Transcripts
1. Introduction: Hi, I'm Emily. I'm an artist and art true to from New Zealand and I teach online classes and drawing and painting. This acrylic painting project is all about texture. We can use texture in a painting through our use of color in our use of brushstrokes as a way of making our final artwork much more interesting. In this class, I'll show you different ways of creating texture with your brush in also with color. We'll start with some experimentation to see just what we can achieve. And then I'll take you step-by-step through a landscape painting to show you how you can apply what you've learned. This is a painter on project at suitable for complete beginners. Just allow yourself some creative time in follow along with me.
2. Materials: For this painting, we're going to paint this image here with a focus on texture in brushstroke. So we're looking at different ways to create some textures. We can see in this image and the trees in the foreground, the ocean and the sky. The paint colors you need for this class include white, burnt umber, which is a rich dark brown, ultramarine blue, which is a warm blue, phthalo blue, That's a cool blue. And lemon yellow, which is a cool yellow. If you don't have these particular paint colors, you can still have a go with some blues, yellows, and browns. Just be aware that you may get different colors to me when you mix them, particularly if you're using cool colors and natural browns team to get greenie tinges rather than rich brown and black colors, you're going to need all the usual materials. You need. A paint palette, a water jar, and some brushes. So a range of brushes, couple of flat ones and a couple of round ones. If you've got them. You'll also need some paper. A couple of pieces of pipe of first one, I've just got a small one there I'm going to use for practicing some techniques on, we'll do some experimentation. And then I've got a large piece of paper for the final painting in R prime to this one with just a water-based house paint. Also, if you have any texturing medium, acrylic medium, you can add to your paint to keep it raised. When you add your brushstrokes, you might want to use that this one's a molding paste, It's very greasy and is a met finish. And this one is a gel medium. It's smooth and glossy. Both of them are designed to keep your paint in the form that is when you put it all in. So if you're putting on brush strokes and you have that raised effect or weren't flatten out like acrylic paint normally does. It'll stay raised. You have a nice texture. You can run your finger over it and add some depth and some white to your painting into use that you just mix it in with your pints.
3. Using Acrylic Texture Mediums (Optional): So I'm not going to be using the texturing medium when we do this painting. But just in case you have some in you want to try it. I'm going to be a quick demo to show you how you might use it. So this one's the molding paste and it's very thick. It's got a texture to it. So if you put it between your fingers, you'd feel it's slightly gritty. There's a couple of ways to use both of these mediums, the molding paste in the gel medium. And the first way is to just put them on and then link them dry. So you put it on and created texture. And then let that dry and then come back and paint over it. Probably wouldn't recommend that in this instance because we are going to be painting in quite an experimental way and not completely planning the painting out to start with. But if you really knew exactly what you wanted to do with the painting and you knew that you wanted to have Takes. You're in a particular place like for rocks and you wanted to create that texture first. Then you can do that. So it's quite raised. And what I can do then is I can use a smaller brush to put textures into it. I could use the back of a brush. I wanted to create some really deep and deans in net will just dry as it is. And then once it's fully dry, I can paint over it. You can see there's some shadow is that it casts. You get that with your paint as well. When you put that down over top. This one is a gel and it's a bit more, not quite as stiff. And it's very glossy. But it works the same way you could put it down and creates a texture in paint over top of it. The other way to use these as to mix them in with your paint. And I prefer the gel one for this just because it's a bit smoother, a little bit easier to mix. But when we go on to do some of the leaves in the trees. And if you have some of those, you could mix them into both of your paint. So you've mixed them into the yellow there. And I mix them into the blues. Well, you can see it doesn't change the color at all. It's, it's white in the container, but it's translucent. And then when I put this down, I can create a texture with it. In my blue. And keeping my brush strokes all going the same direction. And that takes two that you can see in the brushstrokes. Now, We'll stay there when it dries. When you're painting with regular paint without the texturing medium, edit it in. It'll look raised sometimes if you put it on very thick. But it usually flattens out. So you might think you've got these really great Jaggard ridges coming up off the page and that you'd be at around your finger or a few of them afterwards, but they tend to flatten. So that's what this texturing medium does, is it keeps it raised, keeps the structure of the paint the same as when you first put it on. So this could be something that you use for say, trees, leaves. And you can keep as much yellow or light as you want to. Every time you brush back into the US, you changing the texture, you changing the structure. If you can see that much, show you once it's dry as well. Let's go quite a texture to it. There's just a couple of options. We're using gel medium or molding paste. Molding paste. You can mix them with your paint as well. Just really thick. Might need a palette knife in it. She has really nice to apply with a palette knife as well. Because you can get some really big slabs of texture. Great for expressive painting and painting. Were you working mostly with color, abstract forms? You've got this lovely texture in here to just give it something else. If you do have some of the texturing medium, you're welcome to edit to your paint and use it as we go along. Like I see it. I'm not going to be using it in mind for this particular exercise, but it is an option. Just be aware that once it teaches the year and has dried, you can't get rid of it. So if you painted something like a tree and then you decided he didn't want that tree there and wanted to over paint it. You're still going to have the texture of the tree underneath. So just to show you what they look like when they dry, you can see the ones that I painted straight on I raised. And you might also be able to see that these colored ones I really raised as well when I run my finger over it, It's really bumpy. And these ones that didn't have any paint mixed into them would become the texture underneath whatever you're painting is off. You can see it quite clearly when I bring the paint over top. But you can also paint over it once I paint all of this and in the end, once it's dry paint another color. So it would be similar to just painting over like this. And it's with stripe paint out of the tube, no water edit because you may want it to sit on the raised. You choose rather than sinking down into the crevices. That can be a really cool effect for landscapes or expressive abstract works.
