place to mix anything else? Okay, some details on here. There's some like dark red down here. Not the most important part of our scene. It's pylon things was make those dark all the way down and they come up and they're gonna get a little bit lighter. Yeah. There we go. Bring that value back down again. And it's kinda and don't mind making a mess of my palette, Alex, I know I'm going to clean it off right after this. So stay tuned. So there's those little pylon things are sort of in the corner. Not that important. Put them in there just to put them in and, you know, totally scribbling them in there. There's detail there, but not terribly, terribly worried about it. Well, there's like a little tree, a little bit of greenery. Wayne back here. There's some IV or something. I don't know what that is. And it's fun. You know what this needs. Needs another little window. I'm gonna put a window and because I'm because I'm feeling it right there and even going to put some trim around it. And then even going to put a little bit of, a little bit of a shadow. Here we go, just for fun, one little detail. Alright. Ok, let's do the light part of these boats where the sun hits them. This one's pretty obvious. It's kinda light orange, pink. Hair we go, boats can be kinda funny shapes. That roundish shape is kinda hard to nail sometimes. And make sure I get that drawn correctly. When you say something is drawn correctly, we're not drawing with pencil and paper. You don't have to. You can draw with anything. We drew with charcoal before when we did this study. Now we're drawing with paint. So something is a good drawing. That means everything's right proportion. And the right size. Perspective is all set up, right? You know? So if something is out of drawing or has bad drawing, that means things are the wrong size and wonky and, you know, it's up, looks like your brain can tell you when something looks like when it's out of drawing. Here's this part of the bow that's in light. It's a little more ultramarine blue. So there's that will hit the underside of that water, the onset of the boat and we do the water and have so many things in my hands trying to organize this one bow. And then we're gonna do my most favorite part of this scene. See a couple of quick indications and what we have at least the front of the boat. Okay. Now it's time for the water. And then maybe some touch ups up to that. 18. 4 7 Opaque Painting: Okay, now we're gonna do the water section. I'm going to use my bristle brush again to the majority of this. And then when I do the reflections, I will go ahead and use my sharper edged brushes again, doing some of this dark value stuff right along the edge of this here. It's going to be green in a second. But to start with really dark values in here, I will come to that in a second. And another brush here, higher colors. I don't have a green paint. Not really feel the green too much. I like to make my own green. Light can make really, really wide variety of grains with all the different. I have two yellows and blues and white and purple. And you can make so many greens with all those II don't I don't I just don't feel like I like green paint. I don't know. Well, you know what I do need to do before I do this is the underside of this bridge. With my dark brochure. Looks like on one side, it is kind of darkish orange, reddish, something way down here. Maybe it's even darker than that because it blends in with all this stuff over here. And you don't see very much of it is it's yeah, that's pretty darn dark. There is a little bit of reflected light underneath here it looks like because it's catching some of that reflection. The light reflecting off the water when it looks like is then reflecting back underneath the bridge. So that reflected light I'll get yeah, you gotta look for it. It's really fun to do. It's a great detail, adds so much authenticity to your scene. And that goes all the way out there. And it's dark all the way under here. There we go. A little bit there. Okay. Now back to what we had to do that first. Ok. This part of the water is decently lightened value because it's right next to the edge of our RC in here. Where that where the sun is coming from that direction. And it's pretty pretty gray. It's not that intense of a green over there. Yeah. Okay. Here's her scalable darker. Now one thing about about reflections in water, I'm just gonna cover over those reflections that I did before. And I will add to them again later. Reflections on water. If it's a very bright color, it will reflect fairly accurately a little darker version of that right color. If it's a dark color, like let's say this boat right here, it reflects, rather than reflecting the dark, you almost sort of see through the water instead. So water is like a mirror or sometimes it's a mirror when there's a bright colored light in front of it. You see the light the bright colored light. And there's a dark color object. I mean, sorry, talking in painting is difficult. If it's a light colored object, you'll see the light color reflected right in the water. If it's a dark colored object, you'll see through the water. So you almost like see the color of the water is dead. So here in front of this boat, we see, I'm going to get that dark enough. We're seeing more of the color of the water. That dark green, and that's one that really comes out. Some of these other places you'll really start to see cheese, dark reds and all kinds of stuff. Because all these other colors that are right in front of it, these are both dark now, this router has a blue thing. I'm doing the selections and water at the same time. Well, it's already looking nice. Look at that. Okay, I'm gonna do that really darks first. And then I'll add a light colors in afterward. Dark