Intro to Impressionist Oil Painting - Part 4- Palette Knife Techniques | Rachael Broadwell | Skillshare

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Intro to Impressionist Oil Painting - Part 4- Palette Knife Techniques

teacher avatar Rachael Broadwell, Fine Arts Teacher

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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.



    • 2.

      Palette Knife Paintings of Mine


    • 3.



    • 4.

      Getting Started


    • 5.

      Basic Techniques


    • 6.

      Project Introduction - Quick Simple Paintings


    • 7.

      Gradient - Quck Start - Techniques in Action


    • 8.

      Mountain - Quck Start - Techniques in Action


    • 9.

      Cloudy Sky - Quck Start - Techniques in Action


    • 10.

      Tree - Quck Start - Techniques in Action


    • 11.

      Sunflowers - Quck Start - Techniques in Action


    • 12.

      Flower - Quck Start - Techniques in Action


    • 13.

      Lily - Pt. 1


    • 14.

      Lily - Pt. 2


    • 15.

      Lily - Pt. 3


    • 16.

      Lily - Painting Process Overview 8x Speed


    • 17.

      Old Barn - Pt. 1


    • 18.

      Old Barn - Pt. 2


    • 19.

      Old Barn - Pt. 3


    • 20.

      Old Barn - Painting Process Overview 8x Speed


    • 21.

      Duck - Pt. 1


    • 22.

      Duck - Pt. 2


    • 23.

      Duck - Pt. 3


    • 24.

      Duck - Painting Process Overview 8x Speed


    • 25.

      Girl by the Sea - Pt. 1


    • 26.

      Girl by the Sea - Pt. 2


    • 27.

      Girl by the Sea - Pt. 3


    • 28.

      Girl by the Sea - Painting Process Overview 8x Speed


    • 29.



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About This Class

In this course, we will explore impressionist style painting through the use of a common, but underrated, tool -- the palette knife! Using a palette knife can feel intimidating at first because it is harder to control than a brush. But the rich texture and impressionist feel that it creates is well worth the learning curve! I will guide you through basic techniques, common examples, and 4 full paintings of various subjects! I hope you're excited to get to know this great tool!