4. Priming Paper (Optional): So I'm just going to take you through how to prime your paper. And priming is just a way of creating a barrier between the paper and the painting that you're creating. You might notice when you're working on paper that it soaks up all the paint in this can make it quite hard to move the paint around. Primer is a type of water-based paint, either a G, So which you can get from an art store, or any kind of acrylic paint. And that goes on first, so the paper soaks it up and the moon we put our painting on top is like a barrier. It's a lot easier to paint on top of. If you get JSON from an art store, it's got a bit of a texture to it usually feels a little bit like sandpaper once it's dry, I quite often just use house paint. So this is a water-based house paint and it's just a mess tent. So it's one that I've picked out really cheap. It's slightly purple, but I'm, if I'm going to be covering the whole page, all the whole Canvas, then it doesn't really matter. It's just something really light, close to white. So you could use this to prime canvas as well. The same principle, it creates a barrier or first coat. Then when we paint on top, It's a lot easier. If you buy a readymade Canvas that will already be primed. You'll notice it's got some white paint on it. Json from a store is quite expensive. And so it helps paint is a really cheap way. If he just getting the miss distance or the T spots of just plain what paint as long as it's water-based. Just typing down the corners right at the corner because it's going to cool off a little bit when I painted this is not that heavy that PIPA you can use. Even sketchbook paper is fine. Sometimes I do this in my sketchbooks are prime them with acrylic paint. If I want to do some painting, just some little exercises or some tastes, as long as it's at piping, it should be fine. But the fifth, the thinner it is, the more it's going to cool up. And you can always flatten it out in a book afterwards. So I've just got my paint here and I like to thin it down a little bit. I felt was very organized. I'd go and mix a bit of this in a another container, but then I have to clean out the container and all of that, so stuff. So I just made sure I had lots of water on my brush. I can always add a little bit more water if I need to straight to the page and I'm just brushing it all around and you feel it soaking up, the paint will say get right to the edges. I'm using a brush. And it might mean that there's a few brush marks that could show through and to my painting, my final painting. I'm not too worried about that. If you were concerned about that, then you could use a paint roller to put this on this making sure everything is covered in, smoothing it out a little bit. You can say it's cooling a little bit now, so I'm going to let that dry and then it'll be all ready for painting on top of.
5. Experimentation: Trees & Rocks: So we'll do some experimentation. Just say you're feeling comfortable with everything in it. We'll get on to the final painting project. To start with, we're just gonna do a couple of tests to see what kind of textures and brush strokes we can use some of the areas in this image. So in particular, we're going to be looking at how we can create a texture of trees or leaves or some kind of grassy hillside. And this is just inspiration. So obviously we can't paint every single individual detail that we see. Well, perhaps you could have fewer, especially if you're using oil paints. But we're gonna do a, an impression of this image. So we're going to find a texture that gives the impression will, the illusion of trees in light and dark in maybe rolling hills. Also the rocks in the background which are very dark. We can lighten them up a little bit. Think about the colors that they might be. So I'll be using the burnt umber and some white in the textures of those rocks, how we can get those sorts of textures. And then also the ocean here. How we can get the colors and the textures of the ocean. So we're going to go here and do three little tastes. Just have a bit of a play and see what we can come up with. To start with, I'm going to mix up some yellow paint. And so I'm looking at the, the trees here and thinking about how I can create some leaves. There's some yellow, this lighter yellow as well. So I can mix up some with a little bit of what two. And instead of mixing green and applying green, what I'm gonna do is actually apply the yellow and the blue straight to the paper. So this is a good way to have visible brushstrokes in. We're aiming for texture in this one. So I'm just gonna put down some dabs of paint are not brushing this time I'm just dabbing the light yellow. Could go a little bit lighter. If you've got some yellow ocher that might be interesting to try as well. Maybe think about some layers or levels of trees. So I'm getting some raised brushstrokes. Those are going to flatten out just because of the nature of acrylic paint. But this is where if you wanted them to stay rice, you can mix in something like this gel medium and use mix it straight into your pint. I'm gonna go ahead and get my blue, my darker color. And thinking about where the dark areas are there on the lower side of each layer, H level or layer of trees. I'm going to just start dabbing in some of that. So I'm leaving the light areas in bringing in the dark areas. And you can see at the very vibrant, it's quiet. Quite a turquoise color in, I actually like paintings to be quite bright, but if you wanted it more natural, you could use a different blow. You could use a Ultramarine, a warm blue. Or we could mix just a little bit of brown. And with this one, just because we're keeping a limited palette and bring it in. So it's a little bit duller, little bit darker. So you can see that we don't work in this way. I'm getting some brush strokes. Now. I'm just going to grab some yellow, not even going to clean off my brush because I don't mind if it mixes and named bring some yellow over top. What I don't want is for all of this to just become one type of green. I want it to have some light in some dark, some yellow and some blue in it. And it's kind of creating a visual illusion from a distance of grain. But up close you can see the different components and just mix a little bit of the burnt umber and with my yellow there as well. So you can see what it looks like when you have some more natural types of grains. And I'll show you what it looks like if we're using an ultramarine blue. This is the woman blurry vision and you get duty a callus. So let you choose what kind of blue you want to use. You might only have one blue and it's fine, just use whatever you've got. But HIPAA play around with creating some teaches, leaving some of the colors showing through rather than blending it all into oblivion. And 21 and green. We can do the same thing with the rocks. So I'm going to imagine there's light hitting them so you can actually see them a lot more clearly. And mixing up a couple of Brown's, a dark brown and a light brown. And the same thing I'm going to, I'm going to paint down a ground of dark brown first and then bring in a lighter color straight into it while it's wheat. So there's some lines that go this way across the rock, see some parts that come up like this. He kinda like little cliffs, go over, hangs on the rocks. So it's good to have three tones a light emitted when a doc. So I've got a middle end. I know it was a dark brown but it but it is kind of a middle time. We can't go Dhaka. I've got a middle and a light. And then I'm going to mix up some brown in some ultramarine blue. And that could give me black if I want to, I'm going to keep it quiet, warm. Now let's make it cool Actually. Let me make it bluish. Cooler colors usually look more like shadows. Generally speaking, I'm keeping the Dhaka cause lower down because that's usually how film works. In reality, light hits the top of a subject in the shadow at the bottom of it. So especially when we just experimenting or using an image as inspiration and not painting it exactly. We can use that trick, I guess. You could call it a trick. Well, that method to create the illusion of depth in a little bit of light in there as well. I see that he had burnt sienna. You could use some burnt sienna to or yellow ocher. Could be nice in those cliffs. Probably taking a little bit faster now, but this is just an experiment. So C, C, what kind of a fix you can get with your brush. You could try different size brushes as well. Maybe really small one like this for the details. For the little white spots that you might be able to see you on the cliffs. And I'm just putting it on really thick. So if you look closely, you see how raised it was. And it will flatten out a little bit, but just a nice texture that it creates visual texture. So we've got some trees in some rocks. I think with the trees, I will go with the ultramarine blue. This one is probably just a little bit vibrant for the other types of colors there'll be using like the browns. And could add a little bit more light on this now that it's dried a little bit. Maybe some yellow and brown together to create a yellow archetype color. I'm just bringing a little bit of woke than there. So that would be like one of the tubes or layers of these lines of trays that go backwards. The ultramarine blue is really good for creating a nice dark color. And put some Nieto just to see what it looks like. So it's just a practice. It doesn't matter if you end up missing this one up. But you should be able to learn something from it and figure out what's going to work for you. That's using my pointed brush. We do have a flat brush as well and you could play around with that. It's really good for the cliffs actually, um, but you could try it on the trees as well. It gives you a bit of a softer effect, which could be nice fear that in the distance. So things that are up-close are more detailed and things that are further away, I'm more faded so we can create the illusion of close and far away by doing the same thing with brushstrokes, keeping out how foreground details quite crisp and clear and the things in the background can be a little bit more muted or fuzzy in this brushes giving me a really nice fuzzy fit.