greens. Here's some really dark value right in front of this boat. Sometimes the, if it's a dark shape in the water like a dark boat, you can't even tell what the thing hits the water. They blend together. The reflections and the object become the same. And I'm really going to, let's see the assonance. I decide to start really dark with water. And yeah, dark purple and yellow maker, lovely, dark green. Here's where that the shadow that bridge is down here. Scoop up some paint there. And I'll come back here. Different brush and make some prettier, more intricate. Ripples and reflections and things. But for now I think I just want to get some color on there C. Now let's come back to green. Here it is getting cooled. Green value again here. And then it gets much greener and darker for the rest of it. I could've painted these bulbs last because now I'm painting water behind them. Here we go. I'm going to use my other brush to get this dark stuff in here. That's why we paint the things in the back. First, so you can paint other layers on top of them. Saddam painting around this boat. That's okay. If you gotta do it once, two outs and up. Big deal. I'll just kinda make things, makes things a little tricky now and then. And there's lots of colors happening in here, but I'm sort of trying to get the underlying local color for the whole area. Then I'm gonna come back. Thicker paint and paint. It's not quite that saturate and paint some of the reflections and things. Yeah, I'm just going to paint this local Whole areas greenish. Picking the green. It's getting a little more bluish green as it gets over here, but it's still not that saturated. I got to tone down the color of it. And it's getting darker. And here's that boat. I might choose a let edge out a little bit. So I guess you can do that. If you're painting, bind somebody, you can chisel the edge a little bit if you need to. And over here, I might just take this out. Tiny bet. There's hardly any grain at all. It's all a reflection of this red building. It's really close to us in the water here. Okay. Now, let's go a little bit. Tao Guan. Squeeze, I have some white pan here. I gotta squeeze out there. We can come back and in our dark values again, here's this little dock. Looks like. Alright, a little, little pier. Things stand on. Staying on, admire the view, you know, they do in Venice. Venice is beautiful. You get the chance. I highly recommend going. And if you don't get the chance, you should make your own chance because it's totally worth it. I'm going to, there's a little bit of this dark thing here. So platform. And obviously you can see I obviously cleaned my palate. So now I have some clean working surfaces. It just gets too modeled. You can't work like that, you have to clean it off. And then there's this sort of saying, well, fence around it real quick. And there's going to be that blue. What do you call those things? Pull in the water there. Sure. It has an official term for it, but I don't know what that is. So we'll leave room for that. So that's there. What else we got and gets her sort of local colors. Let's use these brushes now to do are finer, little ripple action. Yet the further away the water is from us, the smaller the ripples are going to be. Because of linear perspective. Smaller, the further something away is, the smaller it appears to be. Including little ripples on the water. And let's continue with our dark value here. And it comes down nice and dark mixing basically all my dark colors to make this interesting. And I have used black allot for this and it does work. But you can get some interesting things going on. Interesting colors that you didn't expect. If you're using all your other dark valued colors. There's lots of dark happening. So here's where just water as reflecting stuff everywhere. As it gets close to us, we're gonna do a little more. This. Instead of just horizontal strokes, we can do some more shape to them because they're closer. Okay. So let's pause here and I will come back and do all the colors for the rest of the water. 19. 4 8 Opaque Painting: Okay, we're still working on our water here. Let's go and do some of this dark bar here in the corner. Dark purples and the reds and things going on down here. And we got a lot of that building reflected light off that brown building that's really close to us. Okay. Let's say I'm going to use a smaller brush or some of these little tiny highlights. Now, let's start up here. We have some fairly light ones. I'm going to use a lot of paint. Scoop up some paintings. I have a lot of pain down the already with that green. So I'm going to need a lot too. Put on top of it. And also, I cannot use too many brush strokes. Is the more I use it will blend right through my pain that I've already laid down. Ok, this here, this whole post. So this little white thing, basically look up and that's what you're going to be doing as a reflection. There's one here. And you're looking at your scene. Oh, you know, you have a photo reference error and see that we use that. But where's that manager? Is there. And it's a little, so notice it's just a little bit lighter in value. It's not necessary. Lots of crazy reflections. This whitens a tiny bit, is one or two little tiny ones. My dark here it looks like there's a bit of something is red right here. I missed this a little bit. As I read and there are some white around it. Some right here to I noticed that because there's some red in the reflection. Right. Well, I need that, don't I? I'm missing some red in my scene. And you see how quickly that starts to look pretty lifelike. Let's keep moving over here. There is some, this is a little more orange. And there must be more to it up there because it goes, this reflection goes down pretty far, all the