LANDSCAPE OIL PAINTINGS: MOUNTAINS AND FORESTS AND OCEANS, OH MY!

1. INTRODUCTION: way. - Hi , everyone. Money was Sarah McKendry and I'm a Canadian realist painter. Today we're gonna be going through three brand new, beautiful landscapes together. There's gonna be one that has mountains and a big, beautiful blue sky with white clouds. There's gonna be one that's treetops. A bit of an ominous sky in the background. The rating. It's really simple. Get beautiful Seascape with a little bit of shoreline, some waves and a really soft, muted cloud line. So the first tutorial I post who went through all of the materials that I use in these classes it's really important that you go check that out if you have any questions as to what I'm using and why I'm using them in these videos. The second tutorial. We conquered a big campus, and I'm really proud of absolutely every single person who has shared their finished painting with me. I am so inspired by each of you did an awesome job. Now that we've actually sat down and going through a big campus together, stepping back into a smaller piece is gonna be less daunting and a lot more exciting for you. So that's why in this class we're going to go into three smaller campuses together. You learn some really important brushwork. You're gonna learn some new techniques, and we're going to be playing with a little bit of a greater palette. I usually do. All of my landscapes went on wet, meaning that I don't really wait for the layers to dry as I work through my entire piece. Now I want to walk you through a piece where we do wait for Leo to drive together. It's not just you taking a break. It's actually all of us taking a break and waiting for something to dry, which is really hard because I'm super impatient, but I'll do this with you. So the 1st 2 paintings were gonna paint what I went, meaning we're just gonna paint straight through. You don't need to wait for any layers to dry. And the third painting, we're gonna create that beautiful, flawless blue sky, but it completely dry. Then we're gonna do our mountain and cloud work. One of the greatest gifts that I was given when I first started painting was being taught how to stretch my own cameras. So I decided to include an entire lesson on campus stretching right here in this tutorial that you be sure to check it out. There is some common questions that kept coming up from her previous tutorial, so I thought I'd address them. Right now, the very 1st 1 is all the bristles that you find in your painting. As you're working, I have loads of them, no matter what quality brush you have, the way we work this canvas and how rough we are with our brushes is just inevitable. You can't avoid it now. We're painting him really thin layers. And I don't even bother with my Brittles till undone. If you're gonna be using thicker layers, you really kind of want to address it as you go. But what I do is I wait until my layer drives, and then I just gently rub my hand across the canvas. And since the paint is dry, the bristles really fall away because there's not really much paint keeping them on the campus. So if you have lots of bristles on your painting, do not sweat it. And if you're painting with really thin layers, you just wait till it dries and just wipe all those bristles off or pluck them off one by one with tweezers. If you're comfortable with that at a few comments about people not being able to keep the work entirely still, while they were doing the bigger brushwork on the previous tutorial, I highly recommend that you just ditch your easel. In that case, sit on the floor leaning painting against a wall and then just work from there. We also want to take a second. Just let you know that although I promote different products and brushes and paints and businesses on here, I am in no way affiliated with each of them. I just really believe in their products and what they offer, and so I just happy to share it with all of you. 2. MATERIALS FOR ALL 3 PAINTINGS: so you're gonna need a total of three campuses for this class. I chose 16 inches by 20 inches because it's a very common size and everyone should be able to find in their local art store. No problem. If you can't, don't sweat it. Find something that is a scaled up or scaled down version of that size and work from that. So this is the entire lineup of paints that I'll be using for these three paintings that we're gonna be doing. I have charcoal grey, Payne's Gray, your Indigo blue. I have a Prussian blue Prussian green, Stop green, all of green and green er's I have an Indian yellow. I have raw umber, green shade brought number and Vidic brown as well as your titanium white. You do not need all these pains to participate. It's highly suggest at least one grade. You do need to blues. It doesn't have to be Prussian blue, but find one that you really like and just use. That husband is bright fiber blue. You just can't use into go for the entire sky. And one of the paintings were doing Just be too dark and gloomy for your greens you can use any single one of these. If you can get two of them, they'll be perfect. Just make sure you have a nice Indian yellow or Ah, very similar yellow just a week and mix it into your greens. If you only using a couple and create some different highlights and low lights, Um, you have your raw umber green shade, your wrong number in your mind, like brown raw umber. Green shade is an essential, but it's a really lovely color for the sand that we're gonna be doing one of the paintings . So, yeah, pick and choose what you can afford. Or, if you have on hand, don't sweat. If you don't have all of them, just make do with what you have. You'll make it work, and I'll help you. There's very little variation and what you will require for brushes. From here on out, you'll need a one inch and a two inch brush with a wide handle. These are the pro Arte brushes. You'll need an assortment of different tack, long rushes or any