6. Experimentation: Sea & Sky: So we've tested out some textures and brush strokes for trees, for rocks. In the end we're going to have a little go at water and I'm going to start with the flat brush for this one. So for this, I am going to use the phthalo blue because it gives a really nice, too cozy color. I'm just going to put some down blue ground. I'm just working on unprimed PIPA so you can see that it's dragging a little bit, but not too worried about that. I'm going to put a bit of green into some dark blue, green and dark down here. And again, you can treat this the way you want. I think it's important to pay attention to the tones. So we're, it's Dhaka, you want to have it DACA and where it's Elijah, you want to have it lighter. But if you want to play around with the colors, I mean, you could do the whole thing in pinks and browns. And it could still be really effective. So at is like Gauguin, post-impressionist to use to do this pink sand. He did scenes in Tahiti. In the sand was always pinks and purples. So I've got some blue, some green, and I'm going to go ahead and put in some white. I haven't cleaned my brush because I actually want it to kind of blend in. So this is the whitewater from the waves we're starting to hit the rocks. And again, lots of texture. I'm using the brush on its side and keeping the paint really thick and raised. It's it's blending in a lot. So overall it's looking like a light blue, but I can come back over there once it's a bit dry. With a clean brush and some bright white might do that with my pointed brush. We were talking about the trees being more detailed up-close. The water can be more detailed up close, which means that you might want to put some brush marks in there that are going to look a little bit like some ripples on the water. Being careful not to make them to regular or two big lie that's a little bit too big there. I probably need a smaller brush. Actually. It's really hard to create something that is natural-looking because we're trying, we're putting intention into it in nature. So not random, but it is natural for you had to paint something that looks natural and got some blues and greens in there. It might be quite hard to say, but there is definitely more detail here than there is back here. So those are the basics. The sky will do really quickly with a big brush and some white and mix up some kind of indigo blue with a blue with a little bit of brown in it. And just quickly do that with some very quickly put it in now. So this ones with the cool blue, put a little bit warm blue in there. So again, just an experiment. You can see I'm working straight on the paper. I'm seeing what happens and then responding to that. So it was a bit too cool, the blurry. So I put some woman and now we're going to check some wise. And if you've done the gradients class, the knee can think about how you might be able to blend these two colors. The Watson, the blues, nice and smoothly. This is the ultramarine blue with some brown in it. And if you have more ultramarine blue, then brown, you'll get like a dark stormy kind of blue, which is really nice. So I can put that in the toe. So even just really loose like that I think is not as clean as wait and wait and you get those blends. It's going to look natural. It's going to hit some energy to it. Have it play. Thinking about what kind of colors you want to use. You don't have to use exactly the same as me, but I've given you some options. If you want do to your colors, you'll be using an ultramarine blue, a warm blue if you wanting brought a turquoise colors, you'll be using a cool blue phthalo, Prussian blue sign for the sky. You can have a really blue sky, blue sky or you can have more indigo sky. And we'll move on to the final painting.
7. Project: Sketching: To get started weekend lightly sketch out the main shapes, the land, the sea, and the sky. And as I mentioned, this is just going to be an impression of this image. We're using this as inspiration so you can change it slightly if you want to. One thing you might want to change is where the horizon line is. So you could have it lower down if you want to feature more sky, you could have it higher up. In the photograph, it's about halfway. And I'm going to go just slightly higher than halfway. Eva, so slightly, I just really like having it either slightly APOE, slightly down. It's a bit of composition. And putting in the horizon line in the end, I'm thinking about with the shape of the land meets it. It's past halfway across the image. And then I can start to put that in and I might make it just a little bit higher. The land comes to about halfway across the image here. This point would be lines that you're doing now with paint. So I'm going to be painted over. Sorry. It's not a big deal. So that's the clips area. And then you've got these leaves of trees or hillside. With trees only some parts are in shadow. So I'm looking at the shapes, they're enjoying something similar, but not exact. And I've got a lot of space down here because I hit my horizon line highest certain, just going to add in some other labels of trees here.
8. Painting The Sky: All right, and then we're gonna get started. So it's generally speaking, a good idea to wait from background to foreground. If you're not using primed paper that or he has a coat of acrylic paint on it, then it would be good to just paint the sky, say a light blue to start with, let it dry so that you can just really layer up the paint is not going to so come to match to the page. So I haven't cleaned my pellet from the last time. I haven't even cleaned my water because using colors that work together really well in thinking about the sky, I really liked the indigo color here. I'm going to mix up a bit of indigo. Think about what kind of Kelly you want to use for your sky and make something up. The indigo that I created was with ultramarine blue and a little bit of burnt umber. If you don't have ultramarine blue, you could try adding it to the phthalo blue or whatever blue you have, you might find it goes a little bit greenish. So this ultramarine blue has more reading it, which balances out the potentially the grain and that Brown got my spray bottle here if you're away from your pellet just for a little bit. But you coming back to it, you just put a little bit of water on there and stops it from getting too sticky. Let's mix a bit on with it, white so I can see what color it is. It's really nice. And I could also use some of the cool blue as well to start with little bit like I did in experimentation, he had cool blue and in white and the indigo. Thinking I'm going to need a lot more paint than I have on here. You want to make sure you've got enough paint ready to go before you start. If you've got some binder, which was used in a previous project on gradients. The new might want to add a