Meet Your Teacher

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Rachael Broadwell

Fine Arts Teacher

Level: Beginner

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1. Introduction: welcome. My name is Rachel, and in this course we are going to explore Impressionist painting through the use of one of the most simple and underrated tools that you probably already have the palette knife. In this course, I will show you some various techniques that I used to get different effects with the palette knife. And then I'm going to go through some quick examples that employ those techniques to show you re a world usage of the palette knife. And then I'm going Teoh, go through four full length paintings, a different subject matter, all with just the use of a palette knife. And as a bonus, I've included sped up versions of each flanges paintings so that you can get a bird's eye view of that entire process. So why should you? Wearing to use a palette knife? Let's go over some of the reasons clean up is easy when you're painting with a palette knife just wiped the paint off of your knife with a paper towel. Working with the palette knife is going to force you to simplify, and so you're going to actually be aided in getting the Impressionist style into your paintings. by using a palette knife. When you apply your paint thickly with the palette knife, you get a nice imposter. Oh, texture. You may not need any solvent when you're painting with a palette knife. The only time I used solvent with this technique is just when I'm toning my surface. You'll find that with a palette knife, you're going to strike a balance between control and spontaneity. Another benefit is that you can mix the paint on your palate and then use that same tool to actually apply your pains. And the best part is that you can actually use these techniques with either oil or acrylic paint, so it's very versatile. Of course, there are also some challenges. You're going to go through a lot more paint because you're applying it more thickly. Using the palette knife is a little bit less intuitive than using a brush, at least at first, and of course, also at first you're going to have less control. Finally, once your palette knife, paintings air dry, they're very difficult to alter due to the nature of the very thick built up in pasta paints. I really look forward to seeing your paintings in the discussion below. And, of course, if you have any questions along the way, don't hesitate to ask. Now, let's get started. 2. Palette Knife Paintings of Mine : I'm gonna show you some examples of my paintings that I've done with palette knives. This one that I have here is actually a little bit more recent, but it is one of my favorites. It's very simple, and if I turn it, hopefully the light will kind of show you where the texture is. I really kept the texture under control on this one, and because the sky was very soft although there were a little bit of clouds and there I wanted to keep that texture very lively. But I didn't want to overdo it. So this is one of my pieces that I've done recently that is a favorite. And then you see, down here on the ground, I used a little bit more texture. And I think that that just especially when you have a very simple composition, the texture actually becomes part of the visual appeal. And then I'm gonna show you some of my earlier pieces, and I think you're going to see a big difference in my earlier pieces. So I when I started out with a palette knife painting, I kind of restrained myself not only to just using a palette knife to paint, but I only gave myself these small panels to work on so that I could do a lot of little ones. And you see, there's just a lot of texture in here. When I first started, I really had trouble controlling how much texture I was using and also getting a good variation and texture. Although I did enjoy playing with it like you see in this building back here, he used a lot of vertical scrapes to create a little bit of texture there and in this fence . Here's another one of my earlier pieces see just a lot of texture, but it's also not really built up all that much, so if you look at it from the side, you don't really see anything protruding too much from it. But they're still just a lot of texture, which is fine. But I did kind of feel frustrated with that at first just because I couldn't control it. Here's another one, and I really liked this one. I felt like in the rocks I was able to get a little bit more control. There's a little bit more areas that are smooth. Here's one where I feel like I started to gain a little bit more control. You can see that I've got a really nice texture here in this water area and that I was able to use the texture directionally up here in the clouds and then to add just a little bit of variation here in the grass and in these trees in the distance. And this one is, um, a little bit abstract as well that you still know what's going on. So this was one of my early favorites. This was one that I also really liked. I felt like I had a little bit more control and was able to get the message across more clearly. I did have a lot of these little paintings where you really couldn't even, you know, tell heads or tails what was going on. And that was not my intention. And then here's another one. Um, I actually used some scraping down here to give the texture of grass. I think this might have been the first time that I use that technique, and this is one of those things where, as you continue to gain experience, you're going to develop your own techniques and then in this one, I actually started to be able Teoh, get some really flat, um, smooth texture. You can see that there is still a little bit of texture in there, but I was able to control it more, especially in the sky. As I like. Teoh have kind of these flat planes in the sky with just minimal texture and then more texture down here on this dirt road scrapes where he did the grass. I actually didn't paint these lines that all these air just scraped, and so that makes them look very subtle and helps you control the thickness to, especially when you're trying to get a really thin line. Here's another one that I had really liked early on. This is a grain bin, and I like using palette knife for snow because snow, especially when it's fresh. It's very flat and smooth, and you can kind of create the texture of a snow drift, and then you can see two in the sky. Used a lot of smooth planes with just enough texture to give it some visual interest, and it really like doing buildings with palette knife because it's easy to control these straight edges and I'll be showing you that and to create kind of Ah, especially if you're during ah, flat wall like these were it was pretty useful to create that. This is my last little one I'm gonna show you. But again, it's just, you know, kind of the evolution of me getting used to this technique and really challenging myself to do ah lot of paintings. And with these little ones, I have stacks and stacks of these most of them I really don't like, But I think you have to just get through that and really get to know that tool. So when I started moving Teoh larger sizes, I kept my compositions very, very simple trying to get the light to show you some of the texture in the sky. But actually the sky and this one is really, really smooth. You can see just a little bit of texture and then a lot more texture on the ground. So there's a lot of variation, and that's really I think key to doing this is that have some variation in your texture, and then this one, too. The skies very smooth and the planes are more flat. And then I allowed a lot more texture in the foreground to kind of give the impression of earth Penis. And then this was probably one of my favor. Early ones. This is a composition that I painted from one of my photographs that I took in the sand hills of Nebraska. And then this one is actually a mixed technique painting. Um, so you can see, especially in the background. You can see some brushwork back here. And then I used my palette knife more so in the foreground in these trees and to scrape out thes tree trunks here and over here. And so that is another way to get a lot of variation and texture. And a lot of times you want to keep forms in the distance a little bit softer. And so I used a lot more brush working there, although it still has some texture to it because they paint, usually in an imposter, Oh, mess method which in pasta just means that the pain is very thick and textured. So even when I do brushwork, I try to keep my brush strokes very visible and textured. And then I'm gonna show you that you can even dio Portrait's in palette knife. So I did a couple of portrait's. These were actually studies from John Singer Sargent. I have a book with a lot of his sketches in it, the sketches air all black and white, and so I kind of just made up the color. But I had a lot of fine learning to do this. These are some of my favorites that I picked out. I did a lot of these, and some of them, really especially the first couple were there were struggles. But you know, that's part of the learning process. So when you finally start to gain some control, it's very, very rewarding. You'll be glad that you stuck with it. This is another John Singer, Sargent, that I kept a lot more loose in my brush strokes again, I kind of made up the colors. I just used a very limited color palette to do these. Since I didn't have any color reference to go off of, I decided I would just make it up my own, but also keep it simple for myself. But you can see in the face all that texture, and I think you know, that's one of my favorite things. When I look at the great Impressionist painters that you know from a distance, you know, you know what's going on? Everything kind of comes together. It makes sense. And then as you approach it, you start seeing all those individual, very abstract strokes. And so that's one of my favorite things about Impressionist painting. And I just think that using a palette knife is one method of really achieving that because you relinquish some control to that tool and then this is a portrait I did. In a more mixed method, you can see as I get closer to her face, you can see areas where I think I actually did everything in palette knife. But then I took a course brush over some of that thick paint just to kind of, um, at a little bit of that brush, stroke, texture, and then in the Harry left it palette knife and in the clothes as well. Yeah, this is one of my favorites as well. You can see as you use this tool and you gain more control, you're gonna find that the results you get are very rewarding. Definitely worth it. And then here is what I've done more recently as well of still life. And I did this with just a palette knife so you can see it with these flowers. How much texture is there? Sorry, my dogs air wrestling with each other in the background that I'm almost done here. And then this is another mixed technique. So I use I started out with brush in this one, and I did pretty much the whole background. I even laid in these trees. But then I took my palette knife and I scraped these trees out to give them more texture and variety. And then this snow that I added up here I did with palette knife. But otherwise, most of the rest of this painting is with a brush. And so that's one way, though toe add some variation and texture to your paintings, especially when you're starting out. You might just, you know, do a painting the way that you're most comfortable. If that's with a brush, and then pick some areas where you want to add texture and try Teoh lay in some of these palette knife techniques that I'm going to show you All right, So now that we've gone over some examples of what you can achieve with the palette knife, I think we're ready to get started. 3. Supplies: Let's talk about getting our pellet set up and some of the colors that we will be using, and you don't have to use these exact colors. It's really more important to think about the warmth and coolness of each color and try to have a variety. I already have my palette here set up from some previous paintings, and I just want to use up the rest of this paint before I replenish it. So the first color I have up here is just titanium white, as always. Then this color here is a cadmium yellow, and this is actually called cadmium lemon, and this is a cool yellow, and we call it a cool yellow because it leans more toward that lemon color. Or, if you think about what we stereotype as like a sunshine yellow that's usually a very cool yellow. The next color is cadmium yellow. This is kind of a medium cadmium yellow, and this is a warmer yellow because it leans more toward orange. If you think about the color spectrum, that's right here. And of course I'm getting paint all over myself already. And then this red here is permanent. Rose. This is pretty similar to a lizard in crimson. But this is a cool red, and it's a cool red because it leans more toward magenta. And I'm actually not going to use a warm red today, or at least in these examples. I may later. Next is French Ultra Marine right here. And this is a cool blue because it leans more toward Violet on the color spectrum. And then right here I have I'm sorry, it's a little off screen, but right here I have a little bit of fellow blue. They low blue is a warm blue because it leans more toward green on the color spectrum. And then the last thing that I'm going to use is called liquid Impossible. This is by Windsor and noon. Liquid is a line of mediums that Windsor and Newton has. That is an AL could medium, and what this does is it speeds up the drying process. They have several different versions of their liquid. But this impostor medium actually keeps your paint very thick so that you can get that imposter Oh, technique, which is where the pain is built up in textured. I'm gonna show you another liquid product just for the sake of comparison. This is also liquid, and this is a fine detail liquid, and what this does is it actually thins your pains so you can get glazes, and you can make your paint thin enough to paint very, very fine details. But this also speeds the drying. So if you want Teoh, um, get some of this. I actually do recommend using this for palette knife paintings, because when you apply the paint in this very thick texture, it actually slows down that drying process because there's just more paint that has to drive. And when your paint dries, that's where moisture is evaporating from the paint that's applied. And so the more paint you have, the more moisture has to evaporate, and there's, you know, more layers of that. So if you like me are short on space, I really do recommend using liquid impossible to speed up that drying time because it can be a hassle toe. Have a lot of wet paintings just laying around, especially if, like me, you have a cat who jumps all over the place, and I have had my cat jump onto one of my palette knife paintings and cover herself in pay and everything else where she walked afterwards. And, of course, it happened at night, so I didn't even know it until I woke up. So that was a fun surprise. So I do recommend getting some of this, but it's definitely not necessary. It's not going to make your paint thicker. It's just going to help retain the texture of your paint. And when you mix this and it doesn't change the color at all, you just show you a little bit of this so you can kind of see it's it looks like a brown gel, but it really does not impact the color of your pain at all. It's really nice. And a lot of times what I've actually learned to Dio is, um, I'll just mix some of this in with my white and not use it otherwise. But another way that you can use this is to have a separate pile, and then as you mix, just grab a little bit. You don't need a whole lot into your mix of this, but what I've found is that Ah, white drives the slowest and my darker colors like my blues tend to drive the fastest, so I don't need as much liquid in some of the color mixes that I'll make as they do in my lighter color mixes that involve white. So that's probably what I will dio, Um, when I show you some of the techniques today is I'll just mix this in with the white. Next, let's talk about knives, and I have a couple to show you. Um, usually if you buy palette knives, you're going to get a pack of them, and you can see some of these came together. They have the same color handles, and you get a variety of shapes and sizes, but you will find that you're going to develop a favorite, and I definitely have a favorite. So this small one is actually the palette knife that I used to do most of these really small square paintings. So you can see you know, the knife is still pretty big in proportion. Teoh the size of the surface that I was applying it to, and that's just part of relinquishing some control. Just like when I teach Impressionist painting and I use brushes, I really encourage you to use a brush that's larger than what you think you can handle. And so I would say the same thing about palette. Knives. Use something that's still pretty large in proportion to the size of the surface that you're applying this technique to. So this is actually my favorites. I think it's really important that you do not buy the plastic pellet knives. I know they're just a little bit cheaper, but honestly, the metal palette knives are not much more expensive. The last a lot longer. You get more flexibility with them, and you just can manipulate them a little bit easier. I also recommend looking for palette knives with with a beveled, um, handle like this. So rather than being completely flat, it's beveled a little bit, and that will help as you're applying paint to actually keep your hand away from paint that you already have down. Because if you're using a flat one, I'm not saying that you can't use that. It's just going to be more likely that you'll end up with your hand in your painting. And so you can see actually, all of these air beveled. I think I've just gotten rid of all the flat ones because I didn't really ever find a good purpose for them. But so these are my two favorites, so there's one that's quite a bit bigger. And then this one's it's the same shape. It's just a lot smaller. This one actually is the same shape as well. It's a little bit more rounded on the end, but it's a lot bigger. And then this one, I really like to use this to do clouds, obviously because of that nice, rounded end. But again it is beveled. And another consideration with this that you just want to keep in mind is that because you're applying your paint so thick you're actually going to go through a lot more pains? I would encourage you, not Teoh. Squeeze out a lot of paint all at once, but just to prepare yourself to probably need to replenish colors that you're using a lot, okay, and then you actually do not need Teoh. Use anything of solvent if you're painting just with a palette knife because you can just clean off your palette knife with just a paper towel. All you have to dio when you want to move on to another color or you're all done all you have to dio just wipe it off just like that. So if you are looking to avoid needing to use solvents, this is one great way to achieve that and to simplify your cleaning process. And actually, the reason why I I decided I was going to spend I actually spent probably close to a year painting with only palette knives. And the reason that I decided to make myself do that was because I had actually ruined a lot of brushes because I would get done painting and I would be too tired to clean up. And I would think I'll just clean up tomorrow and, you know, tomorrow would come and go. And I would let that paint just take onto my brushes and they'd be ruined. And I wasn't gonna let myself buy more brushes just to ruin them. So I decided, You know what? My thing is gonna be palette knives. So I really stuck with that for a long time, and I'm glad that I did. But now I've developed a little bit more discipline in cleaning up my palettes and my brushes. So I think I learned my lesson. 