kind of oil painting brushes that you prefer to use. I just suggest that they have a really soft bristle. Not a real hog hair kind of feel to them just makes himself this is synthetic tackle on, and I really like them both in Filbert and the flat. So this is the flat, and then the filbert is the more rounded edge. So variation in size of that makes you have a really small 12 and as well as, ah, one inch and 3/4 inch to 1/2 inch. I'll be using liquid light jail as my medium. It helps speed up the drying processes by Windsor Newton. If you're in no rush for your painting to drive, feel free to use any medium that you usually use. I prefer walnut oil over linseed oil. It just doesn't have as much yellowing. Um, but this would all be using in all these paintings today. Liquid light gel by Windsor and Newton. Also, make sure you have a palette knife, just in case you put too much paint on your canvas. You can scrape it up also for mixing colors on your palate. Underneath. Here is a trustee palette, so make sure you have one of those. It doesn't matter what kind it is as long as you put paint on it, mix it and use it for your brushes. This is a fantastic mineral spirit that I used to clean all of my brushes. It's odorless, Um, and it's a really great quality. Products was made by gambling. It's called GAM Soul. How do you recommend that in for cleaning your brushes? 3. HOW TO STRETCH A CANVAS PART 1: so first things first to stretch around campus, you need a frame and campus. You can purchase any type of campus at your local art store that you prefer to work with. This is triple primed. It's a cotton canvas that I really like it. That's pretty much all I use for my own work. The's air called your stretch of ours. Now stretcher bars, you'll need a set of four. No matter what size you choose, you need four to create the frame. They come in two different varieties, so you hear someone say gallery depth will. Gallery depth is this kind of structure bar Notice how think it is compared to the standard death. This is 3/4 of an inch thick, and this is an inch and 1/2 thick, meaning that sits that far off the wall. So whenever you start your campus, there's two sides to each structure bar. There's a totally flat side, which is the back, which is what you staple You came is to on the front side. There's a beveled edge all the way around the tip all the way down to tip. That's the front. Your canvas. That's the surface you're gonna be painting on what? It's stretched. So you take your two stretcher bearers just like this and you line them up, you could line up all four at once or just one at a time here. Then you take your hammer. I'm not gonna bang to save your years. You line us up and you just gently tap it into place. Eventually, they all come together and look just like this. So to ensure that your painting is square, you need to take a measurement from here to here. And then from this point to this point, those measures should be identical. And if they are, that means you have a perfectly square free by square. I don't mean the actual shape of square. Could be your rectangle would have you just means is their true 90 degree angles. You don't have anything. That's a little walkie theme measurement that you take with your tape measure. Should be identical for both Likes. So right here. I have 26 7/8 now I'm gonna measure the other side. This measurement is 26 7/8 so I don't need to adjust it. This can be a little confusing in terms of figuring out how to do. It's what I'm gonna do is I'm just gonna make my campus, not square. As you can see, you can already tell us not square, because my angles are not lining up all my edges. So let's take a measurement now and see what it is. So I have 26 from this dying village to that guy village. This one, I have 27 3/4 so that is not gonna work. I need to pull this edge this fight. You can do that various ways. I like to just to hold on to my tape measure and pull it until I get to a measurement which I think is the happy medium. So right now I have it at 26 78 Let's see if this edge lines up 26 7 eights. So now it's square. You see how simple that is to pull square? You just measure from opposite angle, tow opposite angle and make sure they match up. These are all the tools that I used to stretch my campus. I have a hand stapler. I get 3/8 or half inch staples for it and they just slide in the bottom in there. You put this back in, then you got staples. It takes a little bit of power. These air kind of heavy duty. He's right. Here are your canvas stretchers. You can get them at any art store. You can get them in various sizes. I like this big size because I work with big pieces and I need to grip a lot of cameras to pull it over the frame and get it nice and top. Now, most of them have a spring right here. But these were about eight years old, and I think one of my kids actually took the spring and used it with a G I. Joe or something like that. So I don't have a spring, but doesn't matter in these work. Touch wood there still kicking after eight years, but they're fantastic. You need the's in order to stretch the canvass, so you get them in any art shop. I think most of them are about half the size of you. Get a bigger one because you plan on stretching lots of pieces that are a little larger. Highly recommend finding this length. So these are all the tools you need to stretch a canvas. You have your heavy duty stapler and your staples. You have your stretching pliers that you get at any art store. You have a measuring tape, you have utility knife and scissors or both, and you have a hammer. Then you just need to get your frames. Whatever size and depth you choose, either gallery were standard as well as your campus. And then you're all set to go. So now that you're being together your frame and squared it up, now you're gonna lay out your campus, you're gonna roll it over your workspace with the prime side down or the side you're gonna