little bit of binder that will just make the paint flow a little bit more. Just add a tiny bit in here. Oops, could be a bit too much. Okay. And we'll start with some blue and some cool blue. Sing what the paint feels like. And if it's too sticky, you can add a little bit of water to it and just start painting all of that. Put down a layer there so I can work while its weight will come to it. You might be able to tell by the way I'm working, I'm not a terribly tidy painter. My pill, it's usually okay. I tried to keep some colors pure so I can go back to them if I need to, but I just go for it and put the paint on and then work with it on the palette quite often, rather than trying to mix up the exact type of blue or the exact type of what Eva. And putting it on perfectly. So that's a good base to work into. I'm going to do the what first it's going to be had to go over a darker color with white. So put the watch and face with a nice clean brush and you can always come back. This is just the first layer. If we can get it all done on this first layer, then it's awesome. That means we don't have to come back too much and don't have to do too much work afterwards. But I may have to put in a bit more white if I want to brighten up some of the highlights. So I'm getting brushstrokes from this brush in. I don't mind it. If you don't want them, then you might want to use a round brush and steed or even a filbert brush if you've got it which was Scott, it's flat but it's got a rounded into it. Depends how you use your brush tool. So if I use a light the scene, I get a square brush map. But if I use it on a lower angle with a lighter touch, I can keep those to a minimum. It quite quickly because I want this to blend in, don't want the paint to dry. I'm going to bring in some of the in-degree. I might need a little bit more watch actually. Indigo is going to dock in everything out. It's quite large down to the horizon line, which is nice. It doesn't matter if I go over my land or my C you a little bit that it's actually better than having a whitespace of paper there. And not cleaning my brush, just grabbing some of the Indigo and stop here and see it's blending in is I put it because the paint underneath is weight. Just looking at the shapes that I can see in the sky. And I'm going to switch to my other brush things so that I can get rid of some of these brush strokes. Some of them are like, remember this is just a photo for inspiration. If you get something you like by this actually quite cold, that area near the needed labor probably will get rid of it for this exercise. But if it's something that you're really happy with and you just excites you the num. I'd keep it to say that a little bit of a code blue into it, indigo, It's quite pupil. So just to bring it a little bit closer to this color that's in that photograph. All right, so now I'm going to combine it with a round brush. And let's bring in some of those same colors. So but a white over top if I need to blend in some of the edges. Again, looking for anything that I like, leaving it in trying to get somebody to fuse nitro, don't feel too forced. Lots of energy in it. Sky View. If you find you're getting Hadi edges, like I've got quite an edge between that dark blue in the light underneath. Just make sure you really clean off your brush and then go back in with the lighter color to blend it. So potentially you could end up with a big miss if you just keep moving all the paint around, if there's a lot of paint on here. So it is quite important to not be to me a stage. I know I feed on the MEC Pinto's, but to be quite intentional about what you do. So in these final parts of the sky. And I want to make sure I've got some light sleep apnea, so clean off my brush. Bringing symbol y to find need to soften off the edges. Thinking about what I'm doing. So I know I see I liked that area near, but I am going to lose it for a painting. It'd be nice for a really expressive painting to have those sorts of marks in there. And you could do a bit of that with maybe a palette knife as well. I'm pretty happy with it when I look at it though, the photograph, and maybe with the brush strokes. But if I squint at the photograph these and some really dark darks in here. And I don't have those reflected in my painting. See you are paying attention to the time. I want to mix up a dark color to bring a near. Let me use my smaller flat brush for this one, I'll mix with my round brush always good to mix with a round brush. I find nodal bit of brown and to keep my indigo color Beck, I'm keeping it pure and not putting any whiten it because I wanted to be really dark. And remember I said this was quite pupal, so just put a touch of that color blue. Phthalo blue. Mixing is always a balancing act. Pushing it one way and then you might need to push it back the other way. I've got my medium flat brush paint on both sides, alerting the brush and just putting in these areas, this one and this one, I think the paint to dry it a little bit. See how we go. Now I want to blend it, but I don't want to lose the docs, so it's just a matter of carefully adding in a few brushstrokes the sign here. Just thinking really carefully about what I wanted to do now, looking at the photograph and you get what I want to add and what I want to keep in my painting. I'm just looking for the main lights and darks. I've lost some light down here. At some point you do have to stop. And you can come back and add more and the second layer when it's dry. But anything you do in this first layer is going to be just like really fresh. So I've put it in the docs and now I'm just going back and assessing the lights. So I'm really just looking at the darkest parts and the lightest parts right now and making sure I've got my tone in there. It's not bad. It looks a little bit, when I look at the image, a little bit unnatural some of these paths, so I'll just smooth them out a little bit. Also got to think about the sky just being one part of this painting. So the moment it seems like it's the whole painting and you could get focused, too focused on it and how it looks on its own. But really it's a part of the whole. And it's quite nice. I'm just going to tidy up this little bit down here. We'll move on to the next path. Well, I'm doing now is just taking a damp brush. And some of these lines are quite hash. I don't want to move the paint around, but I can just soften off the edges of them. Time to stop. I've got lots of brushstrokes in there which I'm happy with. Keeping it quiet. Low speeds softening off a few little paths for contrast. Let's move on to, we're going to do the sea. And so sort of building out from the background forward. And then a C comes to the front, but the lambdas on top of the sea. So I think it's a good way to think about it. Moving from the back layer to the front layer.