4. Getting Started: to show you some of these techniques and actually probably for all of the painting demos that I do in this class. I'm just using canvas paper, and this is suitable for oil, paint or acrylic. It's very inexpensive, usually comes in a pad. You can get lots of different sizes. I really like it because, of course, it's an inexpensive way to practice. It's very easy to store a lot of times all. Actually, when these air wet, I will just hang them up with a, um, clothes pin or a paper clip so they don't take up a lot of space while they're drying their lightweight, Um, and you can also cut them down very easily. If you know, usually I buy a size that's a little bit bigger than what how I normally paints. And then I can cut it down if I want, and that just helps this paper go a little bit further. This is a cheap version. I think it's by Kansan, actually. Let me see if I yes, OK still show you in case you're interested in finding this. It's usually just a couple of bucks for oil and acrylic, so it's skansen Excel. I got 24 sheets in here. This is 11 by 14 inches, and it's £136 papers. So it's not too flimsy. It's pretty close to, um, you know, the weight of the paper used for watercolors £140. So it's not flimsy. You can actually get a lot done with it. You can definitely add a lot of texture to this paint or to this paper, and, you know, it doesn't warp the paper at all. It's It's very different than using watercolor, so I would recommend getting some of that handless paper to practice on. I actually also use Arches Oil paper, which is an archival oil paper. And you know, it's not necessarily that this isn't good quality paper. You know it's not going to just, um, deteriorate any time soon, but I do like Teoh paint on paper. And so I invested in some arches oil paper recently, and it's a little different because it is 100% cotton and this is more of a wood fibre. This is actually a lot more smooth. I found that the cotton paper it is more absorb it and so it's it is a little bit different than this, but again, I just personally, I really like working on paper. And then I'm just taping this down just to Well, actually, there's two reasons I tape it down. One reason, obviously, is just to keep it in place. But the other reason is because when I have this paper loaded with paints and I take this tape off that I actually have a nice clean edge where it can actually hold on to the paper and not worry about putting my fingers into my painting, okay, and this paper is also very durable. It's more durable than most watercolor papers, so you don't need to worry about using, like a special painter's tape or something like that. This is just masking tape, and I've never had this paper rip when I've taken the tape off. So that's another nice feature of it. And then, for the purpose of purposes of this video, I'm going to have my palate side by side, where my surface, I may, you know, in the course of talking, I may refer to this as, you know, canvas just because I think that's how we typically think of painting. We think of painting on canvases. Okay. So to show you some of these techniques, the first thing that I actually want to dio is Teoh Tone this whole surface. I'm going to be showing you several techniques on this one surface. But I'm gonna tone the whole thing, and then we'll divide it up later. And this pain is a little bit old. You might see some chunks, but I'm just gonna scrape those away. But even just toning the canvas is gonna help you get a feel for your palette knives. So I just take whatever color I'm using to tone my canvas. I almost always used red. You don't have Teoh. I was recommend just using something that's medium in values or not. She dark and not too light, never used whites to tone your canvas. So don't ever, you know, mix up a color that you want and then decide it was too dark and then put white in it because that white that you put into your tongue canvases going to pollute everything you put on top. So I really recommend either using liken number or a burnt sienna or mixing up, you know, yellow and a red or just using red. You don't want to use blue because it is typically too dark. And then so I've got that spread on pretty evenly. And normally right now, I would actually grab a brush to do this. But I'm gonna try to do it with just a paper towel because we're gonna try to avoid using brushes, dip it into your soul vent and then just start wiping it down to spread it out. Don't worry if it's a little bit blotchy. Feels like an earthquake when I'm doing this. Okay, I think that's good enough. And then just to make sure, even though, you know, we used the paper towel so I don't think there's gonna be too much solvent left over, I'm just gonna find a clean part of this paper towel. And then I'm just going to try to make sure that I wrote about any excess moisture from the solvent. But I can. It doesn't need to be bone dry, but you don't want the surface to be too slick or lubricated because you want the paint from your knife to be able to grab onto the texture of your surface. Okay, so let's go ahead and get started on some of these techniques, 5. Basic Techniques: Now let's walk through a couple of the most basic techniques that I typically use. Eso I'm not actually going to be painting any scenes or objects to show you these applications, but I will be employing many of these applications in the samples and exercises that we're going to go through And then, of course, in our final paintings. So, um, what I'm gonna do first, I haven't yet mixed any of my liquid in pasta into my white. I know that my white is a little bit off camera, so I'm going to see if I can move my palate just a little bit so I can show you this a little better because you don't need a lot of this liquid impossible. So I'm just gonna squeeze about that much out. That's it's more than than pea size, but you can kind of see it there. And as I said, I usually it's usually good enough to just mix a little bit into your whites because White does seem to take the longest time to dry. And as I makes this thing, you can kind of see that that brownish color that it has just kind of disappears, and it really doesn't pollute the color of your paints at all. And so now, whenever I use white, or if I mix white in with any other color, the liquid impossible is going to make that dry a little bit faster. And again, that's really handy when you're working with really thick paint because that obviously oil paint takes a while to dry. But when you're working with it very, very thick, it'll take even longer. And so you can see it. It really didn't thin the paint down at all. But I also didn't add anything to it. Pretty much feels the same as it did before. Okay, so the first application and I think I might actually show all these applications in some of the lighter colors just because, um, I'm gonna leave this toned surface as it is in the first application, I'm going to show you and let me just move this. You can kind of see how I use my knife and actually, one of the big benefits of painting with a knife Is that because I like to do a lot of my mixing with the knife, so I actually don't have to switch back and forth between the knife and a brush so I can mix colors and then picked him up right off the pallet and apply them. Okay, so the first application I'm going to show you is a very thick and buttery application, but it's also gonna be very smooth. And so this is one that I often use in the sky. So let me just show you kind of close up how much pain I have on my knife. So it's pretty thick I don't need. Teoh doesn't need to be perfectly smooth on the knife, because we're going to kind of press that paint onto the surface. And now for this application, my knife doesn't really make any contact with the surface itself. It's just the paint. So the pain is kind of a buffer between the knife on the surface, and I like to think of this is, you know, frosting a cake and then you know, if if there's some rough edges, you can go back and kind of lightly pick that up and then continue to move that paint around. So I use this a lot in the sky. I might use it in. You know, if I have water, that's very flat. But again, I'm not really making any contact with my actual knife and the surface. I'm next. I'm gonna show you how Teoh apply your paint flat but more thin. So I don't need as much paints on my knife this time. So you can see it's much, much less pain. It's still actually pretty thick, but because I'm actually going to be pressing down more and making more contact with my knife, I don't need Teoh. Um, I don't need to have as much paint on there. So I would do this, you know, if I was putting in a sky or a background and I knew I was going to be putting a lot over it, or if I want my toned paint my toned surface to kind of show through somewhere. So I'm kind of pressing my knife down and lightly scraping it along, and it's mostly I have it at a slight angle. It's probably a little bit difficult to see. Let me see if I can zoom in, maybe probably to move things a little bit, but a lot of the positioning of the knife is very subtle, and it's something you're going to just acquire a feel for. So I'm gonna grab just a little bit more here, but still it There's not. There's not much on the knife, and I have it at a slight angle that you can see a little bit more clearly now and just scraping it along. And just like other painting techniques. If you know that you're going to be coming back to an area and applying more, you want to keep your paint pretty thin on the first couple of layers because the thicker your paints is, the harder is Teoh transfer more pain onto that already soft surface, so a little bit of planning goes a long way in that regard. And now that we have some of these applications already on, I'm going to show you how you can use your knife to defined some other objects that are very thin. For example, lines that you might see if you're doing a landscaping, you have a sky and there some lines in front of the sky. Instead of trying to paint those really thin lines over the sky, you can use your palette knife in a couple of different ways. So the first way is I'm just using the kind of the tip of my knife to scratch that out, and that might actually be a little bit too thick and too defined for, like, a power line. So another way that you can do is just to use the side of your knife, and you can get a really good line there. Sometimes you actually might want to lose part of that line as you go, because you may not want it to be so fully articulated as that. And as solid is that so If you hold on to your knife very lightly, maybe just with your thumb and your index finger, and then just kind of lightly apply some pressure, that line will be more subtle. And then, of course, a lot of times I'm using my knife. Teoh give the impression of those tiny branches at the end of a larger branch. So let's say I'll just kind of scratch out something like a branch here, and then it has a lot of little branches coming off of it, so I'll just take my knife and I don't tryto try not to, you know, be overly cautious with it. I don't even necessarily make sure that every wine is connected to that larger branch. But I'll just start creating more of a texture, and I will be showing you more of that. We still have quite a few trees and some of the examples that I'm showing you you can you can see how you can make these lines thicker by scraping, scraping and exposing some of your toned surface where you can make them extremely thin. And then, of course, if you make a mistake, you have lots to work with here on. You can scrape it all down if you feel like you want to start over, so it's kind of like a sandbox. In a way, you could do a lot of experimenting, and I really encourage you while you're getting the field for the knife and what it can dio Teoh. Um, you know, kind of play with it in that manner, and now I want to show you how you can get a Grady int, and this is really helpful, especially doing sunsets, skies, water features that often have a really nice radiant, so it will actually mix up some colors for this. And I think, Well, actually, we'll start with the darker color. Of course. So I'm just gonna wipe off my knife. I don't may, actually, even for a son site, it's not gonna be extremely dark. I'm going to go with a little bit of a low blue some way in there. And I've noticed when I paint sunsets, even the blue part of the sunset isn't pure blue. It's very warm. I'm actually going to add a little bit of yellow to this. Not much, though. And if you're going for something with the sky, you don't necessarily want Teoh. Mix your paint too. Well, you don't want to be too flat. You want there to be some variation in there. So what, I'm going to dio this will be the top of this radiant. So I'm gonna just lightly in that, you know, thick, buttery way. Play that. And then I'm going to add a little bit of red in here. And for now, I'm just going to kind of place these next to each other. We'll get a little bit more pink and I'm gonna put just a little bit of yellow in that as well and again just placing it. And I don't worry too much, especially if I'm doing something like a sunset because there's so much going on in a sunset. There's really no wrong way. Teoh pants sunset. So I don't worry. If you know some of my colors mixing with each other, you can see the way that I scrape it up off my palate. I do it in a pretty specific way, especially, um, you know, it depends on which application I'm doing for this. I want the, um I want the paint to be on this edge here so that when I apply it at an angle, I can actually go along and use up all that paint. And I wanted it to be a smooth as I could. That's why manipulated it so much. Okay, and now I think I'll just put in just the tiny better yellow at the bottom. So the smaller amount of paint that you're going to be applying, you want it to be closer and closer to the edge of the blade. That's going to be coming into the closest contact with Yep. Uh, with your surface Okay, so I'm gonna clean off my blade right now, so it's very clean and then to kind of merge these together a little bit more. I think of this more as moving the paint rather than blending some kind of just shifting and manipulating the paint that's on here. Teoh. Bring some of these colors a little bit closer together and to let them spilling to each other. And then when I move on to this next section, I'm going to start out with Clean blade. Don't mean to do a whole lot here. It's pretty blended. So each time I'm just wiping my blade off on a paper towel that I have offscreen, okay? And I know that there's a lot of glare showing on my camera. So what, I'll dio. I'll move this over to the side, and I'll actually pick this up so you can see a little bit better. The thicker the paint you have, the more glare you're going to get. You can see I don't like Teoh completely, Um, even when I'm doing a Grady and I don't want it to be completely smooth, that's first of all. It's not my style and I also like to think of Impressionism as being suggested and not so much fully articulated. So if you think about, um, you know a photo realistic painting that would be a fully articulated painting and Impressionism is only partially articulated, and I like to think of Impressionism as kind of an interplay between the artist and the viewer. So the viewer's mind is actually putting a lot of it together. Um, and so the artist and the viewer kind of meat in the middle in that way. And I think that makes paintings a little bit more engaging and interesting toe look cats. And now I'm going to show you a couple other techniques. These aren't things that I necessarily use a lot, but I do think that they are good to have in your, uh, you know, mental toolboxes. You work. So going back over to my palette, picking up a lot of pain to think it's just do some yellow, white yellow. I'm mixing up some yellow and white and you see it's very thick. I'm not too worried about it being overly smooth or thoroughly mixed. You can see it's a little bit marbled, and I'm just going to put that down. And this is something that you can use just to kind of create. Some texture might actually need to be a little thicker than that, too. Grabs were weight. This kind of create some ridges, and I've seen people use this technique in building flower petals. But basically, you are going Teoh have a lot of paint on your knife, and then you're going to use the shape of the knife to kind of press into that pains and creates texture in the shape of your bread. And then another technique is somewhat similar to doing pointillism. So pointillism, you might know is where you use small dots and you use a lot of small dots to come together to create a whole image. And I kind of think of all impressionist painting sort of as pointillism, because I, you know, I use brush strokes maybe more so than actual dots. But all those brush strokes work together to create the impression of the whole image. So I'm using my smaller knife. I'm putting a lot of paint just on the tip of the night, and so you can kind of use this well I guess first of all, put a little bit of background on here, so we'll kind of scrape that in. And then let's put some texture up front. And this is just one way to layer your paint in a way that makes it more. Is it more depth and a little bit more vibrant? So it's not just one flat color, so I have a lot of paint on the tip of this palette, and then you can just kind of use this, and you can let some of that painting the background show through. And then these colors will kind of optically mix when the viewer looks at it and it won't be flat. But these each one of these dots I'm making will kind of work in conjunction with the pain in the background. And I kept those dots pretty thin so we can even go back over with even thicker application . So lots of Pammy tip. I'm just going to apply this on top of some of the green without covering the green, and this just kind of creates a lot more vibrance and variation and interest, and this is something that I tend to use a lot when I'm painting water. All right, so these are the main techniques that I employ when I am painting with a palette knife, and I know you can't see it anymore. The scraped line. So I'll just add a couple of scraped lines in here just to remind you, um, but you know, these are just a couple of really simple techniques, but you really can apply these in ways that will help you represent the impression of lots of different features, whether it's in landscape or still life or portrait or even abstracted if you go that route . Eso I think it's really good just to get some scrap paper and just kind of play around with this paint. Um, you know, like it's a sandbox. Because, of course, if you do something that you don't like or you need the space back, all you have to do is scrape it down or smooth it out. So it's a really great way just to start getting a feel for the knife and, um, start developing a little bit of control with it. But of course it's a knife, and so we don't need Teoh acquire like complete control over the tool because it's actually meant to simplify things for us. All right, so we have our techniques down. I hope that you will take a little bit of time just to practice those really quickly. Especially practice these different applications of laying the paint down, um, and experiment with some of the different textures. Try to do a subtle Grady int if you can, and then we're going to start applying these to some short exercises. 6. Project Introduction - Quick Simple Paintings : for your first project. I am going to challenge you, Teoh. Work on some very simple compositions and give yourself a time limit as to how long you're going to spend on them. I'm going to try to challenge myself to do some quick compositions. I'm going to give myself just 12 minutes. You might give that a try if you find that that's a little bit too quick at this point, being new to this tool, you know, go ahead. I would say Try to keep it under 30 minutes, 30 minutes or less. And what that's going to do is that's going to force you, Teoh, work in a more impressionist fashion. Which is to say, you're not going to nit pick at all the details. You're not going to be overly precious about your painting. You are just going to as quickly as you can try to make as much of an impression of your composition as you're able, and I'm just gonna go ahead and reuse this piece paper. So I scraped off all of those examples and they just wiped them into a paper towel. My hands are now a mess. Eso what? I'm going to do, though, now that I've got that relatively clean, I'm just gonna divide this money is a pencil and divide this into sections because I'm not going to do a 12 minute painting that is the size of this entire sheet of paper. And, you know, I think I'd actually like these to be roughly square, so I think that I can get three rows of squares in here. Just make these lines a little darker. Case we have roughly. We have six rough squares. They may not be exact, but that's OK, so I'm going to challenge myself to dio at least six quick compositions in about 12 minutes . So we're going to see how that goes. And I'm going to just focus my camera in on one square to time so that you can better see what I'm doing 7. Gradient - Quck Start - Techniques in Action: all right. So I know that you won't be able to see me mixing, but I'll try my best to just describe to you what I'm mixing. So my first composition and I will try to put a, um, sample down in the right hand corner so that you can kind of see the photo reference that I'm working from. This is a photo that I took. Um, that actually has probably been about a year ago, but I really like this photo. It's a very simple composition is actually early in the morning. So it's a sunrise over the Platte River here in Nebraska, and I like it because it's very abstract. It's very simple. I'm gonna start with the darkest colors in this composition. I think there's nothing that I'm going to make overly dark. And if my dogs start making noise in the background, all apologize ahead of time, they may start playing. They've been really good so far today, and now they're getting a little restless. Okay, so I'm mixing up a blue. I do have a little bit of white in this blue. Usually, if you've seen my other classes, I usually say, you know, That's a no no to kind of start out with a color that has white in it. But for this, it's There's nothing in here that's really dark in tone. We're in value. I'm sorry. So right now I'm applying the paint. It's very flat, but it's also very thin. I don't want to go overboard because I'm going to be adding a lot in here. So I tend to work that way, especially when I start something new. My first layers are going to be not quite so thick because that leaves me room to continue working. Now I'm mixing just a little bit of red into that blue, and this will be a little bit darker. I'm sorry, thicker, and when I'm finished with each composition, I will lift this up just so that you can actually see the texture a little bit better. Then I'm going to just kind of lightly put in my horizon. There's some trees on the horizon, but I'm going to apply those thickly over what I pay as the sky appear. So I'm basically just using my politics to scratch in a reminder of where my horizon line is going to be Okay, I'm starting Teoh, add more right and also more red. And what I really liked about this composition was that it's mostly water, which is what makes it kind of a simple composition, because there's not a lot of, you know, land features or anything like that in here. And there's just a lot of really interesting colors and textures in the water. So again, when I move up and I'm adding more, I'm just keeping it very thin and light so that I could eat easily Add to it. Now I'm going to start bringing up the white quite a bit. And so most of this is me applying the thin, rare and then a thicker layer over. And rather than actually blending any of those colors together, I'm letting them optically blend. Which is to say that in the eye of the viewer, we should get an impression of these colors merging, somewhat interacting, but they're not going to be overly mixed in. I used upon my white that has the liquid in it. So for the sake of these quick exercises, I'm just not going to bother with the liquid. I'm adding a lot more, read into this mix. I love red, and then I'm going to start lightening it up even more. And then I can actually start using this up in the sky. And remember, I want Teoh. I can keep the top of this guy pretty thick, but I'm going to have some trees here and here. And so I'm gonna need Teoh be able to apply some really thick paint to those spots. And I have a timer set for myself. So you might hear that go off when it's time for me to stop. But I think I'm actually doing pretty good so far. Okay, so this part of the sky, I'm gonna go ahead and place that in really thick, but then I can actually use my knife to take it back in the places where I know I'm going to have those trees. So I have this really thickly applied, but then here toward the bottom, where I know I'm gonna be placing trees. I'm gonna just scrape some of that back. I'm not scraping it so much so that you see a lot of the tone to surface underneath. But honestly, I don't really mind if that does happen, and then it's actually a little bit of that blue down here in the water, because when you have, you know, a sunset or a sunrise over water, a lot of times you will see that reflected in the water. And so it's actually easiest to work on the sky and the water simultaneously rather than trying to remix colors. You know, I really need to start lightening the value. Some of my white paint apparently is old, and it's a little bit clumpy, so I might have to just move some of that out of the way as I go. So I am putting a lot more white into my lightest magenta that have mixed so far. But I really not only need to lighten it, but it needs to be even more magenta. So I'm taking more of my permanent rose because right now there's a little bit of contrast . But it's actually really low contrast. There's some kind of dark medium values and then some medium values, so it really needs to start lightening this up. So I get some variation in value and there's a little bit of light appear in the sky. God, I need to work on that a little bit more, lighten it up a little bit more, and then down here in the water, some of that is just reflecting. So again, because this paints, it's not super thick could be thicker. But I am having at this point to apply it very, very thickly and again. My knife isn't even really tough coming coming down in touching the surface. It's just kind of grazing the surface, and it's mostly the thick paint on the knife that's making all the contact more right, more permanent rose and just a touch of yellow. Once I started getting really light values, I kind of feel like they get washed out a little bit when it's just white and say read. So I do tend to add a little bit of yellow just to give it a little bit of warmth and, um, saturation. Okay, it's like I need even more right, so I'm squeezing. Were way out of a tube. They really need Teoh. I hope that contrast at this point, so just a little bit of permanent rose, a tiny bit of my cool yellow, my lemon yellow and a lot of lot of lights and very, very thick application at this point And what's combat in? So I'm mixing a little bit of that very light mixture in with some blue to add some more contrast down in this area, not overthinking it, just letting the paint kind of land where it's gonna land. And now, before we get too far into this, I'm gonna wipe off my palette knife so that there isn't any white on it. And I'm gonna use some of my fellow blue and my Eliza ring. I'm sorry. It's not a littering its permanent rose, and usually I have burnt umber on my palette to mix up my darkest values. But it just wasn't on this pallet. And again, I'm just kind of reusing some paint that I was using before. So we'll just go back in here and start adding these trees. This will actually be the darkest portion of this painting, and then I have a very, very light touch there. There's my timer. So this is what I got done in 12 minutes. It's pretty much complete. I mean, I would definitely work on it, mourn. I can actually see a little bit very light yellow in here, but I'm not gonna cheat. So I'm gonna call this composition finished, and I will just move my palate over and then hold it up just so you can kind of see the texture. So this was all very thick application. This is a very simple composition, which is why I picked it first. But I am only even for the more complicated ones. I'm only gonna give myself 12 minutes, and we'll just see what happens. You can see it's it's very abstract, but you still get the sense that this is, you know, some kind of a landscape. All right, so we are ready now. Teoh, move on to our second 12 minute challenge. 