paint on is gonna be facing down. This is the back of the campus. You're gonna take your friend and remember how there was a beveled edge and then a flat edge. Because you're campuses, paste down, you're gonna put the beveled edge face, so there should be no bevel edge facing you right now. It should be the flat edge of the back of your friends. Now, my off cut peas is much larger than this frame. So just to save some campus, which I could use for scraps and painting with my kids. I'm gonna line it up just like this. You want to keep roughly 2.5 2.5 inches extra around the outside. This makes up for the space here and here That needs to be covered with canvas. So see, if I were to pull that up, it covers up that frame. Doesn't hangover much. Be a little too much here to see how it covers the entire back of the frame. That's how much extra Caymus you want. Whenever you're cutting out the size, you're gonna be stretching. So see, down here it covers the whole section. So then whenever I go to cut this, I'm gonna leave that same amount right around the whole edge. So it was squared up our frame so that our measurements are the same from opposite points tow opposite point. And we've cut our campus so that it wrapped around the frame the back side of the frame and kind of lines up with this bottom edge here. So it is a little longer, a little too short. That's okay. So long as you have enough campus here to use these pliers to pull it over the back of the frame and staple it into place. When you start you campus, you're always working from the center out on each edge. Your starting point will always be a center staple, and you pull out from each edge accordingly. 4. HOW TO STRETCH A CANVAS PART 2: let me walk you through what I do, and you can follow all so make sure your frame is centered on the back of this campus. Remember the white side or the prime sign that you want to paint on is facing down. This is the flat side of the frames. The beveled edge is facing down as well. Center your frame on your campus so that all the extra campus on either edge is equal. Then take your bottom piece of canvas and gently pull it up. Not pulling too much, but just enough. So that's a little talk. Hold it. And right in the center, you put a staple when it's touching and Camas, your next step is always the absolute opposite of what you just did. So I put a staple here. The next table, I do a lot Bailey opposite stretcher bar directly above it. So these 1st 4 staples that you're gonna be putting in are critical to keeping your frame square, so make sure that whenever you're lifting up your frame, you're not putting a lot of pressure on it or jiggling it around. You kind of want to just gently pull it up hold onto your campus like that, gently pull it up so that it's lying like that. I'm not jiggling it from side to side, and I'm not putting it on a pressure on it. I'm just holding it in place so that it doesn't lose square. Now, you take your campus pliers and you see how I have them lined up so that this bottom edge is kind of like your leverage point. And you just roll the plier down and pull Mason hard until it feels pretty tight. This takes a lot of practice, and it will take quite a few times of you doing this to find that perfect level of topped. So then you put I put my thumb here. I don't push hard on the outside. I'm just kind of pinching it really tight so that I don't lose any of that tightness. See how this come down a little bit more. I can trim that after that's not an issue at all. Then you pick up your stapler and exactly the same spot on the opposite stretcher bar. I'm gonna put my next table, so if I lay this down, there's actually a line a ripple on the campus between these two staples, and that's exactly what I wanted because it shows that this nice and tight and everything else is loose because nothing's been stabled, so then it gently pick up your piece and rotate it. So I know on this first staple that we just pulled the campus up from here on out. Every single stable that you put on is after you pull it with your campus players. You do not just pick up his piece and just staple it here and then pull that side nice and tight. This also has to use canvas players, so just pull this one up. Leave this and don't see how there's no staples here. That's fine. Gently pull this up so that you pulled the campus here, grab your canvas pliers, line it up and pull nice and tight. It's already starting to feel nice and tight, and when you're watching as you're stretching, you'll notice that that ripple instantly disappears if you can see it. But there's a ripple right here between my 1st 2 staples as I pulled this top one tight by gaining leverage Penchants agency that ripples gone so immediately I'm getting a nice tight service just with three staples. No Sure. Your meeting with the fourth. So I'm pinching that with my thumb just like that. I'm gonna go in, put another staple. So now I have three staples. I'm gonna turn this around because I have to do the opposite movement for each staple. So I have three now, I'm gonna hold this like I have before with this ad job. Put my campus flyers in the center, pull until it's nice. And, Todd, she kind of feel like a a little bit of a drum on the back whenever you're at this stage holding it with my thumb after I get it. Nice and tight with the pliers. And there's my fourth stable. Each of your 1st 4 staples are now providing equal pressure on your frames, holding that canvas nice and tight. Because of this, your friend will remain square. So now when you pick it up, it's not gonna move or jostle or shift. So it doesn't matter what Anjali begin working from, but we're gonna keep the rule of opposites going, so I'm just gonna pick up the such I'm gonna put my pliers here Because I want to work your staple from the middle. Teoh each outside edge just like that. So I'm gonna go this way first with one staple. So I'm gonna pull my