9. Painting The Sea - First Layer: It's gonna go ahead and just start putting down this cool blue here. Like I did in the experimentation. I'm putting down a ground to start with. You want to think about that ground being something that you can mix your colors into. So it has to be the right, Kayla has to be the right base color. I've got my large flat brush here and it's really good on its side like this. To create a nice crisp line for the horizon in, I'll have to go over that again because it's not bright blue, that it gives me a guide. We're working with and we're at right now, but anything that we're doing, you can do this. We saw on dry so you could let each layer dry. You could let this layer dry, come back and rework over top. So if you were in a type of climate where everything is just growing so fast, D Now, that's not a huge deal. You just have to think about how to attack it in a different way. Maybe tickets, not the right word, how to approach it in a different way. I'm going around here really carefully, but also not wearing if it goes over my lines. I want to keep the basic shape because I don't want to have my cliffs look in a really rounded and just OB. So I'm trying to keep the shapes that I've already created. But if I go a little bit over the line, it doesn't matter. It's better to have these sitting on top of the sea, then they have a white line between them. Brushes also good for like cussing in, so you can get nice angles. Okay, this is my base. And now I gotta make sure I got the right colors. I've got some cool blue. They're lovely turquoise color with a cool yellow in a cocoa together. I want it more blue than yellow. Because I want to blue green, yellow, a green. Us in here. That cool blue, the phthalo blue or Prussian blue, really transparent colors. And if you're finding that it's see-through and you can see all your marks. You just need to add a little bit of white to it. And thinking about building this up in a couple of eyes. First layer is getting the tone right, so I've got the dark down here. You can even go a little bit darker. We're back to a lighter color. I'm doing is putting why sent to that horizon line is quite dark. I'm going to be there's a dark layer and the inner light layer. And see my paint pellets quite messy, but at the same time, I'm keeping all the colors we then need to be. So I can I can work over top of the paint that I've got on the palette and it's still going to be IK is putting in some of those lines. I can see in the horizon line might need to be a little bit of light blue in there because we're reflecting the sky. Do that later. Saying with this pod it's got a purpley kind of a blue, a warm blue reflection on the sea because it's reflecting the sky. And we're going to exaggerate that lives there. So exaggerating colors, exaggerating tones, I think can make a painting really interesting. Not much point painting, a photo realistic painting, I think, to prove skill and it's fine. But, um, no, I think it's nice to bring some life to a painting, some energy to it. And you can do that by exaggerating things, by editing your brush strokes. While I've got this pressure is going to bring in some textures here, I think I need to go a bit. Green is very blue. In choosing what colors you want to use. Anything that any detail in the foreground is going to be bigger than detail on the background. So if you're wanting to add ripples in the background thing, I'd recommend getting a really tiny brush so that they appear far away. I think I'm just going to keep my pretty loose and the bit ground bringing in a bit of indigo down here just to really darken it up. Like go really dark green for that actually can even do some yellow and ultramarine blue to give us a doozy grain. Better be doc. And I might need to come back into this once it's dry because some, like I said, it's very transparent and I can see some of this paint coming up and showing the paper underneath. So I'm going to put in for the whitewater, the waves using the edge of that brush like a chisel. Little bit in here as well. Think about the textures you use. What kind of effect do you want? So I'm using a different effect on here. Just kind of a dabbing a feet than I am for this pi here. Deflated, going to need to go over this again when it's dry because when you're painting why it into wheat Pinto's just going to take on the color underneath it. So this will be a few slider for the C and then I can come back to it. You may be able to get it all done on one layer to get to the outer edge of that white water. Again, I'm using different texture. So all of this is going to be white, so I'm just going to let it dry and then come back to this. So all I need to do now is just fill in a few of these little spaces here. Or I can still see the base code and fix up anything else? It needs to be fixed. You see something working the num, just go with it. Something you like. The effect of it doesn't matter if it's not in the photograph. As you're looking at the lights and darks in the photograph. And a lot more docs and here. So I'll bring those in when it's drying and to bring my bright brights and my dark darks and once it's dry, but it still looks kinda nice just the way it is. I could leave it. I'm gonna go. He didn't do the rocks in the name might have time to do a bit of the trees, maybe a first layer for the trees are on the cliffs here. And then take a break. We should all take a break and then come back and we'll finish off the sea with a second layer.
10. Painting The Cliffs - First Layer: Cliffs, we're using the ultramarine blue, the burnt umber. So mainly the bin time with the brown with some white on it and the ultramarine blue to it, some shadows. So it's a cliffs. And I'm going to make it a lot lighter than it. Start with some light brown and put a bit of yellow in it too. She's looking a little bit gray. This is where I am making it up a little bit because I can see that these rocks and near about the colors are quite odd to see. Just a base coat and got some brown, light brown, dark brown. Now knows that putting the textures and the SRE, going to make sure I've got plenty of paint so I can create some brush strokes using a small round brush. And just like we did in this exercise, I'm just going to straight onto the paper while its weight put on some brush strokes and some brown, bring in somewhat straight on and mixing in as much as you want. So if you've got too much white actually on the paper bag area of white light that and you don't want a big area of white via the neatest going to blend it into what's underneath. Flicking my eye back and forth between my painting in the photograph. So there are some little white areas there and I'm going to just try and leave those alone. Now we're going to use some ultramarine blue to mix up a dark color. If you mix them evenly, you get black. You can send it towards a blue pen of tensor, right? Weird, but you can balance it towards a blue will balance it towards a brown. Depending on how much Brown, how much blue. I really like using blue for shadows. So it's a really dark blue. I'm just looking for dark areas. If I can see them, I could maybe bring along some lines like this. Flat brush might be good for doing that as well. And I'm also thinking about creating the illusion of form by having IT Dhaka down the bottom and lighter at the top. Putting a bit of a shadow in here, you can kinda see a shadow bit. And also I imagine there would be a shadow in it because this is sticking out. So I'll show you with it. Flat brush, medium flat brush. You can use it to create some of the terraces, like if she'd call them coming across using it on it's each. You can see the direction that they go in the photograph. Only problem with this brush is that so sharp. It does kinda move the paint around and take some of the paint off. So you could end up losing some of what you've got the window with a bit of white. See it quite clearly big, creating it kept cross. And then you can use the brush the other way as well. So using it downwards. If you're wanting to create a bit more of a wall somewhere or just erased from the textures that you've created. So it's really nice to have contrast between the textures and in some really soft pads as well. Don't want to overwork it to match, needs a little bit of light down the bottom. We're going to move on. You can always come back. So for the light, I'm using burnt umber and little bit of white and a little bit of yellow. We'll see some little rocks down here. I can put in, but I may end up going over with some white, but just to indicate where they might go.