8. Mountain - Quck Start - Techniques in Action: all right For this 12 minute challenge, I am going to be doing a mountain range. The photo reference I'm using for this one is from a website called Picks. Obey and picks of A is a great resource for artists. It is a website where photographers, whether they're professional or amateur, can go and they can actually upload their photos that they are giving permission to be used for just about any purpose. And so these you don't have to pay any kind of royalty. Most of them are designated as available for commercial use. So you could even used these as references to create things that you wouldn't that you would like to sell. So I'm gonna just block in a very, very thin sky. I am scraping. It's a light script, and you can see some of my toned canvas behind here because that's where my mountains are going to be. So I'd be applying very thick pain over that some hills down here. I'm gonna go ahead and try to just block in as much as I can before I really start working on the mountains, because I think that is where I'll probably spend most of my time, since that's the main feature of this composition. So I'm just mixing up right now that same blue, a little bit more pink to give it more vibrance and then a lot more white to lighten up the value. Then don't here again, this foreground or mid ground Because nothing in this photo I think it looks like the perspective on this photo is from high up. So this isn't really so much a foreground as it is some mid ground. But I'm gonna keep it very thin because if I get time, I'll go in there and adds some texture because there's a lot of trees that are interesting and for the turn being what I'll do for those trees, they're a little darker. There are trees, but they're so dark that I don't really want to mix up a vibrant green for these. I'm actually mixing up. It's a lot of blue, a little bit of yellow, and then also a little bit of red. Sounds like I need to move my little cart here. I'm bumping into things. Okay, so for now, these trees down here gonna be pretty nondescript. I'm just gonna block him in. And this is why I did not want Teoh put this paints too thick Just going to try to move this a little so that I would I didn't want that pain to be too thick because then when I go over it to put in, uh, these trees, I don't want those these dark trees to be too polluted by that white paint. And if that white pander neath was really, really thick, that would be just about impossible. So I'm applying these trees down here going a lot thicker so that they'll sit on top of that paint. Okay, so let's go ahead and get to the mountains. So the first color and mixing up is just a really It's blue, of course, with a little bit of red and it's not super dark. There is some way in it, kind of just re using some of my older piles, and I'm going to start defining where this mountain is. And again this paint that I'm applying appear is just gonna be a lot thicker than the pain I used to do this guy And for the dark parts of the mountains, you don't need Teoh think too much about where the white is gonna be because the white is actually going there. I shouldn't say white is. It won't be pure white with that lighter color where the snow is considered on top of these darker colors. And so I'm applying this paint in a way that is, It's more thick and texture than what the sky waas that I need to keep in mind that I'll be going over it with some white I'm sorry, some light color for the snow and so I don't want to apply it too thick. If you watch Bob Ross videos, he loves using palette knife to do mountains. I don't think I do. I'm quite the same way is Bob. And again, I think, you know, even when you are watching someone else work and kind of learning their techniques, the way that you actually do it is always gonna be a little bit different. And that's just you kind of finding your bearings. Well, it's just very lightly. Most of this will be white, so I kind of scratch this out instead of this is kind of where the peak of this is a kick up the mountain and some darker values over here for more definition. That's okay. So I'm kind of just re using some of my piles from four to get this started. I don't want to start out with a huge value leave. I don't want it to get to light too fast. So I'm reusing the pile that I used elsewhere, just adding more white to that, so it's not going to be super light. And actually, you can probably see in this photo that a lot of the snow where the sun is hitting it is almost like yellow or orange. So we're definitely gonna want to get that in there, because that's gonna be a lot of the contrast an interest in this composition. Okay, so where some of this texture is, I'm gonna just kind of spontaneously use the blade of my palette knife to scratch out some texture. Having my palate right next to where I'm painting is awkward because I keep pumping my hand into my big piles of paint. Okay, so now I'm gonna clean out my brush because I'm going to mix that really light, warm color where the sun is hitting that snow so I'm going to start out with some whites and some yellow. Of course, I don't want it to be too pure. And you might know that yellow and violet or compliments. And so when you mix a complementary primary color like a yellow with it's secondary opposite, which is its complement, that will kind of tone down the color a little bit. And you're gonna want to do that, maybe even more often than you. I think just you're going to see that this will actually give you a lot of contrast, even though it's definitely not a pure yellow. Okay, so you can see here we have yellow, just a little bit of purple in there, so it's not too vivid, and I'm gonna I need to be very thick, barely touching. There's hardly any contact between well, there's no contact between my knife in the surface, but it's really just paint on paint at this point, and I'm letting the paint kind of skip around to, and it's not gonna be exactly it's not gonna follow the photo reference exactly. Now I'm gonna put in a little bit of red. No, Why it? And so really, we're just kind of grazing. But I would describe the level of contact we have here and you'll just as you go. You're kind of realize that holding your knife at different angles, we'll do different things and help you define things in a different way. Especially when it's something like snow. You want your texture to be very directional. So to give the impression of this slope, I want kind of this sweeping motion. And so I actually need Teoh. Apply that in a very direct way with my knife. Okay, so now for just a little bit of high y it we're really close on time. So this is going to be a lot of white in just a tiny, tiny bit of yellow, and you can see this pain. It's so thick right now, when you pick, it's to be this thick, and then you try to apply more pain. A lot of times you'll actually end up taking paint off, and that's when you kind of know that. Yeah, there you go tell, you know, it's time to stop, but overall, I think that that turned out good. I didn't really have time to get back down in here, but that is OK. And so let me go ahead and move my palate, which is becoming quite a mess at this point. Turn off my timer and kind of show you the texture here so you can see how thick it is appear in the mountain. And by contrast, Utkan kind of see how thin it is in that sky. But you almost don't even notice. I think that you almost don't even notice that some of the toned surfaces showing through and then known here. You may not even be able to necessarily describe what's going on down here because it's so abstract and loose. But I think overall you get the impression of this very cold seen this mountain peak, and there's a son off to the left illuminating this side of the mountain. So overall, I think that that was a success, and I'm ready to move on to number three 9. Cloudy Sky - Quck Start - Techniques in Action: all right. My next composition is going to be kind of a nice blue sky with some fluffy clouds in a field down below that has, um uh, Well, I guess a dirt road running through it. So I'm gonna start out with just some ultra marine blue up here, and since I'm going to be adding clouds of the sky, I'm gonna create a Grady int. But I want the Grady ant to be pretty thin, so I have lots of room to work with those clouds. So I first applied just kind of a straight, uh, ultra marine blue generally skies. Um, the part of the sky or the atmosphere further from the horizon is going to be cooler. So I'm using my cool blue. You know, I'm mixing some of my lighter blue mixture that I already had with that, um, ultra marine blue. And I'm just gonna kind of for now, place these up against each other, don't want it to be too thick. And now I'm going to start adding some fellow blue into this mix because as the sky gets closer to the horizon, it's going to start warming up. So I'm gonna start using more of my warm blue, which for me is my fellow blue. And it's also getting lighter and values. I'm gonna need more white. And I think there's ways people interpret the sky. Um, I usually interpreted Teoh. Not only do I use a warmer blue, but I also mix in just a little bit of yellow. And yes, that is technically green. I actually, when I observed this guy, I do see a lot of green in the sky and this is just my way of doing things. So I've reused a lot of that ultra marine, blue and white mixture. Then I started adding some fellow and why it and then also a little bit of yellow. Okay, so now I'm really approaching that horizon. You need to lighten this up quite a bit, lighten it up and warm it up. Some adding a lot of white to that mixture. It didn't use all that mixture that I just apply to, still retained some of it so that I can use it to continue mixing. And that is one way of just keeping a lot of, um, what's the word that I want? It makes these things Grady and emerge a little bit easier. There's a lot of carry over between mixes. Okay, so these are all of the colors for my scribes and start merging. Lee is a little bit more, very quickly. So I've cleaned off my palette knife, and I'm just gonna start running Kind of where the, uh, mixes meat. Just start running my knife over that Teoh, create a little bit more interplay between these colors, clean that off again and lived to this next border area. My gun just running my knife along here, Teoh, cause those different mixes Teoh interplay with each other. And this is actually good enough. I think I'm actually gonna scrape some of this down so I can start working on the foreground, which I'm gonna keep fairly simple. So now we'll see if I have time. Teoh do more to it. So I'm using some yellow. This was from a previous mix, So it actually has both my warm and cool yellow in it and also some permanent rose. And it's pretty dark, so I'm actually adding some blue into that. Okay, so my camera stopped working and I had actually moved on down here so we have done is I actually just scraped it all off. I'm gonna start again so I can actually show you what I did. So what I did is a mixed Well, I was already describing what I was mixing. I guess it's kind of a yellow a red, which makes an orange. And then I wanted to really tone it down. So I added quite a lot of blue to it, so it's pretty dark, and I'm going to be adding a lot of highlights and vibrance on top of this. But I want a really dark ground so that I can achieve a little bit of contrast, especially closer to the bottom where the foreground is. So I'm applying this very thin because I'm gonna be putting a lot of top of it. And I'm also just going to use my knife to kind of scratch out or carve out where this road is back here. I'm actually gonna bring it out here because I think that's more interesting looking. Okay, good enough. So now what? I'm going to dio I can actually see back here toward the horizon where the ground meets the sky. So to speak. It's a the atmospheric is the atmospheric effect basically means that as things move further into the distance, they become lighter in value and cooler and tone. So I mixed some of that earthy tone with some of my sky mix because I want this back here to really recede, and I am trying to consider that I'm going Teoh very subtly put some of those distant hills back there. They're a little bit of a darker blue, so I don't want to go too thick back here, okay? And now we can start really warming this up. So I'm putting more yellow into this mixture. And in keeping with the atmospheric effect, as we move more toward the foreground, colors are going to become more vibrant and warmer. And you can kind of see him painting around where I scratched out this road. Probably apply the road close to last, and it'll be lighter in value. Okay, now I have a lot more of my cadmium yellow, and I'm gonna start adding so read into that as well, not really applying any whites because the yellow keeps the value light enough for me. And this, of course, is not exactly representative of my photo reference, but I often used photo references, just kind of as, ah, inspiration as faras. The composition goes when I tried to make it my own. Okay, now, to get some of these lines that you see and I'm not gonna go overboard with them, But I'm just going to lightly scratch in some texture just to make this a little bit more rough. It can actually could go back in with some of this darker that I had put underneath on. There's some areas that I think I could just very lightly braised paints on. Just Teoh add some definition in contrast. And then down here at the bomb well, this is actually gonna be road over here. I decided we'll add some more vibrant, warmer. Almost. This is almost kind of a red, very muted red that I'm putting in here. Okay, I definitely I wanna leave myself time to do the clouds. So let's go ahead and just get that road into place again. Just kind of reusing a mix. There's a lot of white in this mix, so I'm not this road to be a little bit lighter and value And because this is such a small space, I'm going to try to keep my paint very close to. And you see, it's not a lot here because this is a very small area, and we just want to give the impression of this road just a little bit to dry your eye around the composition. In a lot of times. That's what roads and paths do for us. And our kind of helps lead the I into and around the composition. You don't need to overdo it. Okay, What's working those clouds? So these clouds kind of have a shadow under them, so I'm going to start out with a little bit darker, and it's gonna be a lot of blue right now, and I'm gonna answer purple. I'm sorry. I'm gonna add some red, so it's gonna look a little bit purple, and I may not do all of these clouds. I'm not exactly sure how much time I have at this point. Um, so let's go ahead and start just applying. So this is gonna make kind of a shadowed part of the cloud. We'll just have a couple. We're gonna have to money, but some up here, and they probably need to be even a little bit. The shadows need to be a little bit darker here, so I'm gonna add more little, but I'm applying this pretty thick. I'm gonna put white in here, but it's it's got emerge with the shadowed area, but it doesn't necessarily need to be on top. I'm not going to be applying it on top of, uh, this other pain. You know what? I kind of got thrown off on this. So I am just gonna cheat on this one a little bit because I want to be able to show you these clouds. So now I'm using a lot of white. And because they're sunlight hitting the tops of these clouds, there's I'm gonna add a little bit of yellow to give that impression that there's, you know, so nice. Warm sunlight hitting. Okay. So very lightly. She's gonna start and clouds air. Really? Something that you can get caught up in. So I would really encourage you. Teoh Not over. Think them trying to just do them very quickly. Clouds are very spontaneous. There's no right or wrong way to pay a clown because they can't. They come in every shape and size. Once you distant ones back there, the's more distant clouds. And then what I'm going to do to kind of bring the shadow and the highlight area together is, um this is more of a blue, and I'm just going Teoh kind of use this to merge those distinct values a little bit. Okay, And now, with a clean palette knife, I'm just going to kind of manipulates just a little bit. Don't want to overdo it. In fact, I might be better off not. I'm already breaking all the rules, So Okay, let's call that great on the clouds and just really quicksand. I've already cheated a little bit. Do you want to put in those hills in the background? And I would actually use my ultra Marine blue for this, but I ran out some just reusing some of my other mix that has more Afflalo blue in it. But I think these would actually look better if they were done with Ultra Marine. And then if you feel like you need your horizon line even straighter, you can actually take your relatively clean palette knife and just kind of run it along here. It doesn't make a huge difference. It's very subtle, but it kind of shifts the pain. So there's a little bit more of a clear to button. Okay, So not gonna cheat on any of my other exercises, I promise. But I'm pretty happy with this one. And sometimes you got to break the rules, right? And before I forget, I do just want Teoh, pick this one up and kind of show you the texture you can see. I used really thick but kind of smooth strokes in the clouds are very abstract when you hold them up close and then down here I let things be a little bit more crude and rough to give that earthy feel. So, yeah, I think this one was worth breaking a couple of rules. Now let's move on to number four 10. Tree - Quck Start - Techniques in Action: okay, just composition is it's setting sun. Although the sky is kind of blown out in this photograph, but it is in the evening. So I'm gonna first, and I'm actually I'm trying to think of how a purchase typically with palette knife, I would want to place in a very, uh, light sky, meaning then a thin application for this guy. And then I'm carved the tree into it. But another way to do it where I follow my working dark to light method, um, I would actually put the tree in first and then pay the sky around it. And I think I'm gonna do kind of a combination of those two. So what I'll do first is I'm gonna go ahead and very lightly, very thinly apply a yellow sky back here. I'm gonna what? Lots of my tone to surface show through. Not gonna worry about it. I'm actually going to use this same mix to start on the lake. That I have is well, and that could be maybe a little bit thicker. It won't be placing as much over it. Okay, so we have that. Let's go ahead and block in the rest of this before even get to the tree. So I'm gonna put these more distant trees in getting you some fellow blue and also some ultra marine blue and some red Keep these distant trees. Actually, I don't want those to be too dark because I actually want the tree in the foreground to be the darkest feature. I'm gonna put just a little bit of white into these distant trees and because they are green and you can kind of tell, I'm gonna put just a little bit of yellow into this mixture as well. So this mixture will look mostly blue, but it actually has some red and yellow in it and a little bit of white. Okay, I could be a little bit. We can apply this a little bit more thickly. Let's make this a little rougher up here, kind of running into the sky, and then do you have a little bit of reflection into the lake? I don't want to overdo it. So again, playing this pretty finley on top of that other thin layer that we have for the lake just to give the impression of some reflection, you know, scrape this back a little that was a bit much. Okay. And then let's look at this grass in the foreground. So I'm gonna use a halo blue and some of my cadmium yellow A lot of cadmium yellow. It's gonna be very dark, but I'm gonna need more can be and yellow Then what I used in the background trees. Okay, so this is just a low blue and cadmium yellow medium. Bring the central little Yeah, but again, I'm applying this very thin. And then I'm actually going to add some red to that same mixture. It's very dark at the bottom. Don't leave this pretty thick. And then I'm gonna just help these trees in the background along a little bit there. Very, very purple. Don't want them to read as, like, some kind of mountain or hill. So let's apply a little bit of the screen down here and then just kind of moving around a bit. Okay, then let's move on, Teoh. Our main feature, it's just going to be that big tree gonna reuse some of my other mixtures. This tree, when you look at the photograph, the trunk and the branches almost read is black. But I never paint. I don't use black. My palate. First of all, eso my darks are always just going to be some combination of blue, usually raw number which they don't have on repellent right now. So I'm actually just using both