campus players here. I gotta pull tight, and I'd say about three inch intervals or even two inch whatever. You're comfortable with kinship. So this was our first people. And our 2nd 1 isn't gonna go directly below it are second ones. Now I'm gonna go the opposite side of the staple. Blew it. So you've got to kind of create a little diagonal line? Sure, but I mean, so I'm gonna flip my campus over and see how this is the staple we just put on. Now it's gonna mean I have to put one right here. So take my stretcher pliers, put some pressure off, and I'm gonna put a staple. Now you'll see me going like this as I'm stretching, I'm feeling for ripples in the campus right now. There's gonna be ripples in places where there's no staple creating pressure or pulling that campus tight. But there shouldn't be any ripples in between where you put your staples, it should be nice. And tight. If there is a ripple, you need to take out that staple and try re stretching that campus in a way that will get rid of that ripple. It takes a little playing around with, but you'll get it in time, I'm sure. So, as you can see, I have staples here and no ripples. No stables here. And there's ripples. So let's go back to where we work. So we have our two Staples set. Now we're gonna do a staple on the other side to keep ballots. So this edge only has one staple. I'm gonna go this way. Gonna pull with my pliers till that feels nice and tight Pinch with my phone and put a staple. No, I have to do the opposite. So I'm switching my canvas around. I put the steeple on the side The die. It'll is gonna be right here stretching with my pliers. Tension with my finger. I'm putting a staple. Gonna go back to this side Now we have already put our This is the first set of state. Was we put in Now I'm gonna put one on this side to balance this out because you want to just keep balancing out each edge. So on this side, I'm gonna pull with my pliers. Think Sure. I don't feel any ripples on the back, which I don't pinch with my thumb. Nice and hard. Put a staple. Put my campus around. I want to put a staple on this side because it's the opposite of what I just did. Pull with my pliers. No ripples. Put my thumb down and put in a staple. Do the same for the other two sides. So this is where I put my first table. I want to put one on this side. Now there's my pliers. Pull down nice and tight. No ripples. But that my stapler pushing it, Do it over here Now, outside players nor ripples and I put in my state. So for the next step, you can either take your scissors or utility night and you're gonna be cutting a line from the tip of your corner right down to the edge. With this piece I still love in my hand You take your scissors and you're gonna cut just a square See how it's a square that I'm cutting off. So now when you're stretching this will be able to leave flat. And when you come down this edge, you'll be able to steeple over top of it by folding this in, and they look really nice and finished. So again, I just cut a straight line from my corner down to the edge so that this will lay flat. And then I cut straight across that square came out. So there's a square missing from the corner now. Okay, so you're gonna do that over here as well. So I just like using a utility tonight from this sitch. See, I got that done. I have my scissors along the canvas, and I'm just gonna cut that square right off. And I'm gonna do the exact same cuffs on this side of my frame so that it's exactly the same. So flipping it over, I have my found the edge of my piece. Here. Watch your fingers when you do this cutting down. Okay, then T scissors. You're gonna cut straight across and get rid of that square. Come on. Same with the other inch. Just like that. Your scissors or your knife cut straight across. Now both of these signs will be laying flat I will be able to fold this campus over when we get there and staple it over top without it bulging from the wall too much. So? So since we just cut these edges to be ableto lay flat underneath this, we need to finish stretching this side first and the bottom side to go ahead and structure , grab your fires, pull down no ripples. I'm gonna hold really nice and close to the edge here, and I'm gonna put a state. When I first started judging, I think I had a staple every inch. But once you learn how to properly pull and create that tautness without using a lot of staples you don't need is money Clearly. So put one here. Next. I need to put one down here because it's the opposite. Pull tight ripples. Here we go. No, I'm gonna finish up with the opposite again. Just to finish this, Sandra. So we can fool the other one over top of it. So pull tight. No ripples go. And the final edge on this flat side here trait nor rebels. Okay, We're in the homestretch, folks. We have only this edge and that edge to finish This is the edge We're gonna be folding down over top of what we just finished stretching. You gonna take your finger and you're gonna hold a little section of that just on this 3/4 inch edge Here. Just keep your finger there and full down, and then you just kind of tuck and roll this edge of the campus underneath until it lines up with the outside edge. So it's gonna look like that. So again, to get that I just pushed a little. Put my finger there on the on this 3/4 inch short edge, and I just pulled this campus down. And with my other two fingers, I rolled out extra piece underneath until it was flush with the outside. Now I still need to stretch that, but now it's in the right shape so that when I put my pliers on and pull it, it's going to keep that perfect edge. When I pinch it with my thumb. It's still perfect edge, and then I can put a staple right there, and it holds that finished edge. So let's do the opposite side. Okay, I'm gonna push my finger in there to get that tucked underneath. Just gonna fool that. Roll it underneath until it's flush with the outside edge, which it is. Grab my