11. Painting The Hills - First Layer: Okay, now I'm going to add in the start adding in the land. I'm going to wait from back to front. Beck is going to be softer. And DLA. And I'm going to start with some yellow, green. What do your work on my palette, but I'm going to just put a bit of why shouldn't it to dial it down a little bit. And then I'm going to bring over some ultramarine blue because it's quite doll as well. So this Beck lay hear it. It doesn't really need much detail at all. It's actually a really nice color as it is. So when I'm using this flat brush, the brush max I get are quite soft when I'm using it in this direction here. And I wanted to be a little bit blurry. Probably a good idea to clean the pellet soon. Minds getting very Macy. Depends how you like to work. If you find that you are getting lazy and you're getting the wrong colors because your palate is missing, then it would be a good idea to clean it. So I did really like that color, but it's a little bit bright for the background. Can leave a hint of it showing through. I'm going to move on to the next one. So probably just leave that bet one is it is it's, it's pretty loose, but I do like that for this. And ultramarine blue. I'm going with the ultramarine blue in the yellow, rather than the phthalo blue and the yellow, which should give me really bright turquoise, but my stays pretty turquoise. So same way we did in this practice one, putting on the yellow foods, the light colors, and then put the dot colors in and leave some brushstrokes showing. So the textures in my brushstrokes are going to create the texture of the surface, what I'm looking at. And I'm just doing it in segments so that I can get the feeling that each one of these is laid on top of the other. Might keep a little bit of this one blurry using my flat brush. Come over that again later if I want it to be darker, we'll add a bit of white to get down to. A little bit of brown, will dial it down. Maybe into my small pointed brush. A little bit of brown and the yellow just to warm it up. So using Little Debbie motions with this round brush, using the tip of the round brush in all my brushstrokes are going in the same direction. And it's really just about style, whatever direction you want to. We'll have a direction feels natural really will create a particular style, but you can also create movement that way as well. So I can have all of the brushstrokes going that way and that would create a lot more movement this way. Again, I'm going straight in with the blue so that when I put it on, I can really see those brushstrokes. Paints nice and thick and anything I'm not happy with. So if I put down something in, say it's too dark or too blue, then I can just come back in with something lighter over top. Wash your brush when you need to. If you're not getting what you want. I like using bright colors, so instead of using green, I often use a yellow and a blue. And from a distance you get the illusion that it's green. But you will say have some really nice vibrant colors in there. So if I was looking at this photograph and I really don't care as long as I could. I Brown a really dull brownie green in there, but I'm using a dark ultramarine blue in steed. So the tone is the same, but the color is different. My leave that one like that for now. Do the next ones and then I can come in balancing bit. So if this one feels too bright, so I think it may do once I've got these other ones and I can just push it back a little bit, dull it down a little bit. Let me just bring in some of these other ones. And I'm going to go clean my palette. Quite a bit watery. And again, I'm looking for the shapes. It I can see. I'm putting in the light color first and then bringing over the darker color to it, the texture. Make sure you cover up any little bits of white. At some stage anyway, because if you giving you the why to the pipe is showing through IT teams to look unfinished. Just going to MIT these paths. And because I don't wanna get too confused, so I'm putting in the docs it I can say they might not be completely accurate, but just to give me an idea of where I'm going to put some toxin and come back in to the top. But you've got an idea now of how to create some texture. So you can do as much as you want at this stage. This year in the foreground is going to be the most detailed. Because it's the closest to us. And it's just the way our eyes work things at a close. Our shopper in data, usually the pins, a few new classes I guess. And things that are further away are going to be softer, more fuzzy. So what I'm doing now is indicating my lights and darks so that I can come back and do my texture over top. It's important to think about this stage if you're doing this with me is just a base layer. You can't get caught up in how, how it looks in the moment. I know it doesn't look that great. This particular area here, but we're gonna go back over it. So it's just a base layer. It's like a map or a plan for what you're going to do over top. And it's also just a way for me to use up some of the paint on my paint palette. Before I go and wash it. I'm looking for the shapes that I can see in here. The shapes of light and the shapes of Doc. I'm going to leave that for now. I'm going to come back once it's dry and I will do the next layer. So I suggest that you take a break as well. And you could do this painting over a couple of days in, sometimes it's a nice way to do it because you come back and you get a fresh look at it. When we come back, we're going to work on the water. Probably finish off this area first and then work on the water and then touch up the final details. Just balancing, thinking about what needs to be lighter, what needs to be darker, what needs to be pushed back and softened, and what needs to be sharpened in the foreground.
12. Analysing Where Your Painting Is At: If you've taken a break and then come back to your painting now is a really good time to just have a good look at it, a fresh look, and think about whether there's anything that you want to change, either takeaway or add to it. And you can flick her eye between the painting in the photograph. And that might be a way to pick up on something you might have missed, maybe the tones or some of the shapes. But remembering that this is just our inspiration, this photograph, you could also look at your painting and isolation. And just think cool. Don't even think, just feel what it may need. Any changes or anything that you want to add to it. Some kind of critique about it as ET tube writers at not bright enough. Do you want more of a sense of distance in some of it that is going to be just intuitive. So it's not necessarily thinking in words, but more responding to your painting. Which can be kind of difficult if you are just starting out with painting well with us. But it's really useful skill to develop, to look at something in respond to it. Emotionally, I guess, because that's the way you're going to develop your own art, rather than just following someone's step-by-step and doing exactly what they do, you can start to make some intuitive decisions on your own based on how you feel about the work. For me. When I look at this, I'm really happy with the sky. Obviously, parts of it still need to be finished, but just thinking about how it's going to look at the end. What I do feel like it needs is a bit more shape here and I'd like to have some more angles and maybe some more angles in the rock face in also some more angles here, a little bit like this. Three straight lines there. I want to create a bit more of a cutout of this pat of the landscape. It might be when you're looking at yours that you feel like it needs to be brighter, or you feel like it needs more distance, or you want it to be simpler or more detailed. See if there's something that you can respond to it and make a decision about as you go forward with the second layer.