my fellow blew my ultra marine blue and my permanent rose to mix up a very dark value. And then I'm just going to lightly start and actually to begin with, it's almost more of May just kind of scraping in where the street is going to be. You can see I'm not worried about having like, these perfect branches again. This is Impressionism. And so you don't you could just kind of free yourself from perfection. Impressionism, I think, is anti perfectionistic, which I think is something that we can all learn to appreciate and embrace. You're always going to find that there are restraints to wear. Your palette knife will even let you go. I am restrained a little bit right now just because of where my actual mixing paella is placed. That's kind of limiting my range of motion a little bit, but that's okay. Okay, So for these thinner branches, I'm just using the blade like the very edge of my blade two. And it does have a little bit of paints on there, but not much to scrape things into place. This isn't so much of us. Great, Because I do. Actually, I am applying paint, so I'm not just removing pains. Okay, Now, before we get back to the sky, I want to actually arson leaves on this tree. So I'm gonna go back to a very dark green. So they look blue, cadmium, yellow, medium, and we're just going Teoh kind of mass these in and I'm not going to be because I know I'm pressed for time and I want to get back to that sky. So let's just kind of block some of these in only when I absolutely need to be because I really want to get back to my sky so I could make that light shine through if I can. And at some point, I think, you know, especially with trees, because our eyes were able to see every detail and photographs are able to capture every detail. Some point, you have to stop looking at your photo reference, which is what I've done here and now that I have kind of these, um, masses of leaves. I'm going back in with the very edge of my blade in scratching some texture in here to bring back some of those branches can give this a little texture. Break up these masses just a little bit. Okay, So this is how it typically tried to paint skies. Usually because I like to paint from my darkest values to my lightest values in your sky and landscapes tends to be the lightest value in most compositions. Um, and also, if you try to paint a very, very dark tree over a very white sky in your sky is very thick and textured with paint. You're gonna have a really hard time maintaining your dark value because any amount of white will pollute your darks. So it kind of worked toe have just that very, very thin sky in the background. But now I'm going to go back, and I've mixed a lot of white, a lot of yellow, and I really want this light to start shining through a little bit more yellow because I want this to be pretty vibrant, okay? And I am using extremely thick paint to do this. And you just want to kind of turn your knife over over once in a while to make sure that your light color hasn't become polluted with a dark color because you're inevitably going. Teoh be butting up against some of those darker values and it's going Teoh, transfer onto your knife. So you want to make sure you're doing this very light work that you're keeping your knife as unpolluted as possible in cleaning it off when it does become polluted. Just hit my camera with my head. The perils of the videotape call during art. Okay, that went so fast. But I do think that you kind of get the impression. If I was going to keep working on this, I would add maybe just like one. Let's just cheat a little. How would I Just a little bit of high white back into this water. I would add a little bit here a little bit here, Okay? And I'll make my stop self stop there. I'm not gonna g anymore. All right, so let me move. Repel a and just kind of bring this up a little bit closer so you can see where I scraped out a lot of that texture to give the impression of some of those very thin branches. You can see how thick that paint on the trunk of the tree is, and here in the foreground, it's very thick as well. And then this paint that I put in the sky last is I mean, that is it's very thick. See, I actually think trouble. There you go. You can see that big blob of paint sitting on the surface. There is the real deal that is impossible. And, you know, this was a very quick composition and I had to work fast. I had to make a lot of decisions in a short amount of time and do a lot of mixing in a short amount of time, but I think it's worth it. I think doing these short exercises actually breathe a different kind of energy into your art. So definitely guys, give this a try. 11. Sunflowers - Quck Start - Techniques in Action: for my last two quick compositions. I'm going to be doing some flowers, I think flowers. They're very popular subject, of course, because they're beautiful. They're also very challenging. Um, so I'm going to start out with this composition. It's some sunflowers, and the background here is going to be very nondescript. So I'm going to just kind of scrape something together. I'm actually going Teoh, trying to do a negative painting here where I paint the background around the subject before even paint the subject. I thought about maybe only painting one of these flowers. I still my only dio one or keep keep them extremely simple. So I just am using this is actually one of the dark value mixes that I used on my previous composition. Some kind of recycling it in here. Yeah, and I'm just using this very thinly. Obviously, I'm doing a lot of scraping just to kind of define where things are gonna be. Okay. I'm not going to do a lot with this background. Maybe I'll add I still have some of this really dark green, so maybe I'll add that in. It's a little more yellow, I think. Just so this background isn't completely flat or weird. I don't want to spend hardly any time on the background were spent all the time on the flowers. And then, of course, that's also kinda quickly block in the base. The base in the picture is kind of white, which is sort of boring, I think. And so I'm gonna make it kind of purple, actually, because that would be a good complement to the yellow flowers. So you re using some of my old Mrs I don't like the waste paint. So any time that I can reuse some old paint in a you know, an area that wasn't expected, I will do that. I'm just gonna block in this base. It doesn't need to be anything special. Yeah, just give it the slightest bit of texture. Okay, so now let's move on to our flowers. And I'm first, of course, going to go straight to that dark center. So I'm gonna use permanent Rose Ultra Marine blue to start out with no white and what's kind of put this in here again? It can't be too thick because we're going Teoh have some pedals overlapping. And I don't mind if some of that toned surface shows through again, and we might come back and add more pain to the sensor. But for now, we're gonna leave that as is and get started on these flowers. Looks like I'm going to have the challenge of meeting to replenish my yellow while I'm working under those tight time restraint. That's okay. You got to just go with the flow sometimes and also running out of room to mix and my tell it, it's a mess right now. Haven't cleaned it at all since I started these 12 minute exercises. You don't have to do all of these all at once. This could be something you even just do one a day. This could be like a warm up exercise. Okay, so now I have more of an orange because these flowers are a little bit more orange toward the center right now. I'm not gonna even think about pedals. I'm just kind of blocking in these colors values. You worry about pedals later, So this is quite a lot thicker so that it can kind of lay on top of these darker values, especially at the center of the sunflowers. And again, I'm working from dark toe light. So this, in the case of these sunflowers, would be the next step up from that dark center. Now, we can go ahead and really get going on the yellow. The only yellow I have left on my palate is my woman yellow, which is fine. Gonna need a lot of it. So I'm mixing up a big pile of it. I'm going to apply it very thick and actually not. I just really think that I need my cadmium yellow, some taking a little bit of time away from this to put more cadmium yellow medium on my palette. I'm gonna add that in So this yellow mix, because it's just it was two different from the corner, but I just put on So this is a lot more pure, though. And again, I'm not gonna worry about pedals. I am just using a very, very thick application just to block it in. And when I say block it in, I'm trying Teoh in my mind really simplify these shapes as much as possible. So I'm trying to think of them in terms of them being blocks of color. And for these pedals, I really? I don't want to skimp. So I'm applying this very, very thickly. - Just let it be messy. Would it be as messy as it needs to be? Okay, let's do put in some green leaves. So I'm just re using some of my piles that already had kind of a brain tent done. But I'm adding more Failla, bloom or yellow just to make them a little bit more vibrance. We don't need to go overboard on these leaves. They're just gonna kind of be splashes of green back here. Okay? That's it for the greens. How we doing on time? Pretty good. And OK, so let's go ahead. And we can start worrying about giving the impression of pedals. But again, you don't want toe overly articulate them. I don't want Teoh, you know, spell it out and make it overly obvious. So I'm just going Teoh kind of use my palette knife to scrape some separation in here. I actually need to clean it off. And I need Teoh. Allow this. No more orange orangish yellow too. Merge into the rest of the flower. And again, I do think of this is kind of a sandbox, so kind of just experimenting with different ways to bring these pedals out a little bit. That was the most important flour. And I think I'll just leave that alone for now. No, it's just kind of bring some of this out a little bit more these pedals back here, this flower is not is open. So it's lost important. Let's be honest. And then this back here is such a small flower. It's not very important either. And you really do want to think about what features in your painting are, you know, quote unquote on important to you because that is where you should focus most of your attention. Now that I have those pedals in there as good as I want them, I'm gonna go back in with some of the star can just kind of add some texture. Looks like that's it not gonna cheat. I think that I like this. I think we kind of know what's going on. Um, let's turn this off and then I use my palate. I'm gonna show you up close. What's going on here? So see if I can get my camera to focus better. Here we go. I see a very, very loose, very Impressionist, and we're kind of relying on color and value. Teoh communicate the subject here, and I left the background very, very, very simple. I probably would have gone back into the base and just added a tiny highlight to it to give it some dimension. But as it is, it's fine, Okay, so let's go ahead and move on to our last composition. It's going to be another flower, but it's going to be a flower with a lot more delicate pedals that are overlapping. So this will be a challenge for me and we'll just see how it goes. 12. Flower - Quck Start - Techniques in Action: Okay, so this lost little 12 minute exercise. I think this is a rose. It might be a p any. I'm not sure. I got this photo from ticks obey dot com and I didn't read the description. Eso I think this kind of flower is challenging for everybody. It honestly, I haven't spent much time painting this kind of flower. We're going to give it a try to see how it goes. I'm going. Teoh, start quickly. My cameras almost had a battery power. Um, but I do want to try to finish this. I'm gonna work from dark to light, and I can see there's a lot of shadows in the center of this composition and then working outward, there's some dark areas to some going to very lightly scrape these in. This will be putting a lot on top of them. And then we're going to quickly start bumping her values up, adding a lot of rights compositions very, very pink. But I'm not just going to be mixing white and red as usual. I like to add a little bit of yellow. Okay, so now we can really start blocking, and actually, I need to mix it more of this because this is going to be the color a use she really block everything in. So it's makes it a little more of this really quickly, and I'm gonna add a little bit more blue in here too. So I think there is definitely going to be room for more depth. And you can see I am not thinking about all these delicate little petals at all those will . This will actually the most defined those will be will be by the highlights that I apply, I think. But the way that I'm applying this thick paints kind of in a very circular kind of going around the center because I'm relying on the texture that I'm creating to do a lot of the work for me, more so than you know, blending and mixing and applying and spelling out every single little pedal. I'm going to start letting these kind of intermingle with each other. My knife is kind of empty right now, and I'm not so much scraping as I am just kind of making impressions into this thick paint that we have And I'm gonna clean off my palate. Nice now. So that I can start applying color that's a little bit more pure. So start with just it's, um, permanent Rose red, and why it? So I do mix my white and my permanent rose together first to get the value where I want it to be, and then I'll add just a touch of yellow. We kind of have everything blocked in at this point. Okay, so this isn't a super light pink that I mixed up, but it's more vibrance. And so now I'm kind of just more so paying, paying attention to the direction of the puddles and where the light is hitting them the most. So I'm kind of blocking in the areas that the light is hitting the most, and I am a playing this very thick. But I'm not over doing it because I don't want to cover up these shadow areas. And typically my rule is with highlights. Less is more because you don't want your highlights to become dominant. They actually are more effective when you use the minimally. And this, of course, is not actually my highlights. I'm gonna go a lot lighter to get my highlight. Some kind of blocking in the pedals that are just receiving more light. And I already blew through that whole mixture. You'll find that you know your thicker applications of paint even when you mix a pile that you, you are just sure is gonna be enough. It won't be because you lose so much pain every time you apply it, - you know, probably have to squeeze out somewhere away. Actually, come on. My last leg of it. It's very have actually a lot more yellow in this mix, not adding nearly as much red. I really want to capture these large pedals down here, but they're just catching a lot of light, and I do anymore. You know, there's a lot of painters who will premix everything before they even started, and that probably saves a lot of time, especially on camera. But I I'm very, um, like, organic and fluid in my mixing. I reuse a lot of piles. I think that gives a lot of really nice continuation throughout the painting process. So but whatever you know you feel most comfortable with, and when you're doing these really, really short quick exercises, maybe that's something that you might want to consider. Okay, I usually do like to have my palate on screen, and I will for my larger paintings, but pretty small ones. I wanted to be able to zoom in so you could really see what was going on. - Okay ? And now I really need Teoh work on some highlights. I never like to use pure white. So for my highlights, I'm going to use just white and a little bit of yellow. I'm not gonna put any right into this mix. And then this is going to be where I kind of tried to bring out some of these more delicate pedals, especially toward the center. And I'm just using the lightest possible touch to allow this pain to come off because I already have used so much thick paint here. There just isn't much more room. And again, the reason that you want to start out thinner and then gradually build toward thicker paint is because as the pain gets thicker and just creates a surface that's very, very soft, it's just less receptive. Teoh, more pains. And right now I think that I'm working just about as thick as I possibly could and the reason I didn't put any pink at all into this mix for my highlights is because I just needed more contrast between the pedals that are already down in the highlights I need to add. There's me, timer. So that's about as good as it gets for That's kind of a close up. It's very, very abstract. Let's take a closer look at it. So I think this would be really interesting on a really, really large canvas because it's so abstract. I think you know, if I was gonna work on it more, I would try to bring out some of the darks, the shadows, a little bit more because everything is so, uh, the value is so light overall. And we need a little bit more contrast, I think. But I really like the texture and I like the, you know, kind of this movement of this paint, this circular movement. So overall, I think that that was a good practice run. Let's just take a quick look back at the other ones. We have lots of variety, and I just want to say, you know, again, I know I've said this before, but I really do hope that you will take the time to do some of these timeto exercises. And not only does it help you, Teoh, get a good sense of how this new tool feels and how it you can manipulate it and how much control you do have versus how much control you're going to relinquish. Working on a painting with a time limit will force you to not only work quickly and make a lot of decisions in a short period of time. But it's going to take away that natural tendency that we all have. Teoh kind of nit pick at our painting and to look at it too closely and to be Teoh, you know, judgmental with it. And I call that fiddling with it when you are kind of just you got your nose up against the painting and you are trying Teoh work up to some point of perfection. So this is really going to help. If you can recognize that you have that tendency, as I think that we all naturally dio doing a timed exercise, whether it's 12 minutes or 30 minutes or even an hour, you're going to be really impressed with what you can achieve in that short period, of time. And when you come and look back at that painting later, it might actually end up being one of your favorites. Because when we work quickly, our paintings air more lively and sporadic. I think so. Really? Do give it a try. I know it's a big challenge, but I think that you're just really gonna be glad that you did it. And I hope that you guys will post your projects in the discussion below. I'd love to give you some feedback, and if you have any questions, let me know. But now I think we're ready to move on to some more complete compositions, so let's go there. 13. Lily - Pt. 1: Let's go ahead and start our first composition, and I'm going to set up my palette here really quick, basically using the same colors I've used before. This way is just about spent. So I actually let's grab a new too. And these compositions are going to be a little bit larger, so I will be giving myself more paints. But I'm sure that I will still need to replenish them as I go. And so this composition right here is going to be a square. Composition is 11 inches by 11 inches. I am using more of my oil paper, And so because I'm working on a larger space this time, I'm going to give myself a little bit more time. But I am still going to time myself. I do not usually time myself when I'm painting, but I think that this is going to be a good way to show you that you can actually improve your paintings by giving yourself a timer strength. So each painting that I do today, I'm gonna give myself roughly 15 minutes. Um and I will do that three times. Reach painting. So each painting is only going Teoh, be a total of about 45 minutes and I will go over these colors. I'm just gonna go ahead and get them out and on my palette first. But keep in mind that you never have to use the exact colors that I'm using. I just recommend getting familiar with how to recognize warm and cool versions of each primary color and finding whatever works for you. Okay, Okay. So quickly here will go over these This first color here is my titanium white. Then I have a cadmium lemon. So this is my cool yellow cadmium yellow medium. So that's my warm yellow permanent rose, which is a cool red. And I'm not gonna use a warm red. This is ultra marine blue. My cool blue stay low blue is my warm blue. You'll see that I didn't squeeze out as much of my fellow blue. And that's because this pigment is so concentrated and so strong that I find that I usually can't even use up all of it and then last This is my raw number for these larger compositions. I am definitely going to put liquid and pasta into my white again. This the primary purpose is just Teoh. Make this paint dry faster. And I usually just mix this in with my white because whites do take longer to dry. In fact, lighter colors take longer to dry. So I don't have to worry as much about when I'm using. Um, you know, darker colors, because raw number seems to drive the fastest. And then the ultra Marine blue actually seems to drive very fast. Aziz. Well, they low blue doesn't dry quite as fast and my permanent rose. It actually doesn't dry too fast either. But my primary concern is going to be where I am mixing white in with other colors. And so the imposter medium, the liquid and pasta medium, will help any color that's mixed with this white to dry a little bit faster. And before I start my timer, I am going to go ahead and tone my surface. I don't really need that to cut into Mary painting time and for my other paintings, my other complete paintings. I'm gonna go ahead and tone my surface before I start filming. So when you watch those, you you'll just know that I already went through this process and, you know, set up my palate and everything. We don't need to do that for every single composition. And typically even if I'm working on multiple compositions in one setting, I try to clean up my palate in between paintings because I always like to start with it kind of fresh and clean. That doesn't mean that I, you know, scrape off piles of paint that weren't used completely. But basically any mixes that I made all scrape off in all white, that down and kind of spread this around. I'm just gonna dip a paper towel into my solvents in this sold it that I'm using is a Citrus oil. It's non toxic, and it's a good alternative. Teoh, odorless mineral spirits and turpentine and terp annoyed, all of which are toxic, even odor with mineral spirits are actually toxic. I think it's a little bit deceptive to call it odorless. It's not if you have any experience with that, it still does have an odor. It's still produces fumes, so I try to just avoid using those things. Okay, I've got this spread around, so now I'm just using a dry part of my paper towel to wipe this down because I don't want there to be any excess moisture any more than necessary. Okay? And now I'm ready to actually start painting. The first composition that I'm going