pliers. Pull nice and tight, so there's no wrinkles. And then I'm gonna put my steeple in the hole. We'll do this opposite. So same thing. Put my finger here. Talk that under talk this edge under until it's nice and flush with the outside. Grab your pliers. Pull nice and tight. No, ripple on the backside is perfect. Finish it off and then we only have one more to go talk it. Roll underneath. You have your players pull tight and here we go. We just stretched to campus together to take your canvas off its frame. All you need is a screwdriver with a flat head. I like this guy. I took it from my husband. He's never getting it back. It's like a little mini crowbar in screwdriver form. It is fantastic for getting in staples out. So you just gently walk around your campus and you just pop this. People's out by putting this underneath and gently raising up until the staple comes out. It was like that. Do you do that for all the staples all the way around the edge. You can nice and gentle pulls it up. Doesn't damage the campus at all. Super easy. Then what do you have? A leather steeples vote. Throw them out. Gently work your candles off the frame. Make sure there's most people so stuff. Take your frame off and then you can just rule Davis dr for shipping or storage. Whatever you 5. LANDSCAPE TUTORIAL: OCEANSCAPE PART 1: So I laid out my palate for this ocean scape. I have my titanium white and my liquid Like Joe, I have my charcoal gray Payne's gray into go my pressure in blue My van dyke brown, my raw umber and my raw umber green shade You can lay these out hard You like on your palate Do whatever works for you. I like to leave a lot of space open just so I could do my mixing on my palate before I put it up onto my campus. So now I'm gonna walk you through the composition of this next painting. If you have any hesitation about this process that I'm gonna kind of speed through, please go back and visit my second tutorial called Deep Quiet Stillness. I give a much more thorough explanation as to how properly of the composition of the peace , and it's really beneficial moving forward through the rest of these skill share classes. So that being said, I've already gone ahead and greeted my canvas out into thirds have horizontal and vertical lines all set up, and we're ready to rock. So the last two paintings that we've done together the focal point has been on the right hand side of our painting. This one is on the left. As you can see, the mountains hover along that bottom thirds line on the left side, so the waves in the ocean and the shoreline act as a guiding line that bring your eye to those mountains so scowling both opposite corners of that painting are flowing down and towards those mountains. That's creating the depth of field and your focal point. For this piece. I chose this painting as a second tutorial video because it carries over what we just learned how to do in the sky in the 1st 1 is the same kind of clouds, just a really lighter feel. So this allows you to draw on what you just learned and really move it forward in a later direction. So instead of using a pencil toe layout, this composition just so you can see it, I mean you some of my oil paint. It doesn't really matter what color I use because it's all gonna be blended in the mountains air found on this side, and they're gonna be right on that thirds line, and they're going to start on the thirds line, and they're going to come down and fade into the oceans horizon right about there. Okay, so that's gonna be my mountain line. My horizon for the ocean is gonna fall. Probably about an inch to 3/4 of an inch below are thirds line. So I'm just gonna put that in so you can see it. So there's our ocean mind and here's our mountain line. Our first cloud line is gonna hover just above that thirds lines. I'm gonna put that in there so you can see that over other clouds are gonna be coming down slightly this way, drawing themselves towards our mountains. Now the shoreline is going to start at the base of the mountains. It's gonna come down kind of dance this way as it moves across. So that's gonna be my rough shoreline. And this is also, as you can see, drawing the eye towards where mountains will be. So that's a rough composition of the piece. That's how we're gonna laid out very basic, very simple. But we're gonna start with the sky first for what I want you to do, because I would like you to grab some of your Payne's gray, Some of your indigo blue. You don't need a lot a tiny bit of your pressure blue. I really want, you know, to use too much of your precious blue because it's a very powerful blue, and I don't want this guy to be two to blue. You do want a hint of it in there, though. Just mix it around at a little bit of white, not too much. You want us to be a darker color until you get a blue. That looks kind of like that on your little polity. Then, once you have it on your brush on this line that I drew above or thirds line, which is the base of our cloud line, I want you to draw that blue and pull it right across the bottom of the victim. We're also going to start putting the bottom of our some of our clouds and with this blue, so about one inch up from that line, we'll have another cloud just kind of coming down angle than flattening out of it. You can use the same brush if you have a 2nd 2 inch brush. Grab that at some white and add some of your medium and just blend them together on your palate. You don't eat too much medium, nor do you need too much weight, so you'll notice in the middle section of our grid. There's a few white sections of clouds. I'm just gonna fill those in with a little bit of white now to make lending easier as we work this blue, That's what I have a white cloud here, a white cloud here in some way. Now, this is where the fun part happens. Watch what happens since I have void on my brush And I have this nice dark line I'm gonna do. You are technique that we learned in our last