13. Finishing The Sea: I'm going to work on the C, get this whiten here because it really needs that light. And then I'm going to basically follow the same steps that I did in the first Pat see in the rocks in the land in just making those small changes in adding that extra layer of turn, the lights and the darks and the details will work on top of the layer. We want something that's going to work with that existing layer. So I'm going to mix up a color that is similar to what's already down there. And that way when these pots it, I want to leave here. It's not going to look Two out of place. You could go over the whole thing, but it does seem like a little bit of a waste of that first layer of these paths that you really like in there, then try to leave them. What I want to get in here is this white patch, this semicolon here that I really liked it. I don't want to lose, but I also do want to dock and up here in washing up here, so I am going to edge. So we'll paint. I've got my two boys mix, and now I'm going to mix indigo, blue, and yellow in there. So I get a bit of dark green and blue and a yellow, a little bit of brown. To really document about. Just using that same color palette of the blue and the yellow, the brown in the white. What I do want as some wet paint down here, but we I put some of this whiten so good, I can have some of those blends happening and I may end up going over what I've already done. Sometimes it's just inevitable. I like this color, a lot more of this one that I've just mixed up now. So I could bring more of that. And to the whole thing. You can do glazing as well. This isn't a lesson on glazing, but if you thin your paint and write down, you can drag it over and you still be able to see what's underneath, but you can change the color slightly. This is a painting with a focus on texture in so we can afford to put the paint on really thick. And I think that is a good thing to keep practicing. And in this particular class, so really thick layers on their brush strokes. Again it dark. And then bringing back the color that I already hit. You still want to think about this as a liar because it's very hard to match a color. Once it's dried, it dries darker than when you first put it on. So be very hard to do exactly the same good, exactly the same color. I'm just painting that doc in some of the patients and here in exaggerating any lights. So there is a highlight going through here, and one going through here. I'm using my brush really lightly, just using the tip of it to blend in some of those areas. I'm thinking about what paint I need to put down to be able to blend that whiten to it. So I'm going all the way along here. So I've got a base of weight paint to bleed into. I am here is to get some really nice bright whites. So I'm putting it on very thick. And I can adjust it a little bit of thinking to be done about your process. So I did meet it. I'm going to change the cliffs the little bit. Whether it's easier to do that first or whether it's easy to do the safest. And it could be something that you pay attention to. Because what you don't want us to do some amazing week on the C and end up going over. Favorite Pat, sometimes it happens. So you can see now that when I drag this out, It's blending into the liar. Then I hedge near already, which is what I want. We can with a clean brush each time because I do want this to be really thick and white. We're going to bring some of that landscape out a little bit further. So I can leave a little bit unpainted. Now I'm just dabbing to try and get the texture that I want to one that's suitable to match the white water in there. Kind of tune of whitewater. And switch to my smaller brush here because there's some really fine details in here that I want to bring out with some watch. Some of my turquoise blue color. Just so that I didn't have a big defining line between the watch in the dark. I could spend a lot of time on this pat on. I'm not going to move on shortly, but you can spend more time on it. So if there's some area that you really wanting to bring attention to, you could spend a lot more time editing and some really fine details, some small brush strikes. And I'm still just trying to get the allusion of these patterns in here. I'm not looking at them in painting every single report or anything. I'm just trying to paint something that feels like that in. When you look at it, you get that impression. And put it on to get this see down in here before we do the cliffs and the rest of the grassy patch. So tree paths because we want those to be sitting in front. Even in the small area I'm looking for where its light and where it's darker. It's darker when it gets close to the the main wave. Pretty small detail, but it is darker and lighter when it comes close to the rocks here like this and whitewater the ETO, putting the paint on really thick and then just letting it bleed into the first slide that I put down anywhere I don't want watch. But up here in the distance so it can be pretty loose. Need to bring in net reflection of the sky that I mentioned. So put a cobalt blue trying to match some of the sky times in here and some white. If you look in the photograph, you'll be able to see this in the distance. See painted n, and then you come back with your main color again. A phenotype loops, if you need to take it back a little bit, blended into the layer underneath the drag your brush across the layer of dry paint underneath, you can get some nice marks, some textures depending on what kind of pipe. And it can be useful sometimes. It doesn't always have to be super smooth. Just a little bit of detail in here we are working with texture so you can think about what kind of texture I put on there. It could just be using the chiseled brush, flat brush to get some marks in there. Here's some really subtle stuff going on in here. But you go think about what it looks like from a distance, two, from a distance. There's a lot that you wouldn't really say if you tried to paint, it might look good up-close when you're looking at it from a distance. It's not really noticeable. All of this needs to be in the Nikon. Work a little bit more into it. Wait and wait.
14. Finishing The Cliffs: So I'm going to just do a tiny bit more work on the cliffs and make them a little bit more structured. Flat brushes good for them. Except some brown, little bit of yellow just to warm it up a bit sooner, create more of a slab. I've just gotta go through and make sure I've got lights and darks in there again, because there's not a lot to go on in the detail of this. You could keep it quite loose. It's in the distance so it doesn't matter too much. And you can keep thinking about that. The top surface as being light in the bottom surface as being darker. Sometimes it's just matter of trying something, sing what it looks like, changing it or keeping it. Let's bring in some pure blue color down here in these dark here is an int if it's too much, a little bit of brown, but I'd like to bring some color into it. Even the rocks can just be a texture. These individual rocks down the bottom.
15. Refining The Hills: And get your blues really for the rest of the green areas, yellow and your blue, starting with the yellow. So I'm pretty happy with this one. In this one here. I like that, That's really loose, but I could add some more to it if I wanted to. But I think I'll just keep going. I've got the dark theme. I'm going to follow the MIT that I've already laid out. If you're wanting to warm up your yellow, you get a little bit of brown to it. And in Tampa, you can also add a bit of white to it as well. I'm going to bring it out here through this, so just put it in. So I remember in all I'm doing right now is just getting down some wheat paint. My light, yellow in the end, I can work into that. The yellow is very transparent. If you need to make it a bit more, I piped to go over something, you'd have to add a bit of white to it. I just need to bring a little bit of yellow into this part here because might just be a bit too otherwise. Especially along the top, so lighter along the top, darker. Anyway, there's a shedder. Putting loads of pine tone and making use of those brush strokes. Setting but a white with some much lighter colors. Preparing this yellow paint to the NBER to put the blue paint into it? Probably going to change a little bit from my plan. And I can keep looking at the photograph for those dark areas, lighter areas and darker areas. I'm going to keep this brush for some paths, nice to have some contrast. This is my flat brush. And create slaves, slaves of paint. And then I can bring in a smaller brush, round brush to add some more details. With this bright a, you can't see me, but I'm constantly flicking my eye back to the photograph, to my work and the bet to the photograph. So I'm not trying to make it look like something that's in my head. I'm just using this as a reference for any way we are. I want to make sure I've got the lights and the darks. So it's pretty extreme right now, the blue and the yellow, it's kinda nice. I could leave it that way if I wanted this to be really vibrant. I think I'll go through and just blend some of it a little bit. So I'm going back over now with the yellow. And the blue is much stronger than the yellow. Which means that when I get a little bit of blue on my brush, it's going to turn the yellow into green. Being careful when you do this that you don't just seen that with everything being the same grain so you're still trying to leave your lights, will keep some lights and keep some docs. And you just deciding how they're going to work to give a flat brush is creating a really nice effect, which I actually like more than this here. So I might bring this a little bit of it in. Hopefully don't lose what's already working. You know, bring my pointed brush1. Still working from background to foreground. I'm done too much down here because I know that I'm going to add a lot more detail. And the CPAP. Here you get my slaves with it. Flat brush. So you can create facets of the hills. Wanted it to look like it was going across rather than down. Here. Use a brush to do that. You see me getting more. Just keep getting yellow on my brush because every time I do some blending here, it gets really dark. And if I just keep painting with the painting with it green, It's all going to end up green. And I don't want that. I'm just putting this sled Pat and down here with my flat brush. That's where I wanted a bit more form before.