Teoh do today is just a lily. So flour and some lily pads eso I'm gonna start out. And I'm just going to use my palette knife even to do all of my sketching, so you'll see that my sketch is going to be even more rough than normal. Basically, I'm using my ultra marine blue kind of Carvel where this lily here is going to be. And that might take some trial and error, but I'm basically trying. Teoh, look at what's around it. Yeah, and then I will. There's one in the background, but I'm actually going Teoh off, center it a little bit, so it's a little bit more balanced. And this is a photo that I got on picks obey dot com. Okay. And so now, of course, we're going to look at our darks first. And for this 1st 15 minutes, what I'm really going to be focused on is blocking everything in. So I'm gonna be trying to work very quickly, very generally and because this is my first layer, and I plan on adding a lot to it. Um, and also going to keep the paint pretty thin. So scraping it along and even in this mid ground right here, where there's actually a lot of green lilies, I'm just gonna go ahead and block right over that because we can add those in as we go, which is part of the reason we're keeping this first layer of blocking and very, very thin pick up. Thank you. I got Yeah, good. And for this first layer, I'm also going Teoh block this lily and a little bit darker than it actually is. I'm also gonna change the color a little bit, because I think, um I wanna I wanna have a little bit more vibrance in this lower that's up close will probably leave that distant one as is. And actually, I think I'm gonna block that one in first so that when I'm gonna leave, you know, it's kind of just a white, But this warrant up front, I think I'll add more pink to it. And I'm also going Teoh, use some artistic license just to make this distant one even less prominent, so I'm not even going to paint it as lightened value as it appears in this photo. So I know it looks purple now, but it eventually I think we'll read is more white. This is kind of really what I'm doing here is I'm putting in what I perceived to be, um, the shadows. And then I'll build my highlights and mid tones on top of that. Okay, let's go ahead and block in some of these lilies that we have seen a wipe off my palettes and this will start with my lemon yellow, and I don't mind if it is a little bit contaminated, of course. And again, I tried to reuse pain on my palate because I think that that kind of draws the composition together. Toe have little bits of the same colors used throughout the painting. And I'm a big fan of using muted colors and quote unquote muddy colors, and that allows you to really draw emphasis to certain areas where you actually selectively do want to use colors that are a bit more pure and vibrant. Okay, you get a little bit more, stay low, and the way that I mix pillars is very intuitive. I don't have any particular formula. I just kind of add colors. And until it it looks right to me. And I also don't really even attempt Teoh, you know, copy or, um, replicate the exact colors that I see in a photo reference, because I don't think that that's nearly as important as, um, you know, the composition, the values, the tones again. Value, of course, is how darker light a color is in the tone I define is how warm or cool our color is. And I think that's a lot more important than actually mimicking colors, especially when you're working from a photograph. And in fact, I'll probably create another course on how to work with photo references, because, ah, lot of times when you look at photos, even professional photos, a lot of times those tend to be manipulated. Um, but even in like amateur photos that haven't been edited or manipulated in any way, the lens of the camera compresses colors and values in a way that our eyes tend not Teoh. And so I kind of have developed a way Teoh look at photos and interpret them in a more painterly away and not in such a literal way. Okay, so now I want to bring some more blues and pretty much got everything sort of blocked in at this point, and everything I do from here on out is going to be building on that, actually gonna put a little bit of my raw umber in here just to tone it down. And in general, I tried to work from my darkest values to my lightest. So I try really hard. I know that I used white appear in a little bit in here, but in general, when I'm doing my initial block and I try to avoid using white unless it's absolutely necessary which in those it waas, this is are going to be overall very light values. But it's just it's very important wing working with a palette knife these first layers of blocking in to try to keep them as then as you can so that you have lots of room. Teoh build on these. The thicker the paint, the softer the surface becomes. So if you try to think of you know your foundation, you want your foundation to be very much solid. You don't want it to be soft, probably running pretty close on time. But I will just I think I ready to put in some more vibrant blue. It will be subtle because it will be dark. So I'm just gonna be using some straight lay low blue right now. And once I am kind of finished with this initial blocking. What I'm going to be focusing on next is kind of just finishing up the background because it's a little bit easier. Teoh, get your background all in place, get that where you want it to be and then spend most of your time most of your focus on your main subjects. - I was just checking my time. It looks like you got just about a minute to go on this initial stage. What I'm going to do is well, it is. You know, when I hit that 15 minute mark, I'm just gonna take a little bit of time away from my painting because a lot of times you will come back to your painting and see it was slightly, you know, fresh eyes and be able to make some decisions that you might not have made. But, you know and another way of looking at that, too, is that you actually might want to just continue working. If you feel like you're, you know, you have a good flow, Belling. So that's kind of up to you. But I think what I'll do is I'll step away. And when I come back, I think that will help me to kind of really identify what I want to focus on next. Hurry, turn it off. So and I will also just kind of show you. I'll pick this up so I can show you where I'm at. I actually have my paella in here pretty tightly. Okay, so hold this up. All right? Forgot. Actually, I had this unattached to the larger board, so you can see how the light is hitting this. There's some texture, but I'm really trying to keep this very, very, very thin at this point. But so now we've got everything blocked in, and we've got a good start on the background, which I'm going to keep very simple and abstract overall. And then in the next stage, I'm gonna just work on wrapping up that background so that I can spend the majority of the rest of my time focused on the main subject 14. Lily - Pt. 2: okay, we're back. And what I'm gonna dio is I'm gonna really get myself to focus in on the background because I only want to spend maybe six minutes or so getting this wrapped up. That way I can spend the next, um, you know, 21 minutes or so, some breaking this up into 15 minute increments. So used half of this 15 minutes to just get the background into a good enough place. And then I can use the other half to start working on the main subject and then also the last 15 minutes tying that up. There's lots of different greens in here. I'm going Teoh, be very loose again with all of these colors. You don't need them to be exact. And I don't want to just use a bunch of grains. And so I'm also going to be using some oranges and yellows in here to give it some variety and interest. Let's start bringing up the value from Kunar, just reusing this mix that has some white in it. And now I'm definitely starting to use a much thicker application, and it could be very generous and with how much paint I use because the whole point of palette knife is the texture and the buildup of the paint. At least that's my opinion. So getting a really nice in pasta, I think, is worth using up a generous amount of your paint. Okay, it's and some of this permanent raise and part of doing the background is going to be getting that reflection going that you see at the bottom of the image. - So let's go ahead and at least get a little start on that screen. I set this society wiping off my palette knife over here to the side, and that's what it is. What a white permanent lows. Maybe just a tiny bit of blue and I dont want. So this water in the photograph is very still. There's not really any ripples, so it's almost an exact reflection. But I'm not going Teoh. Paint it that way. I'm going Teoh, just do the impression again. We are doing Impressionism, so we're just gonna give the Impressionism or the MPA Sorry, the impression of a reflection down here as if there are some ripples in the water, and then I'm gonna actually scrape some about it out and really like anywhere that I kind of perceive water and not the lily pads. I might just scrape a little bit. In fact, we can kind of define these Lily pad is just a little bit by scraping around in there to give it a little bit more variety. And then I wanted Teoh Make sure we have plenty of shadow under the lily. - Okay , so now I'm gonna go ahead and I want to wrap up this one up here a swell. So I'm gonna use my whites. Don't want to keep this color overlay pure. So I don't mind if it gets a little contaminated by other colors around because it's not our focal point. And in the photograph, it's actually it's very blurry, So it's barely even defined in the photograph. And that's just, you know, the difference between another difference between you know, photography and painting is there's different mechanisms that we used Teoh establish our focal points. So photographers have the ability to focus on one subject and, you know, blur another. And painters can, you know, put more detail into a focal point and then less into anything else. And then let's just give it one small highlight again. I never I shouldn't say never. But I almost never use pure white for any reason. We're just gonna give it one little. I will make that a little lighter. There we go. So that's gonna be good enough. And now we can really focus in on the main subject. So I'm gonna go back to some of this pink, but I next up. Okay? Okay. This has, you know, a lot of overlapping pedals, which can be a challenge. But I What I'm gonna do and how I'm going to approach this is I'm kind of going to focus on the overall color and value. And as I build that, I think we'll start to kind of get the impression of overlapping pedals. But you can spend a lot of energy trying Teoh articulate each and every pedal. But to me, you know, Impressionist painting isn't about spelling everything out or, you know, absolutely articulating every aspect of your subjects, but allowing your viewers who kind of participate in that and figure it out, and it's actually challenging to paint that way. So, you know, I think I used to think of that as maybe being like lazy or, um, you know, not not doing your job as a visual communicator. But the more I looked at paintings that I liked most, the more that's what I found that the artist allowed me to engage with the painting a little bit more. It didn't spell everything out for me. Okay, I'm gonna set this aside and start Just dropped tonight, So I'm gonna start really bringing up the value. I'm also going to be using colors that are a little bit more pure. And if you have gone through my other videos, you know that as I bring up the value, I don't like to just use white plus one other color. So a lot of times I'm going to add yellow to warm it up. The nice thing about flowers is that the palette knife kind of mimics let a shape of a lot of flower petals. You can actually use that to your advantage a little bit and again as I go in there playing this paints more and more thickly and just keep in mind to you know, the more thick your pain is, the less opportunity you're gonna have later to make adjustments, so that's not too. That's not really cautionary. But it is something Teoh. Just keep in the back of your mind and just kind of remind yourself periodically that you need to make bold decisions when you paint overthinking. It won't necessarily, you know, solve any of your problems. But just kind of going with the restraints and embracing that, I think is a good approach. And what I'm going to leave for last is those. I don't know what you call those. I'm not a botanist, but those yellow things in the middle, I feel kind of silly not knowing what those are. I think it is something that I know what I just can't even think of the word. Okay, so before I start really fiddling with this flower too much, I'm gonna go ahead and just set this mixture aside, and I'm going to just kind of step back and look at my background here, and it kind of realizing that I neglected some of this background on this side, so I'm just gonna kind of very lightly go into that. I think that's probably good enough right there. Maybe just a little touch of green or yellow. - Okay ? And we're just about at the end of this. 15 minutes. Hey, so go ahead and stop him pretty much at this point, just going to leave the background along and focus entirely on just finishing this up. You kind of pick this up really quick, though, just to show you, um, so you can see the paint much thicker now, especially in this background, but also starting in to this main flower, the flower in the background. That highway is really, really think. And I actually really like that. Just gives a little bit of contrast to it, but it's not overwhelming. All right, so now we're ready to move on to our final 15 minutes on this painting, But I'm gonna take a step back for just a little while and come back to this with fresh eyes. 15. Lily - Pt. 3 : All right, We're ready for our final 15 minutes here where I'm going, Teoh primarily just focus on my main subject. Um, so I kind of get that wrapped up as quickly as I can. And then what kind of see from there what might need to be done? And all I did off camera was I kind of moved some of the mixtures that were here in the middle off to the site so that I could really focus in on these mixtures, not risk contaminating them as I move them around. Okay, so now we want Teoh. Start building up some separation for these pedals. I think the pedals that are overlapping that are a little bit more in the foreground. Old what? Those shine a little bit more swell. Used more of my highlights on those. So for right now, I'm just kind of kind of finish up these pedals that are more in the back from and again because I'm applying this so thick at this point, I'm getting a lot of paint onto my knife and I'm letting it kind of accumulate around the edge. And then I'm not even touching the surface of the painting with my knife at all. I'm just letting that paint transfer from the knife. Teoh the surface of the paint that's already on here. You'll have little things like this happen where you kind of apply too much pressure and you end up actually taking paint off rather than applying it or manipulating it in the way that you want, but just kind of embrace those things. When Teoh, you know, work within whatever happens, probably have to add more white. My palate, I'll go ahead and you like so I know I know that I'll need it. My dogs air upstairs making a ruckus. So I apologize that from that if you can actually hear that in the video now, I'm starting to build up these pedals that are overlapping more. But I'm still just being very loose, very forgiving. And, you know, I'm not trying to worry too much about, you know, making sure every single petal gets in. Okay, I find that as I paint with a palette knife and I am standing up right now, I'm constantly kind of shifting where I stand in order. Teoh, get the angle right. And I know I don't have liquid in here. That will be OK. It'll just drive slower. And sometimes the liquid in layers that are underneath can actually impact the layers on top. - Okay , so now I want Teoh start working on some highlights and doing pretty good on time, actually. So I think, you know, I will go ahead and put some lick win into this. White could go squeezed out too much looking last time, and then I'm going. Teoh, make sure that my palette knife is really clean because I don't want to contaminate this white since I'll be using it again in other paintings. Probably. I don't think I'll use up this entire pile for this painting for just about done. So for the highlights, I think I'm going Teoh, actually not put in any red. No. Let the highlights have a lot of yellow kind of sunshine. That but how? It's really stand out. Okay, we'll keep this might be a little I might end up having to do a little bit lighter, but we'll start out with this since Adalah are white here. A little lost yellow. Uh, are you primarily used? My warm yellow. This one I'll put more of the cool yellow, and that is almost the same value. So I'm gonna go ahead of me, Just mix up some more white with just whatever color was left on my palette knife trying to get a little more contrast in here somehow. I got a little bit of green on there. Just fine. Don't worry about that. Okay? So I don't wanna go overboard with this for sure. Maybe just a little over there. And now let's kind of look at those yellow things in the middle, and I will just call them yellow things. So I'm going to accumulate smothers paint just on the edge the tip of my knife because these are really, really small. We're just going Teoh, we don't need to get every single one of those in there. Just kind of put them where we can sit them. And I'm using kind of the rounded nature of the tip here to my advantage to gonna give these surrounded feel up at the top. And even if you find that you need to kind of hold your palette knife very loosely, kind of Just embrace that. I know it could be a little bit nerve wracking to not feel like you don't know exactly where that palette knife is going toe land. But I think that can I will add to the spontaneity. And you can see I don't have the most stable grip here. A lot of shaking, and that is OK, so now that I have just about two minutes left work on this, I think I'm gonna mix up more of those thieves mixes in here. Maybe I'll try to use those up and just kind of bring out some other areas because I can kind of see on these pedals, you know, a little bit more yellow at the ends of the tips of the pedals. And I think that that really adds something interesting. That was the one big mark and probably don't have enough time to do this. But when I just go back in here and kind of establish reestablish some darks, that's my time. But let's just go ahead. And since I said roughly 15 minutes, let's just go back in here, make sure that we don't have one thing that I I know that I struggle with is to end up with well and Every painting is going to be primarily mid tones, mid values. But I do want to make sure that I have enough contrast in here. So I'm going very, very thick with some of this dark where I think it could be useful and I won't cheat. Too bad. I promise. Okay, so what? Call that good? I really like it. I think. Let's just see here. I think there could be maybe a little bit more contrast rating here. I know, I know. So I have kind of this dirty mix over hits of the side. This is actually all my other mixes combined, and I just want to add a little bit of separation in here. You're the artist, so you get to make up your own rules. You get to break your own rules roles, too. Okay, I'm stopping there. I like it. I think for a lot of artists, we really struggled to know when to stop, Of course, but I think if you get to a point where you're looking at it and you think, Oh, that's kind of interesting. That's where you should stop soon as you think it looks a little bit interesting. so just kind of give you a close up look at the finished product. I'm really happy with it. A lot of variety in here. I think we used a little bit of every technique, and then I will see if I can kind of quickly remove the tape. A lot of times it's hard. Teoh See it the finished product when you still have tape all over the edges and the size of this paper that I cut it was so close to the size of the board tape it to. So the tapes kind of wrapped around the board, which makes it a little bit challenging to remove. But I think when you see it with the clean right borders, I just helped you see that it really is a finished painting. Just be careful, because it would be very, very easy to make a mess at this age. But I do like to take the tape off while the paint is still dry. And then I just used like clothes pins to hang this on a line that I have attached to my wall, which is a nice way to let things dry, because if you let the paint dry and the tape is still on it. Some of that, um, pain is going to kind of plast if I, you know, becomes solid and become he's well attached to the tape a little bit too much, and then you run the risk. Sorry, I'm just cleaning off my hands. I got a lot of pain in my hands just from removing that tape. Um, but you do have more of a risk of actually tearing into your painting if you wait until the painting has dried to remove the tape. So if you are using this paper to do a painting and you're taping it down to hard substrate like I have, just be careful about that. And, you know, even if it causes you to make a little bit of a mess in the present, I think that that's better than accidentally tearing into a painting that you really like later on. So So this is it. Now I'm ready to move on to my next 45 minutes, paving 16. Lily - Painting Process Overview 8x Speed: - way , way. 17. Old Barn - Pt. 1: in this painting, the subject is going to be a barn and a field in front of it. This is a photograph I took. My family lives on a farm, but this is actually not their firm. This is just on the way. So I drive past this barn all the time, and I just kind of like, uh, you know, it's kind of old and weathered has a lot of character. I'm gonna, uh, take some license with the composition because there's a shed in here that I don't necessarily I think is important to even helpful to this composition. So I'm just gonna leave that out, and I'm just gonna sketch this and most going to make a few changes to the trees because they're all Well, there's one set of trees that's kind of forming almost a halo around the barn. And I don't really want that. I don't think so. I'm gonna move those over to the West, and then I want to make these trees over here a little bit. I think maybe taller and I'm actually gonna move them in a little bit closer to the barn. It's going to make them a little taller than they really are. And then these trees, I think I may come anything. Actually, I'm not gonna make these ones is tall. Just gonna shift them over a little ways. Yeah. Okay. So I think some of the darkest parts of this painting are going to be in these trees. So going to makes up a green just gonna be very, very dark. And I let it get just a little bit later up toward the top of the trees. I'm gonna make sure we get some start green down here. Let's get a little weight in here and just kind of see how it looks because these trees are in the distance. I don't want them to be