tutorial. I'm going to push my brush into the campus and I'm gonna do light circles pushing my white paint down into that cloud where that's at the bottom here and then circling my brush as I move along, This is gonna blend some of that lighter colored paint. That's all my brush in his darker layer. Start softening it up a bit while still leaving the shadow on the bottom of what's gonna be a really pronounced cloud. I'm going back and forth. I'm pushing pretty hard on my campus and I've just blended the first line. This is very basic. We're just working with this right now. It's not going to stay that way by any means. Then I'm gonna come up. We did another dark line just above this first horizon line. I'm not adding any more paint to my brush, just using what's already there. On top of that line, I'm gonna start circling my brush and walking it down with circular motions to kind of blend the top of that darker line in with the paint that's on my brush now. I also want this blue to be right about here on another cloud. I start adding grace to this soon, just to kind of give a little bit more dimension to the sky. But I want to get all this blue that I have on my brush in the right spots first so I don't need any more pain. That's all my brush. I do office to be lighter, so it's perfect cause there's already white paint on my brush. I'm just gonna do some circular motions and transfer what's on my brush into this area of my campus softly walking along from pushing pretty hard. Thank you. Bring some of that blew right out Ph. And lastly, I think I want a little bit more white on my brush. Not too much. He's gonna have a bit more white on top of this last way I did. I just want to be a little lighter and weaken. Soften up this little line here. So before we go any further, it's really important to remember that the colors that we find in our foreground and in our landscape are reflecting in some form up into our sky. So we're gonna have a lot of sand here, lot of brown, and I need to have some of that translated up into our sky. Now, Turkle Gray has a bit of a brown to it, but I also want to use a little bit of our main brown that will be using for the sandwiches are raw number. So you need to take just a tiny little bit of your brown. I'm talking minuscule amounts. You don't want too much. Then you're gonna take a little bit of your charcoal gray. Add that to your mix, and then you're gonna add a little bit of your blue mixture to that. Get some more of your medium, makes it, and it just makes it a lot easier to mix around and some white. You really want to lighten that up? You don't want to dark. Okay, I'll show you that again. I'll just add more to this What I've created. So I'm taking a little bit of my brown. A little bit of my charcoal gray, A little bit of a blue. I don't have a lot here. I don't need a lot. This is just to kind of give me some other colors to work with in my sky. You don't want to add too much of your liquid like Jill to this. It's just not gonna really translate very well to become a little too runny, sweating, inducing. Take this new color I created right there in this blank area that hadn't been painted. I am so sorry. I didn't realise that my camera had died during this section of filming. I'm gonna catch you up right now. So as you can see here, we use some of the darker color that we just created on our palette. to start building up some of the shadows within the clouds in our Scott. So this is a very light layer of paint you don't need very much on your brush. It all all you're gonna be doing is starting building up some definition within those clouds and pulling the eye down towards the focal point. So make sure that your cloud start up on the right side of that canvas and slowly pulled down towards where mountains are gonna be sitting on the left side. There. So after you put that shadow color down on their famous, just take one of your white brushes in the same technique we did in our last guy with the treetops painting. Just blend the edges in with a lighter color and keep pulling that cloud down towards the focal point. So grab some charcoal gray, a tiny bit of your raw number. Mix it together and a little bit of your blue. You get this really beautiful warm gray. Had a bit of white to that. You're gonna be using this to create another dimension to your clowns. We already have a nice blue layer. Now we're building up a little bit more of a warmer layer into that, that we're gonna blend in really nicely with another brush. This is just gonna adds more shadows. Give the I a little bit more to focus on in the sky, but we're not going to leave it to detailed because we want our focal point to be those waves leading towards the mountain. We don't want it to be too busy up in the sky, so just carry your brush gently on its side. And as the shadow everywhere that you see a shadow in your reference photo, you don't need a lot of the paint. We're just building up some layers here that we're gonna blend in with another brush for you soon here. So I'm pushing harder. I'm gonna make this cloud or just a little bit more gray. It's a little too blue right now. And then underneath this cloud, I'm pushing my brush down, and I'm just really transferring the paint that's on my brush into this white space below and pushing it a little bit up into that darker layer just to kind of get a little bit of that blue pulled down into what's already on my brush. You can see it creates a really nice color. It also creates a really nice contrast between this cloud line and the sky that's visible underneath it. Having a little bit of a darker color here is also going to make our white waves really pop off the campus whenever we put them in next. So what I'm gonna do is and use that same color without adding anything to my brush to just pull a little bit more definition into the clouds above. It's gonna create a really nice balance between all the colors because