16. Working On The Foreground: So I've got some distance here because this is DLA. All of this is quite similar in it's because I've used the same brush and I've used the same colors. So I've got a couple of choices. I could push this back further if I wanted to, by making it even lighter or even DACA, depending on which, which way I'm thinking about the light in to. I could also work more on this area here. So to differentiate this foreground area from what's behind it. And that's what I'm going to do. So I'm going to try and bring more detail in here, using my pointed brush, my round brush. Maybe a bit of variation in color. So there is a like a really warm brown here in if you've got a burnt sienna, yellow ocher, you could use that. But even just the yellow with the burnt amber brown here will create something kind of warm. Like a warm brown. Maybe a touch of white. And almost looks like a foliage that is gone brown or whether there's some rocks or something, they're going to need some white to try and get over some of that green. They're adding more colors in the foreground. It's a more detailed color and we're going to add more detailed brush strokes. Color and tone, I should say. Okay, So let's start bringing some brushstrokes. Especially along the top of one of these ridges here you can really see the detail of the leaves on the trees. May even need a smaller brush than this, but we can start with this one. And then as we get closer to the front, could use a smaller brush for more detail. Is couple of ways to think about it because when things are close to the also bigger. So you could essentially use a bigger brush. So I choose a couple of sections to work on. In more detail. Doesn't have to be the whole lodge, but just choosing a few is going to create the illusion that they sit same kind of detail nearby in the areas nearby. Gone a bit too dark. This is why we start with the yellow, because we put the blue down and then try to bring the yellow epitopes really difficult. The blue is much stronger. Remember US doesn't have to be as bright as mine. I like using bright colors. You can tell everything down by adding some brown into it. So if I added some brown into the yellow, I added some brown into the blue. I'm going to get more muted, more natural tones. I'll do a little bit just to bring a bit of a difference. Do the in the foreground. So this is a blue with some brown edit. You really get a black, but you can tend to either way. You can move it either way, brown or blue. If we mix some brown with the yellow or even brown with the grain and exit and you'll get all of the grains much more neutral colors. Anyway, we've got a light area, light. I'm just looking at this tree form here. Anyway, we've got light. You need to have dock behind it. For that light to show up. So if I want to make this even lighter than this patch just here, I can put some dark and behind it. And then you can say that that really stands out. I might need more dock on the side of it too. Getting a little bit muddy in some places. You got to watch out for. Can happen when things get sticky. When you just got too much going on, too much paint. Not plenty brush. Start siblings and one muddy color. I'm just going to do this Pat in the foreground here. Similar thing, but I'm just going to change my brush strokes around a little bit because it does look like you can see the leaves facing different directions. It's going to be more important when I put the blue one, then you do this foreground area. You do want to try and get as much of the past behind it, Don, because some are you trying to go around these areas in the foreground that you create? So I'm getting a lot of pain in. I'm flicking my eye looking for shapes, but I'm not going to do exactly what I see all the time. I was looking for some kind of passion that is going to give the illusion of what's the switch to a smaller brush here. Let's try to mix up a nice grain that I can use in between when I need it. It's a cool blue with the yellow. So it's a low with lemon yellow. It's brown and it might need a little bit more yellow is to get something natural looking in there. Think of this as an impression. Remember it's about texture. You might get tempted sometimes to smooth everything out and try and make it look perfect. But the whole purpose of this assignment is texture, brush stroke. So see if you can keep bringing it back and keep piling on the pint in a way that the brush strokes are showing using the tip of my brush now. A different kind of texture, maybe a different tree somewhere. So probably I'm going to have to leave this to dry a little bit just to do these highlights here. So want to bring in some really light yellow, so yellow in the foreground. And when I put the watch on now it's just blending in. So I'll get everything ready for that. Get rid of this big area here. Might have to do that when it's dry as well. It's bringing in the light around it. For a tight one more bright to let this dry, I'm just going to cut some more shapes. The flat brush again, really good for that. Paint on both sides of the brush. Using the blue with a little bit of brown in it. And I just want to create the shapes here to give a little bit the same, like the same kind of wiggly line going down he has even just doing that makes a big difference. It's cutting out some shapes. The contrast between the two types of brush strikes can make it really interesting. So I put all these little brush strokes here that feel like leaves. And then you've got some hard-edged brush strokes with this brush. To add some contrast in some structure. I might need to bring this a little bit up, a little bit higher maybe with some white highlights. When I do this pod here. To save a little bit of a play around. Get a little bit more difference between some of these areas. In the Num, let it dry and come back and do the finishing touches.
17. Adding Final Details: So you wouldn't see me pushing and pulling these parts here back a bit like dulling them off with this color here. Just a bit of white mixed in with the yellow and the warm blue so that these fuel, but through the back thin the stuff in the foreground. And I could potentially push that back cliff back even further. Bedtime. I don't want it to all turn into the same grain and we are only using three colors really, we're using the one yellow and the two blues. If we had another yellow, like cadmium yellow here, that would give us more range if we're using burnt sienna. That would also give us a little bit more range these colors in here. And the last thing I wanna do is just bring out some of these highlights here with a really pale yellow, with a little bit of warmth in it. So a little bit of brown. This is where the those are the colors that I just mentioned would be useful that do want to stick to the same palette by kin. And just putting in some leaves that are right on the top facing the sun. You want your paint to be relatively dry when you're doing this, they're not going to blame them. So that brings it even further forward and I could choose a few spots to just do a little bit more of that and maybe a little bit more yellow to bring these paths forward as well. What I'm really doing is just dabs. But from a distance they start to look like leaves. And then just taking you got all your highlights in there or your shadows. So squinting at the photograph, What's the lightest area in the darkest areas? I've got the dark history here and here, which is good. I decided to make my cliffs lighter than their share in the photo. I've got this light area here when I squint. And maybe this here needs to be lighter. I mentioned that before, bringing a bit of laptop into here. I'm bringing it up a little bit higher in some light. So remember to think of this is just an impression. Us could be much simpler than mine. As long as you're using brush strokes to create a texture. And you're working with blending those colors on the Canvas or on the paper surface. The colon, the gist of it. You doing the right thing. And hopefully you're happy with what you've ended up with. If there's anything that you're not happy with thin reconvene, taking a break. So going away, maybe leaving it to the next day, leaving it up somewhere where you can see it, say renown again, you look at it. And you might notice something new. You might notice something really obvious that could be changed and could improve it and make you happier with it. Would you? It might be the opposite, you might decide. Oh yeah, actually that works really well when I've had a bit of distance from it. And I'm not so attached to some of these paths. I've got this real cutout part here, which I did like, I'm just going to leave it for a bit and think about whether I need more, more detail in here. Maybe a day just a little bit. Cdo is going to leave that in and I just did it anyway. But, but I will just leave it for a little bit and have another look lighter and think about whether these anything that I want to add to it. Try not to make rash decisions. And the heat of the moment. The sea could have a little bit more texture in here. Mostly why am I focus my brush strokes here and on the rocks there. And maybe a little bit will whiten here. So the white looks like it's coming up to the rocks. Yes. A couple of things to fix up. And that's about it. I hope you enjoyed this. So if you've got any questions, then feel free to ask in the discussion section and hope to see you for another acrylic painting project.
Emily Armstrong, The Pencil Room Online