too vibrant, so I'm gonna add a little bit more blue. Kind of want them to be a very subdued bluish, almost more of a bluish gray that I have bluish green. I'm gonna put maybe a little bit of my right in there to turn it down. And we might go back into these trees and separate out a few of the more distinguished trees that are in there. For now, though, I just kind of want to get these blocked and as much as possible. - Then a little bit more light is hitting the trees up at the top. What kind of block? That in as well. Mysteries. They're looking a little bit uniform right now at the top there. Not quite, uh, rough enough, But we'll get there. We're actually once when you start putting in the sky, Um, we're then going to have the trees kind of merge into the sky a little bit. Okay, so let's work a little bit more on this field, and I really, actually kind of like having some of my toned surface show through some of the screen because red is such a nice contrast to Green. And I really don't like painting fields that are, you know, just 20 different kinds of green. I like toe actually have some warmth in there as well, Even if I don't actually see that in the composition. So probably a block, this kind of mid ground field in here. And I'm probably not going to do a lot to exit Kind of one of maintaining some of that toned surface showing through. We're gonna leave. That's pretty rough as well. This cadmium. Lemon yellow. It always makes the nicest brains, I think. But I don't want to use it for all of my greens, because I definitely want some variety. But some of these grains apparent Think will benefit from this were vibrant. Three. Yeah. Yeah. Oh, actually, given, though this here is a little bit lighter and warmer E think those were just kind of some grasses with Cem gold tasseled ends. I wanted to kind of create a little bit of a shadow behind them, so I want that area to be too light, so keep this very thin. - Okay ? Wipe off my knife here. And this might actually be a little too light too fast. Let's get small yellow in this mix way. A little bit of red, even though I can see a lot of detail in this area. Want to try my best? Just it's Teoh. Keep it simple as possible. It's easy to overdo it. Okay, We're just gonna kind of start dragging this along, but to get these light flowers, I think we're gonna have to dio a few layers kind of build this up, but I want to keep it very rough and textured, and I mean that set this aside for now to go back to this kind of dark radish, Murphy Brown. Oh, I just work this in back here very lightly. And now I want to go ahead and block in this guy. I'm gonna leave the barn alone, probably for this first little section. What kind of subtly work those clouds in? Probably have Teoh get myself quite a lot more white three shortly here. And because I never like to just makes blue and white for a sky. I'm actually just gonna borrow a little bit from this kind of warm kind of oranges color just to toned this down a little bit, I would start and of blocking in the sky gonna focus on the areas where the clouds are not okay, So I kind of want to put those on top of this guy. And as they approach these trees, I want to be a little bit careful because it's very easy to kind of run your knife right into those trees and then end up painting a bunch of green into your sky so I'll be a little bit careful. Right there actually are And I even managed to get some. Anyway, it happens. Okay? It's crab. Lots of white. Okay. So, actually, I think I I must have set my timer a little bit wrong, cause we're only about 12 minutes in. Oh, actually, you know what? I know it is time to stop, So we will continue into the next 15 minutes First, um, before I forget, let me just pick this up and kind of show you There's not a lot going on in here yet. You can see it's very rough down there. Very unfinished. Um, this feel that probably mostly leave alone. And when we started again, we're just gonna go right back into the sky. 18. Old Barn - Pt. 2: Okay, So I'm starting to work on the sky of mixed a lot more white into that blue mixture, putting a little bit more of this warm, very light orange in here, and I'm going to start building up these clouds a little bit. Okay, so let's go ahead. And while we're kind of working up here in the sky and I'm gonna gets more why, even though I may not need it right away, I'm gonna put a little bit more liquid into my whites. Hopefully, I end up using this all up before I quit for the day. Because, like I said, the liquid does make everything dry faster. And so obviously that drying process doesn't start Just when you apply the paint to your surface. So I don't want Teoh. Let this go to waste today, so play use it all up. Okay, so you don't like this off and I want to kind of push the tops of my trees into the sky. I think what I'll do Those all mix up even lighter, more yellow, green. And we can just kind of let the tree, uh, blend in or merge with the sky. Then we don't need to be so careful. And these soft judges air just kind of Ah, especially with all this texture going on, it's really important. Teoh try to have a variety of textures in here and to try to have some, uh, areas that kind of read a little bit softer. - And trees are one area where you might just want to force yourself, not toe look too closely at your reference because it's really easy to get lost in all the details of painting trees. So you might just want to look away from your reference while you're working on these and then just not worry about them. Okay, so let's leave those alone. Oh, let's see here. So I need Teoh start looking on the bar, and I think, and maybe before we do that, I think I want Oh, maybe just give some of these clouds a little bit more definition. I don't want to go overboard, of course, but just a little bit, you know, im I've applied a little bit of that darker paint, but now I'm going and just kind of shifting things around a little bit. That's some green in there, so I think I'll just call that we're gonna apply anymore. I'm just gonna soften this up here. Just move that around. There we go. Okay. So now let's work a little bit on this barn. I'm gonna reuse some of these other mixes because I really just need something kind of neutral to start out with Wanda using all of that mix, it's This might be a bit dark. That That's okay. You can always go lighter if we want to. So I really think that the palette knife is almost just made for painting buildings and structures because the flat edge of the knife just really helps you to define really good lines. So you can kind of just line up the edge of your knife and pull away from the edge. And I think that has a really nice effect. I'm actually going Teoh. No, this is the same colors. The Barnum actually gonna mix that down into the trees just a little bit. Just break up some of that. Okay, let's lighten this a little bit. I'm not just gonna take for my wife. I'm gonna borrow from this light orange. I might need to divide this so that so I can lighten up a little bit quicker. There we go. A guy. And you could just use the edge of your knife to your advantage here. And I'm gonna try Teoh, make this side of the barn look a little bit weathered. So putting this on very lightly so I can add to it. And then we can actually use this up here. I think value up and add a little bit more of this warm in here. Maybe we'll even go a little further. That's Millo, so it could get some decent contrast. Here we go. Okay, so know what's kind of out. A little bit of weathering over here, So I'm going to try to just kind of very thinly apply this because I don't want to be too solid Course when I think we can come back in with a little bit of dark to kind of separate some of this. So a little bit too close in value. I'm just putting some of the start paint on the edge of my knife and kind of dragging it along just to help define some of these edges a little bit, even if it's rough and then to I can apply some of this very, very thinly, just barely on my knife. We can kind of just run it along in here, get a little bit more of this dark weathering. We'll wait on that window. What kind of do that? A little bit later, - actually . Maybe we'll go ahead and do that window right now. Has it worked pretty well on the sides. And even though that Windows pretty square I'm not gonna worry about getting that exact shape. We'll even put these. We're here on the side of the roof. Okay, We're in a good spot at this point. Um, I will go ahead and just posit now, and we'll get going on the last 15 minutes. 19. Old Barn - Pt. 3: Okay, so let's go ahead and just finish these up really quick. It's actually so a little bit dark on the side and then just ever so slightly whiter front . So we'll keep it. Very simple. Very subtle. Okay, now, it kind of this barn isn't really attached to the ground anywhere, and so I definitely want to work on that. What? You We're gonna be very subjective and loose with these colors. You're gonna bring some of this organic matter up overlapping the barn so that it looks like it's sitting, and then we can add a little more to it. So definitely see some nice yellow in there just a little bit. It's actually we'll add some of this to it to tone it down. It's not that vivid. It looks like the sun. It's kind of just catching something right here. We'll keep that very losing abstract. Just allow things to run together. And then over here, there's just a little bit of green. What? It kind of run over here? A swell. Okay, so let's go ahead and leave my area alone and just spend some time finishing this up. I think, um, this area is a little bit. I mean, I don't want to overcomplicate it, and I think that I definitely have a tendency to do that. So let's see. I think go with some yellow and kind of mix it in with this. Make sure in this area in the photo, it's very, very soft. And that's one thing that even I still struggle with. Kind of getting some, you know, this foreground, grassy kind of soft area Teoh register that way. I don't really want it to be super super rough, but, you know, I'll just try my best. And what kind of see how it goes, - Look , And then I really want to bring up the value. Think too much, though, really. I mean, it really doesn't read that. Muchas white hail. It's kind of just see what this does for us. This is okay. Well, just be very sparing with it, I think. And I'm just gonna make myself leave it alone at this point. Actually, you know, I'm gonna bring up just a little bit more right here, always breaking my own rules. Okay, so right now I'm gonna leave that alone, wiping off my palette knife on a paper towel over here. And then I really want some nice, vivid greens down here. So I had a mixture already going and I think just gonna grab some fellow blue and put it down here and then come back in with this nice, vivid green because this is kind of long grass. I'm trying to dio little bit of these upward strokes and kind of hoping that this will help soften up the rest of it as well. But I just feel like there's a lot going on down here. And maybe I did go a little bit overboard with that white color. So let's add some texture in here just a little bit. Maybe even bring some of it down when you're shifting paints around and you find that your palette knife has become a little bit more polluted. Uh, then you might like or head and just take some time to wipe it off. Okay, So let's see. You know, I think I wanna very softly put a little bit more yellow into this into just the top of this grass. I wanted to stand out too much, just kind of let it blend in a little bit and I want to start bringing this up, and we're gonna try to soften this area a little bit as well. - You think this is really helping to kind of bring down that really light value in the soften things ups? Where is that Quite so much contrast. There's just a lot going on. This is actually, um, a ditch, and so there's just a lot of natural plants growing in there. I think that those are beautiful, but there's so much variety and it's kind of hard. Teoh really decipher what's going on in there. Then let's use green just to cut these apart a little bit. They're not such a big mass. I think this will really, really help. Okay, let's see. How are we doing on time here? We're pretty good, and I just want to add a little bit of highlight to the side of the barn that's getting a little more light. So actually, using some of this really light orange that I had left over that I had used down here and it seemed a bit much. But, you know, I think it's actually gonna be nice to very lightly bring it in here doesn't need to be very solid. It's just gonna add to that weathered feeling that we have going on very subtle. And then it's gonna kind of tie everything together a little bit. I think clean this knife often just kind of obscure this edge a little bit more. Okay, let's call it good. Let's just take a look before I take the tape off. So I really like what's going on here. I know there's a little bit of, uh, my toned canvas showing threw up in the sky, but that's OK. It's along the edges. Kind of just makes it look fresh. I think so. Pretty actually happy with the way that I handled this. That's always kind of a challenge for me to get these plants that are up close, so we've got a lot of nice rough texture up there, but it's not. I don't think it's too distracting to the whole composition, and then that's a nice variety of texture in the trees and the clouds. Yeah, I think that this is I'm pretty happy with this, actually, So let's go ahead and take this tape off very carefully. Maybe we'll even get it done before the timer goes off. We'll see. Okay, there we go. So we've got that Barnes on. So I hope that you can kind of see the benefit of using a palette knife to do structures. Um, just especially older buildings. But honestly, even newer buildings, I think are really fun to do with the palette knife, So definitely do give it a try. And again, you know, whatever painting you try to do, whatever subject matter you try to dio, please do share it with us in the discussion. 20. Old Barn - Painting Process Overview 8x Speed: - way . 21. Duck - Pt. 1: all right. I'm excited about this painting because it's a duck. I love ducks. They're just so cute. And let's see here. How do I want to start sketching this guy in? I guess we'll just kind of wing it. No pun intended, you know, because it's a duck. So I'm gonna kind of just get in before even start looking at any kind of details at all. It's just kind of get this whole guy in here and make sure we can get him to fit in a way. That's nice. I really like this one, because the water is kind of simple. And yet I kind of like how it swirls around him. No. Okay, come on. Indicate where his leg is under the water, but them right away, we're gonna go ahead. I'm not going to spend a lot of time sketching him in because we're gonna come back to him and then help come together. And when you're sketching as well, you know, don't worry about everything being anatomically correct, even if that's what you're going for, which I am. For the most part, the nice thing about oil painting is that there's so much room for, you know, making adjustments as you go. And I like these curly feathers back here, but we'll have to kind of leave those out from now because we're gonna block in the water behind the dock. We should be able to pretty much get that covered in this very first, uh, 15 minutes sessions. So I'm going to start out with mostly filter marine blue in burns number so that we can kind of scrape in some of the darker areas. And there's not a lot in the water will keep this pretty thin. Mostly, I think back here this some of these ripples or just a little bit darker. And then whoa, in a little bit of shadow here. It's kind of a reflection, Morgan. A shadow, I guess. But of course, you know, and actually, I'm gonna go in, and some of the feathers are very, very dark. So go ahead and block these and as well. Well, and at it. - Okay , so let's go ahead and start focusing in on the waters. I'm gonna get a lot of ultra marine blue at first, and you could see that there was already a little bit of green in my warm yellow. That's just from the last painting, and I knew it wouldn't matter for this painting, so I just left it. There's nothing all other than maybe his feet and his bill. We don't really need to worry too much about having really pure yellow anywhere else where there's lots of grain. So he's up that polluted color pretty much right away. And obviously, this is very it is a green, but it's very dark, so we're gonna add to it as we go start bringing in a little bit of white in here. Maybe it's more halo blue just a little more white. Oh, Comptel, we're gonna go through this ultra marine blue very, very quick. Hopefully that I can at least get pulled the water and before I need to refill that Oops, you can definitely see Lieutenant Governor pass any. You tend to use up my ultra marine blue really, really fast and the available. It just seems to go faster to last longer because it's such a strong pigment is really crazy. It's quite a bit lighter. So what I'm gonna do is I'm gonna go back in here and see if I could just buy some of this darker green it down here a little bit more and that worked out well, not man to careful about where Hiss, Littlefoot ISS Because we're going Teoh distorted with lots of rebels. Do you think will be fun? One of my favorite things to Dio in paintings is, you know, paint things that are under waters were behind glass, so they're a little bit distorted. We're gonna keep the water very, very loose with it's gonna have lots of texture, But I want it to be a very directional texture. Obviously when it's kind of follow the ripples, the ripple pattern that we have here Yeah, At this point, I'm kind of shifting the paint around a little bit and just kind of working with the paint that's already down to try to kind of manipulate it into the texture effect that I want. And then there's a few areas in the water that are just really, really green vivid. We'll just add a little yellow, I think a little bit down here and a weight off my knife and come back in with just a little bit more dark. So I'm just gonna use my Feillu blue this time A little bit of raw number. Let's kind of bring back this shadow. It's not a shadow, it's a reflection, but it's kind of both. - That might be a bit much. Gonna kind of wiped off my knife and then I'm just gonna kind of take this and tryto spread the love around a little bit. So it seemed like maybe a bit much. Okay, so let's kind of leave the water like that for now. So we got about two minutes, so I'm going to start in on the duck just a little bit. So I think we'll do is all kind of there's some a lot of dark on his head. And then there's just some highlights, so I'm gonna go ahead and block in the dark. And if I get to a point with this painting and I don't know that, I will. But if I do get to appointment this painting where I feel like it's in a good spot, but I haven't even used up all the time that I've allotted myself, I am just gonna go ahead and, you know, call it quits at that point because I think that that's good practice. To learn to recognize when a painting isn't a good stopping point. Okay, so I'm actually gonna pause right now because I need Teoh refill my palettes, and I won't show you a close up on this one until I'm all done just because it's taped down to a board that's actually under my palate. Um, so I'm gonna go ahead and replenish my blues. I think that and maybe a little bit of yellow, and then we'll get started and there's my timer. 22. Duck - Pt. 2 : Okay, so I've got more blue. I may not even need that much more blue to wrap this up, but just in case. Plus, I'm gonna be doing some more painting after this, so it doesn't hurt. I'm gonna go ahead and put some of those nice, beautiful green highlights on his head. It's one of my favorite things about these docks, is there? You're a doesn't fathers. We're gonna try to capture that a little bit, okay? She gonna set that aside, will come back to his head. Of course. Let's move on to the rest of the body, which is very earthy. We'll do that. America parts first, of course. Some kind of just mixing up a very neutral color basically used all of my primary colors plus the wrong number to get this start color that, then we can lighten up, and it will be nice and earthy. I think I can go ahead and put in those curly feathers. I'm not gonna worry about them being absolutely perfect, but I do like, um, this will make sure we capture. And I would say, you know, with the palette knife, there might be some, you know, small details that you feel intimidated. But if they're important to you, you know, give it a try, because you can only scrape it off if you really don't like it. - So basically, just mixed again all of those primaries together to get this really neutral, warm gray, do you think works really well for this? Lots of texture in these feathers. And then let's lighten this up to dio a little bit of that underside of the duck. We're warming up a little with some yellow. - We got a little bit of blue on my palette and I said, Just notice. Um, just gonna wipe that off before I end up smearing it into the duck. If I do, that's okay. We're gonna merge these the stuck in the water together a little bit at least definitely got some blue in here. We'll just kind of go with it. For now, though, you can kind of neutralize it was more number and then a pair. There is a little bit off. Oh, - I really like doing feathers and fur with pellet knife. Just because you get so much really great rich texture that I don't know is so difficult to get with a brush, I think, and this makes it a little bit more? Um, I don't know. Kind of fluid, I guess. And more organic, I think because even as much control as you develop with this tool, you still get some marks that are very surprising. Especially, you know, after you're all dining, you hold it up and you see some of the things that you did, and you can kind of surprise yourself. To be honest, I still surprised myself all the time with these paintings. That's one of the best parts about it, of course. Okay, so let's move on to That's red. It's kind of rusty. Some of it's very, very darks will go ahead with some into a Marine in there. - Go ahead. Set this aside so I could get a more vivid kind of rusty red here. Okay, Especially rate in here. And then it's a little bit later. Grubs Morning it, and we're gonna have more yellow to it as well. And I just love how these strokes start working together. Teoh create the impression of what we're painting. Yeah, every painting kind of starts out looking a little bit awkward and Sometimes that awkward stage does last for a while and can feel uncomfortable. But in learning something new, I think that, you know, even if you get to a point with the painting where you just think there's no hope for it really think that you should keep going with it because you're gonna learn so much. And I think more times than not you're actually gonna be pleasantly surprised with your result especially, you know, get it done, set it aside and you don't take a couple of days where you don't look at it and then come back to it. And I think that you're gonna find that more often than not. You actually are really proud of what you were able