it's the same color they transferred up into these clouds. Not gonna put a ton of it just a little bit. We're gonna be using an entirely different blending brush soon. That's really gonna make everything you're doing right now come to life. So just keep playing around and adding some shadows here and there and pulling those clouds towards where we're gonna have our mountains and where our shore is gonna meet that I have my brush on its side. I'm just continually working around the campus and adding those colors, blending them in ever so softly. Yeah, so if you have another one inch or 3/4 inch brush on hand. That's clean. Grab that. If not, wash your other one off. Really dry it very well. You're going to put a little bit of your liquid. Might Joe on your brush and grab a little bit of your titanium white. You do not need much on your brush. In fact, I want a very little amount, just a really light coating on your brush. So this is our final blending brush for this sky. We're going to be creating all the different shapes of clouds with this by starting in the light areas of the cloud words already white, working out to create the shape of cloud that we want. So a really fun way to create a three dimensional cloud is to do a little bit of a circular motion. By doing this, you're pulling all the colors that are around your brush in towards a central point, and it creates a really soft cloud when you do that 6. LANDSCAPE TUTORIAL: TREETOPS PART 1: I've laid out my palette as follows. So I have my titanium white, my Paynes grey, charcoal gray, indigo blue, my pressure in green, my green earth, my olive green, my sap green and my Indian yellow. Then I have my liquid light chill down here cause that's a medium I'll be using. So my last tutorial, I went over how to properly layout a composition for your painting. We broke our campus down into thirds, so we measured our campus, divided it by three. And you're a grid over the entire campus. That was for a big piece. These little pieces you don't necessarily need to grit out, especially for this piece. It is a very simple layout, so we're gonna have to third sky and then 1/3 treetops. Now the treetops are going to start a little bit below are 1/3 line, and then they're gonna grow a little bit in height. Just makes him more playful for the eye and just allows that focal point to kind of grow as you're looking at the campus. So my previous tutorial, I went over how to properly layout a composition for a painting using thirds rule. We greeted out our campus into thirds, and we laid it out. There was a nice focal point and that everything played really pleasingly to the I. These three paintings that were doing today have a really simple composition, so we don't necessarily need to greet them out. If you want to learn more about how to lay out a really nice composition for a painting, I highly suggest that you go back and watch tutorial number two called Deep Quiet Stillness . Let's take a quick look at our reference painting. As you can see, this painting follows the same rule of thirds. We can define our Caymus into thirds, and you'll see that the horizon falls along. That bottom thirds line was, which is exactly what we want. You can also see that the highlights on the trees fall more so on the trees on this right side of the painting, therefore giving a real focal point as to where the I should be drawn. It's not quite in the center, but it falls on that thirds line on the right side of the painting. This creates a really pleasing look, even though it's so simple, it actually really has a powerful impact. One thing to keep in mind when you're working on a painting like this, it's always really nice for the I just have one busy area, so you notice how there's a lot of leaves and foliage and depth and play on light within the little tree top section. But the clouds air soft and a little bit more muted compared to that that allows the I to really focus in on those trees and be drawn to the focal point that we want. If we were to have a really crazy sky with tons of clouds, the painting might look too busy so big. Sure, whenever you lay out your own landscapes in the future to keep that in mind, have one area that has a lot of stuff going on and then try and just ease away from that area with a little bit more softness and simplicity to your work. So here we are with our blank canvas. If you feel more comfortable gritting it out into thirds like we did with our previous tutorial, go ahead and do so. So what you do is you take your measurement divided by three. Take that number, Pull your points and then draw your horizontal and your vertical lines and create a grid. This is a very simple layout for a campus. So if you want to just find your third line at the bottom draw line, you're gonna be using that for the tree tops. The rest is just cloud work. That is pretty simple to go. Why? So I'm gonna go ahead and just paint on my bottom thirds line for a reference. I think I just take a little bit of my greens. As you can see, I barely have much paint on there. I'm just gonna gently draw in where I think my tree tops are gonna go so far to measure it . I know that this will be the bottom thirds line that we talked about and that it's going to start just below the bottoms. There's line on the left hand side of the canvas and slowly drift up just to be above the bottom thirds line on that side of the campus. We don't want to do too much detail of the state. We're just roughing in exactly where this tree line is going so we can work in our sky and our trees. We won't buddy up any other colors. This is just your general idea. So as you can see the reference painting, there's a little bit of a tree for him there. And then once you pass over this halfway mark, you kind of get our three tree shapes like that, and that's what we're gonna be building up first. I really want to work on the SkyDome. I would like you to pick up your two inch