way down here. So that means this must go up. This must be reflecting stuff way up here. And a dominance are getting, is reflection off of this orange building. It's up here. Lots of colors going all over the place when you talk about reflected water. That's really all water is, is a big mirror. Sometimes you can see through it and sometimes it might just bounces right off of it. And it's like you're this act as a mirror laying down in front of you and you're looking at what's past it. You know, there's a lot of this and there's a little bit of red two all the way over here. Some red. Usually it's just a darker color of whatever the object is in front of you. Okay, now we're going to start to see some of this building. So this looks like it's pretty orange. I'm going to yell it up a little bit closer to the edge and that's why you can tell what the boat ends. Because that's where the reflection stops. Like a little pick down at the bottom, that's as far as it goes. And then here, this is clean off a little bit. There's some more dark value here. Must be following. See this door here must be following that. The bridge is covering a lot of stuffs. I can't see what it's what we're reflecting. I'm just go one by one. I'm just guessing the colors it's given me. Okay. And here's where I where it meets the edge of the bridge. So all that stuff happening there. Okay, now we're gonna get into here, or it's going to be some scrape, some of that. What do we got here? We got we got the orange of the bridge itself. Sort of this dark, reddish orange. It's not terribly strong. Well, it's definitely there. And the further away an object gets from the water, it stops. You stop seeing the reflection anymore. There's a few of them here and there, but not nearly as many. Now we're, are going to start to see some of these buildings up on top here. It's, I just sort of whitish, cool green measure where there's green is coming from, what is everywhere. So we're going to throw it in a little darker. Sometimes you can ask yourself what it is and try to think through it. And that might help you sometimes. Sometimes you just do it, whatever you see. That's the best way to do it. Sometimes you paint trained brain off. And your opinion, whatever you're looking at. If there's a color there, it's there for a reason. And you just put it in like the monkey with the paintbrush that you get to be. I'm just the monkey. Olden the paintbrush and I'm painting what I see. I'm painting what the scene is telling me to back up my can make stem that little longer. And that one too. Revisit that section there. Okay. Maybe this weight and building up hears and it gets him play. And you get some reflection. And let's say now we're going to start getting back into this orange part of the building. Dark reds and oranges and stuff. That'll be fun. That's a lot of what's going on here. And over here, it's really just read and even some with a couple slight light values here. There. The light values in this part aren't going to be very light. Maybe they're real subtle. That's even to light. And then eventually I put those post things in. Hey, here's a nice bright piece. As I get closer, I can do more swirly and stuff with the, with the reflections. As you get closer to me, the viewer. Let's see. And then there's gonna be some blue for the sky because it is reflecting the sky, isn't it? Eventually we get to see that. Look at that. Now whatever I accidently paint in front of that boat, Eigen come back and paint the boat back on top of it or big pieces of sky being reflected there. Okay. Let's do these dark pillar, pull things in the water. There's one right there. There it is. It's the water there. And then here's the other one is where's it's right here. And that's myself. A hole for it right there. A little bit of light hitting it right at the side there. And the top's like this yellow color. Blue over my brush me wife, that offer a quick right? Yellow. Sticks out a lot. Maybe I'll make it a little orangey. It's not to garish. And put those in there and then I can take that color and make that happen down here. Somebody got to follow and tracking it, follow it down. And there we go. And then I got some of that blue. You see that the reflection just comes right up and touches pull. So you can't even tell. It's hard to tell when the pole stops and the reflection, again. Let's make some of this little darker in here. Is going to be dark in here too. Okay, but we're just about done here. There are a few places just randomly where there's this dark, dark ripple into dark is values here. It gets pretty dark over here. And it comes in the shadow. It's dark in that up nicely. Yeah, I think it's still tracking the reflection of that bridge. You can't blend at all. You can put the touch it down once and you can't sit there and blended around because then you'll lose all your little ripples. And there is a couple of orange ones in here. Must be some orange right above where those bridges, I just can't see it. Okay. It makes pretty colors. I'm not going to argue what the pretty colors in where they go. Okay. I think that that might do it. And then before I speak to sound, let's just look around here. Okay. Sort of overview of our opaque painting. We, after we did our underpinning the work back to front. And we started with the sky. Move forward. We did this set of buildings next, and then we did this building next. Then we move forward. We did we did the bridge and these boats here. And then we did that, you know, sort of a way for as much as you can, little overlap here. But we did, we did the water and all the low reflections, and that's about our whole scene. Well, let this dry for about a day and then I'll come back and add a couple little touch ups here and there. But in general, this is your whole painting that you can do in one sitting and she just watched me do. 20. 