to achieve. Get myself just a few more minutes here. Well, we move on to the last span of time, but I think this is coming along really, really well. I'm just going to kind of submerged this duck just a little bit, just about done and take a break. My dogs couldn't play around a little while. And then there's a couple highlights. I'm gonna get myself just maybe one minute. Let's see, is a highlight on the duck's head that I wanna just popping there really quick story here. It might even give them a little bit lighter. Piece forward. Just add a little to this reflection. Oh, okay. Dogs are playing, so we'll take a little break. I think that that was about 15 minutes total. So we'll come back for the last section and get this little guy finished up. 23. Duck - Pt. 3 : right. Well, let's continue right off the bat. I see that I lost a little bit of this little color, so just bring that back in and I want to add a little bit more highlight on top of his head . So using a lot of that mike gray color that I mixed up in a little bit of that kind of a turquoise, there's going be a very small highlight. Just Teoh distinguish his head a little bit more from the water behind him. There we go. No, Billy, Use a little bit more of that. Just them here. Let's Let's just leave that one for now. Resisting the urge to fiddle with it. Okay, let's work on his beak a little. Me is both my yellows to start out with, because very, very yellow look, so scale up more of this formula. It's kind of block in the speak. Each is tucked into his wing. And if I get some of this yellow outside of where, what has big to be a noise, adjust that a little bit, so I'm not gonna worry too much about that. Do you just have to be careful that I'm not applying too much pressure. It is very easy to dio this very thick soft paints. Okay, so let's cut this back just a little bit. We can scrape that. Then let's wait this often. Let's just kind of bring his wing a little bit more over the speak. So I'm gonna mix up the dark Hello there again going to reestablish this. And then I also need to do Is I something a little bit more of that? This I think I'll actually just to add some contrast, this is very dark. But since his head is so much blue in green, I want to just make his I stand out a little bit more, which is why I put a little bit of red into the stark mixture. We'll be very subtle, but and I'm gonna apply his ivory thick. Make sure you put it in the right spot. Then we could even use this to read it, find some of the back of his head as well. You don't really need a super crisp, perfect edge around him. It's just kind of suggested. And then once bringing his color of a little further and now kind, I feel like these are a little bit disjointed. So I'm just gonna scrape a little bit here. And sometimes we'll do this. Especially if the values and colors in one area are really close. But I want to have things a little defined, so I'll scrape a little bit, and I'm gonna clean off my knife and then just kind of smooth over some of these lines. Just leave. Just a hint of that scraping, Okay? And now I know there's not a lot of orange and his beat, but I just want to add before I put in his little nostril. I just want to put in a little bit of contrast in here. We'll move this paint back over. Perfect. No, let's give him a little bit of a nasty nostril, and then we can move on to his feet where we go pretty happy with that. I'm trying to reuse that. We sent out this paint. I'm gonna be pretty lives with this because I'm actually gonna come back over it with some water ripples even more on what I see in the food. Oh, yes. We only need just the suggestion of a foot under the water. You really made any more of a man. I don't think just add a little bit of contrast. It's more bright yellow. Okay, you know what I think? But I'm almost done with this. I just want to make his Littlefoot look various submerged and all I'm going to do. So I've basically cleaned off my palette knife and I'm just gonna start borrowing from some of this water, and then I'm just going to kind of move it into, and I'm even gonna let some of that orange spill out. Because if you've ever looked at an object that was submerged underwater and how it's distorted, it kind of not only does that object itself become distorted, but the water around it does, too. And the deeper the object. But the more distortion you're gonna see, So I'm just gonna kind of step back, see if there's any place that I need. Teoh. You know, maybe I'll add a little bit of highly in the body. Seems a little bit flat in some places. So let's grab some white and wants to use a little bit more of this kind of neutral orange just so it's very warm. Highlight and Let's, uh, a little here a little bit here. There is just and it's not very, very light because it's ah, highlight on it on these dark, curly feathers. I'm gonna go ahead and try to attempt of that. It's gonna be very small, Mark. So I'm just putting a little bit of pants on the tip of my appellate knife, push it back just a little, Okay? Now, before I start fiddling with it, I think I'm just gonna call this good. So did pretty good on time with this painting. I'm gonna slide my palate away, and then I'm going, Teoh, before I take the tape off, I will lift it up just so we can look at some of this texture in here. Make sure cameras focused. So I'm pretty happy about how this turned out. Actually, let's look at some of the water. They just really love the palette knife. And how? Just a few strokes and you really get the impression of feathers or fur. It's a very it really helps with organic texture. I think tree bark. Um, water, of course. So Okay, I'm gonna just go ahead and quickly take the tape off because I think that just helps it look really like it's done. Do you have some of this paper actually coming off? That doesn't usually happen. And you can see there some spots where my toned surfaces showing it really doesn't bother me. Look at that. Actually ripped into it a little bit. Let's see. I think I can actually salvage this. This would be actually good to show, so I'm gonna reach behind. I'm gonna try to pick up the rest of this tape and leave this paper behind the most part, and then I'm actually going to see if I could just use some pain. Teoh, stick it back together with this in view a little bit better. I'm gonna hold this down. You know, actually, put will pay under this flap. So it has something to stick. Teoh. Okay, here we go. So I feel like there's always a way to address things. And even if I have been able to fix out or even if it doesn't stay, it's fine with this paper. Also, you can always just crop once it's dry. Alright, guys. So I hope you enjoyed this painting of really encourage you to try this technique with animal subjects, and I think that you're gonna find that very, very enjoyable. And that's kind of the precursor, Teoh. Human subjects and portraiture. Once you kind of get the hang of this, you're gonna feel a lot more comfortable addressing figures and faces. So we're actually going to do a figure for our next painting, so stay tuned for that. 24. Duck - Painting Process Overview 8x Speed: and way Theo. Way, way, way, way, way, way, way, way, Theo way . 25. Girl by the Sea - Pt. 1 : All right. So the subject for this painting is actually Well, this photo is one that I took many years ago. Um, this is my daughter. We were visiting the ocean, and I've always loved this picture because I just love how her toes are just barely touching that tide coming in. So to start this off, first of all, I'm going Teoh just very loosely sketch her end. She's going to be a very, you know, in relation to the rest of the space, very small. And of course, I don't need to be overly precise. Of course, that's it's easier to say that you're going Teoh not be precise than toe. Actually, let yourself be imprecise. But we're just gonna put her on very, very loosely. Not even gonna put in her full leg where kind kind of leave hurt stick figure form for the time being, with figures. Um, it's I think the most imperative part is just proportions of the body. More so than any other specific detail. We're just gonna kind of leave her in this state for now, The background here, going to kind of just trace in some of these lines, really gonna work hard to not work hard on the background. I wanted to be very, very loose, So let's just cut me. Make sure that we I understand where the lines are going to be, especially this lane right up against her little toes. Okay, now let's start in on this background. This background is not very dark. I think most of our shadows air actually going to be in the figure. Let's go ahead. We'll get this water just a little bit more depth. She was pretty shallow for, you know, especially in this picture. All this water is very shallow, but you will bluff a little bit back here, making a little bit darker. And one trick. Teoh. Helping your water have kind of a transparent quality. Is that the shallower It gets obviously the lighter in value it's going to be. But we're going to start putting in just a lot of yellow to the point. It looks like I got a little hair on my paint. Let's scrape that out. That's another good thing about Palin is good about just scraping things away. Um, so to the point that it's not even going to look blue anymore, but it really will Help, in fact, wrote were already going to start that process. And this water also is going to be a good chance to practice. Grady Ants. Ingredients aren't just in this guy. I need actually get some of this way. I didn't put any liquid. Put some new white in my Pelin. I don't think I added anymore. Look, win. Okay, Okay. Well, it's actually just a little bit of red in here as well. I kind of wanted Just flatten this back here because it's in the distance. I don't want a lot of texture Go and then a little bit of shadow in here. It's not super dark. They're a little bit of a slight color. And I know this kind of stands out like a sore thumb right now, but we're gonna kind of merge. These may get a little bit softer. Actually, there's kind of a more saturated green that I'm seeing in there. Let this be the merging color. That might have been that much anymore. Yellow and it needs to be lighter. Maybe it's actually not a saturated as my subjective reading of it waas, because a lot of times when you're using, there's a lot of neutrals around it. It can actually make a color look more saturated than it really is. I think this is better. I really need to start warming us up, bringing up the value quite a lot. You know, this is very green right now. That is OK. And now it's very neutral. She's warming up a bit just for the sake of kind of spreading this around. I'm leading it very thin right now. No, let these intermingle a little bit more the the end of the rope with our why I already do. Good on time, though. Look, I guess I wasn't as good a time as I thought. That's OK. We're just going to keep going. See you in the next 15 minute video. 26. Girl by the Sea - Pt. 2 : okay, We're just gonna keep going here. So this really shallow water where you see a lot of sand through this ends up being kind of a It's a kind of a tricky color, but really, it's a matter of kind of playing around with what you see as faras the intermingling of very warm colors that represents the sand that is showing through these shallow waves and then the cool water. And I don't think there's any, you know, formula for this or right a wrong way to kind of address the situation. It's really a matter of experimenting. Definitely need a lot more, right. We're going to need it. I'm gonna put some liquid in this white. Not too much, though. I'm gonna clean off my knife, so I could kind of mix that in. Okay. So bad that hold it in. I needed some more white. Anyways, it's going to get back to a really sandy color here. - Okay , so I'm gonna go ahead and start this. This is dry sand up here. So breath in and start blocking this in. At this point, I'm not worried about the texture of the sand. I don't need to make this too thin. But we are going Teoh gonna add some shadows on top, including the shadow that you see behind my daughter. I really like that. - Let's put a little blue in there. Actually, gonna let this just kind of spilling to where her legs are for now. Maybe a little too warm. You're kind of mixing a very neutral color or something that's ambiguous, especially from a photograph. I'm just experiment. Um, and it doesn't need Teoh. Obviously be. Of course, it was a quote unquote right color. You don't need Teoh Worry too much about about anything. If you're struggling, just try to identify the value level it is. And whether it's warm or cool and kind, I think that will help, really? Guide. You're mixing a lot, but kick Just gonna set That makes aside for now. It wasn't quite going in the direction. I I think I need it to go. There we go. No one's out a little of that in here to tone this down. - I need some foam at the edge of this Warner. But as you know, I've not like to use pure white. Really any points? Okay, lets see If we can get enough contrast with this, we can. And we'll just see if I can even stick to my time limit on this painting. Because that figure it's so delicate. I mean, I'm really gonna try to stick with it, but I may need more time. Since they currently I'm still kind of working on the shallow water. It always looks easier, I think. Or sometimes it actually looks harder. You never know. Try everything, though. Don't be intimidated. Sometimes you'll get a color in there and you'll just think. Where did that come from? Where did that one come from? No worries. In the end, it's just gonna add to it. Okay, Now, let's work a little bit more on this sand. How are we doing on time? Not too bad. Okay, what's we've already got? The Sanda is light as it's gonna need to be a so we're gonna start taking it a little bit. Or with your shadows with the shadow behind. My daughter will be a little bit more bold. It's kind of just jutting out behind her. Don't worry about precision. Just wouldn't leave a little gap here for her legs, but otherwise I'm not gonna worry much. Rather shadow. Look, always blend it out a little bit more. We want Teoh now. I think it's fine. And then that's read to this, actually, even a little number. And then maybe back here. Let's just there some rocks or something and we're just gonna pin a add some nondescript texture, I think, and to remember that just because you see it in the photo doesn't mean you have to paint it . So there's something and it's kind of an eyesore. Leave it out. But I think this will add a little bit of interest. He's aside, and yellow and purple or violent are compliments. I'm gonna start kind of just mixing in some purple. It's taking a little bit more coverage of red side. You can get some contrast in the sand, so I just wanted to kind of that's a little too warm, actually, Let's gets more red in there. I'm gonna borrow from his blue Over here is Well, it's a very light blue. So I got some white in there as well. Okay, so I'm gonna go ahead and pause here and then restart this and we'll try. I'll try as best I can to really wrap this up in the next 15 minutes 27. Girl by the Sea - Pt. 3: Okay, so I didn't even walk away from this. I'm just gonna keep going. Does that kind of feel like I'm in a good flow? I really like that. And I also don't mind having some of my toned surface showing through the sand because the sand, even though in the photograph it's very smooth. I don't mind having some texture for sure. It's kind of nice. I think you'll just find that you have to sometimes work at odd angles just to kind of work around things like, I really need to just work around the figure here. And sometimes that requires repositioning the knife can unexpected ways. So the sand in the distance I want to cool down. So I borrowed from some of that light blue kind of sea foam color because I want this, uh, there we go. Wait. There's a surprise color in there. That's okay. So I just want to kind of tone this down back here, make it less contrast, E, I think so. I think it will go ahead and kind of soften this shadow just a little bit. I don't want to overdo it. Okay, so for now, let's take a break on the background. Let's call it good. At least for now. Um, and let's start working a little bit more on the figure. So first, I want Teoh kind of capture her the shadowed areas. So I'm gonna mix up a dark. I don't mind if it gets a little bit polluted by other things. Actually gonna put a lot of red into the stark because this dress and I'm not even going to attempt painting all the little flowers on progress. I'm just going to paint her dress. Basically. I think so. There's a lot of my permanent rose in the Stark. We're gonna just kind of start blocking in these shadows, although I don't want them to be too thick, - but appear in her hair for the smaller areas. And you've noticed I've been using the same knife the whole time. This is definitely my favorite knife, But just like brushes, you can use one size of knife to do a lot of things. There might come a point in this figure that I switch over to my smaller pellet knife, but I'm really gonna try to stick with this one. If I can start skin tone it will be a shadow. Look. Okay. You look actually reused of this in the hair. Okay, Now, let's work on this dress. I'm gonna move that aside, so want to get some really good pink in here? Okay, - Maybe give her address a little bit more movement. Then we even see in the photograph sweeping action. And I think I'll leave. She's actually she's holding on to the a little ribbon that was supposed to be tying around her dress. And I think I might just exclude that we have enough information in here. We know what's going on. Come back and with a little bit of just pure permanent rose stand a little bit of contrast in here. Okay? I don't believe the dress alone for the time being. And let's look at her hair a little bit. Um, so blond hair and hers is kind of ah, most of dirty blonde. It's, um you know, a lot of people there m plus is to paint it yellow, But what I usually end up doing is mixing some yellow in with purple. And so I've actually mixed my warm yellow in with one of my kind of sandy colors and actually gonna use just even more purple. So blond hair is really very neutral. And really, when you're mixing any type of hair, it's going to be the same. All hair is essentially different values and different tones, but it's all very neutral and same with skin tones. You're gonna use the same colors to mix every single skin tone under the sun. What's going to very is kind of the balance of warm and cool and the values of darker light . And I want the hair to kind of semantic leadoff man if I'm just going to kind of with a very light touch kind of merger into the background, so I don't need it to be distinct now. Okay, so let's go some of the highlights, and this will have more yellow like it will be a more strong leaning towards yellow. And for these small marks, I am just very particular about the way I load my knife and where we want the paint sitting on the knife because as I touch my knife to my surface, I want to know exactly where that pain is. And while I you know I'm still caught off guard. A lot of times I don't know exactly what that pain is going to. Dio, um, I want to have some idea. And so that's something that you kind of develop a feel for a swell as you gain more experience. But I hope there's number, actually a day where I feel like I just have complete control over this tool. And I know exactly what's gonna happen because part of the reason I enjoy it so much is that it's so spontaneous and I get unexpected results all the time. And that's kind of the balance between, um, you know, gaining more control as you practice, but also using this as a tool that helps you let go of some of that need for control. Okay, let's work on these arms and legs already got a good starting point for skin tone. Um, I know skin tone is one of those things that people I think there's some formula for the really isn't, though it's very intuitive. It's very neutral. Almost all skin tones are going to, of course, lean warm on. But of course the darkness or lightness is going to very, but otherwise it's it's always going to be mostly, you know, your yellow red and then some blue to tone it down. And then you start adding white to get the value that you need Is this foot, I think might be a little tricky. That's okay. It's very small foot. And I don't need a lot of contrast between her skin in the sand. I did kind of bring it up into the dress. Okay. Think of me, actually, let's see. Yeah, I'm gonna be really close on time, but I'm not. I was worried I was gonna be really, really far off. It's My timer should go off in just a few seconds here. I feel like I'm in a pretty good spot. Do you want to maybe add some highlights to her legs And I need to kind of separate her arm from her sleeve a little bit more. Maybe I'll just use red for that. Okay, let's just take a few minutes just to get this Teoh a point that I could be proud of. I'm already proud that I and this close to being done the timber went out. Okay, so I just want to add the smallest bit of highlight Teoh her shins and her arms. I'm just gonna borrow from some of these other mixes and try to keep the value pretty white . Uh, I only need a small amount there. It's not a fish it past that. Sometimes you don't get exactly what you were going for. That you need todo kind of evaluate and see if it's close enough for you. Teoh, be happy, because sometimes you can take it to foreign and be even more unhappy. I think this might be one of those situations right here. So I'm gonna go back in with a little bit more about middle flesh tone. I think my highlight overtook her leg a little bit. Okay. All right, guys, I'm gonna call that. Good. I'm happy with it. So I'm gonna just move my palate out of the way here, and let's just take one look at it. So let me bring it really close. You can kind of see how loose I painted this figure. And you know, of course, there's no Her hair kind of obstructed her face a little bit. Her legs were definitely very loose. That kind of just blend right in with the sand like the texture of the sand. It's not too distracting, but it's also not too monotonous in this water, I think looks pretty good. All right. I hope that well, it's a little blurry. So I really hope that you enjoyed watching this painting. And I think that this is you know, my encouragement to you really is to challenge yourself and give it a try. You know, this isn't the first time that I've tried painting a figure like this with a palette knife . And I've had some, you know, some whoppers, basically some flops. And it just takes time and practice and persistence. I think so. Really? Stay with it. And I think that you're just gonna love what you get. 28. Girl by the Sea - Painting Process Overview 8x Speed: 29. Conclusion: Thank you so much for joining this course. I hope that you enjoyed this process of learning a new tool. And I hope that you feel like you're gaining just a little bit of control, but not too much control with the palette knife. I really look forward, the senior projects in the description below. And of course, if you have any questions at all, please let me know, and I'll be sure to answer them happy painting.