5 1 Finishing Touches: Okay, we're gonna do our last few finishing touches here. The painting could be finished as is, but we're just going to add a couple little things to make it more interesting. Back here in the background. These, this yellow building. This goes down a street which goes behind this red building. So I want to push the building back a little bit by making these values lighter and making the building of these values here a little darker. Because the lighter something is, the closer it color it is to the sky, the further away it appears, and the more contrast that you haven't the values inside more darker areas here will make little head gets closer to you. That is aerial perspective. So let's see here. Just going to use just a tiny little bit of paint on them. Fairly dry brush. I'm gonna go with some little bit of white and a couple of the blues here. Real subtle and want to dry it off. I don't want a lot of paint yet. And I'm going to push this back. I don't want to get anything on the red building. Just a tiny little bit. Thrill, subtle. And of course, the more I do this, the further away this will look some almost like forcing the perspective a little bit, a little bit here. So it makes that go further back. And I'm going to use a different smaller brush to darken some of this shadow underneath this e here. This will bring this forward just a little bit. I get a little more red or orange as it gets closer to the light side of sort of exaggerating a tiny bit just to bring that building forward. Because otherwise it might be kind of hard to tell what's going on here, those two buildings so that they meet. And that's really hard to figure out what, what they're doing. So I really wanna push out the yellow building behind this red one. I could continue this a little further. I think the paintings had about two days to dry fully. Depends on what kind of paint you're using. If you're using standard oil paint might wanna make, wait a good week to do this. This is a faster drying, water-based or woman, sorry, water soluble oil paint. I don't ever use water with it. But you can. I don't recommend because it just doesn't perform very well. And it just happens to be a really, really fast drying paint. And I like it quite a bit. So it's a really great oil paint that dries in a couple of days. So that's kinda nice. And let's see. And I'm also going to do is add a little bit of light coming through here, some light rays or something. This is another different brush that hasn't had any paint on it yet. So I'm gonna put some yellows and whites on here. I don't want to mix with any of the blues that were on my other rush that I just used. So I don't want a lot of pain again. And you're doing this kind of a light effect. You want just very little paint. Let's be real subtle. So I'm sort of wiping a lot of the paint off. Now I need to track the direction of my shadow. And then it's going to be maybe a little bit of perspective, but not much to white and want a little more yellow, orange going on there. And this is real subtle. Maybe be a little bit open through here. Maybe I'm being too. So let's try this now. There we go. Sort of a sunset light being anything sort of happening. Nothing too much, just a little. And we go it came off here. Well, that might do it. Maybe I'll, let's see. Sometimes I'll do something similar with some other really, really white, really, really bright values. And my piece, I'll go buy them and make a little bit of glow around them. I'm just really dry brushing a tiny bit of white. And this is, I guess it's really subtle, but it really does add a little bit as saying, a little bit of light glowing this to your piece came out what some of the water here, it's a little brighter because this is where the sun is really coming in. Let's see anything else? A little glow around this chimney because the sky is really bright. And that's it. So I pushed this part of the city back further as it's receding back with linear perspective also, you can see that the lines are handling this way, but I also pushed it back with aerial perspective by making the colors less saturated and a little bit lighter closer toward what would be the sky color. I brought this red building forward by making this contrast a little more apparent. I made this beef shed a little darker. So next to this yellow building, it's a little more contrast. Two, it brings it forward toward you and added just a couple little beams of light coming through there just for fun. And that should do it that looks like a finished painting. With those extra little touches, add it in. 21. 5 2 Summary: Okay, and here's our finished painting are little Venice scene came out pretty nice. So you saw the entire process starting with a preliminary sketch, which we did in charcoal, that was a drawing and the value study within trends related that technique into paint to do the under painting, in which case it was also a drawing n value with adding a little bit more color temperature. And then from there we just went layer by layer adding are opaque paint working back to front. Typical Landscape style. The sky, buildings, the bridge, and then the water like everything moving forward toward you. And then after that could be the finished painting. But if you let it dry a couple days, you can go back over it. A couple of finishing touches like we just did here, adding some little light effects. And there you go. It is possible to do a painting in one sitting plus OA lecture a few minutes. So thanks for joining me for this piece and I hope to see you again for another one. They could very much, I'm Christopher Clark and it's been fun pen with you.