brush, so take a dip your brush in some of your medium. Just let it kind of work into the bristles before you get into your paint. We're going to start with some of our beautiful indigo blue. And I really want some of my Payne's gray mixed in there just to soften it up a bit. I'm not adding any white. As you can see, I don't have a lot of paint on there. It's just enough to coat the bottom bristles. And what I'm gonna do is you're gonna pull it straight across the campus like this, not pushing hard. I'm just gonna put a line straight across, even though where trees are going up a little bit over the thirds line. We want these to remain completely horizontal. So I have this nice dark cloud. And if you'll see him, our reference photo, that dark cloud just hovers right above the treetops. Probably just above that 2nd 3rd line. Read a boat there. So what we're gonna do is just like we did in our previous tutorial. You're gonna add some indigo blue. You'll add some Payne's gray, a little bit of your titanium white, and you're gonna put a fair amount of pressure on that brush. And you're gonna push your brush all the way along that dark line that you just did all the way to the edge and then along the way back with France to the set pretty dark little spot , which is exactly what we want. So don't worry about painting over this bottom thirds line that we just sketched in. It was just our reference photo to know where to begin our sky. If you paint down below it, that's completely fine. We're gonna be painting on top of it with our treetops. Anyway, we just wanted to establish where we wanted everything to sit so down here I get up a little bit of charcoal grey or Payne's gray, And I'm also gonna carry that appear once I finish filling in. This just want to create a little variation in color between this indigo and gray that we did and a little bit more gray variations through up here. So I'm adding my charcoal gray to the brush. As you can see, there's not a tenant paint here. There's not a lot mixed in here. You could still see my palate underneath as I'm pulling it across. So I would like you to take that charcoal gray like you just put a line right underneath that section that we just built up. And also, we're gonna build another cloud layer that will play off the big one. We just did right about there. Okay, I might add a little bit more charcoal. Greater that maybe a little bit pains. Great. Just thicken it up a bit. I don't get pain, Tom. I'm also ready. One more line for play right here. Before we started using some white to blend all these into a really cool soft skyline. So using my same brush because it has all the colors that I want on it. I'm gonna take my titanium white. I have a little bit on there. As you can see, it's a little bit thicker. I'm not having any medium cause I've already put medium on the layer that's on the canvas. I'm gonna take my white And in this little section that I have left blank I'm gonna just fill it in there. Just pull it across like a little triangle just like that, then above this cloud line that we just did I'm gonna push my brush in nice and hard. Just add a little bit of a layer there. Now, if you remember in our last tutorial we'd start with our top layer and we keep working down a little bit. That's exactly what I want you to do is to keep pushing nice and hard on your brush and then pulling your brush down and working it across again. I'd like you did the same right underneath. You see how hard I'm pushing on my brush and then thing in a push up into that top layer. What? This is doing a start to blend these two different greys and blues together. That's also start to create the layers of cloud that we like. So down here we're gonna add a little bit of titanium white toe our brush a little bit of our charcoal gray just a little bit and just put a line at the bottom just like that, and with the same amount of pressure on your brush. I'm not pushing too hard right now. Push your brush up into the next layer. Now we wanna have this line carry across through our tree tough, so just kind of pull your brush right across that canvas, blending in fat layer. You don't need to add more, paints its work with the paint that's already on your brush, and if any of them green you laid up comes up into the cloud. That's fantastic. As we discussed him in last tutorial, you'll always find a reflection of the colors of the ground up in the sky, little hints of it. It's not very much, but it is very subtle. That's what keeps a really cohesive field to the landscape because everything plays off one another so I can have a little bit more titanium white. We're gonna go back to this cloud over here that was mostly white when we're going to start blending about across and down a bit, just softening up the layers around it and up here, working that brush just along the different cloud lines as we move up towards the top. Now, as we get higher, I want the clause to be softer and lighter colored. So you had a little bit of my liquid like jell. I haven't clean my brush. It's still the same brush. Also going to take some or titanium white. I started the very top and just work it across. I like that color transfer from all the other paint that I used already. We're gonna pick up some more titanium white. I don't need any liquid late. Jill. This time it's gonna create by pulling my paint like that. A couple clouds just like this. We don't have to be super white. It's just a variation that we need the place of the I plan. So see how we're building up Soft layers is turning out really nicely. So what I'm doing is I'm just really gently blending these layers as they meet, kind of blending the moment one another now we're gonna work on making a little bit more movement within these quotes. So down here I haven't had any pain to my paintbrush. It's still exact. Same paper should have been using the whole time You start down here and circular motions start creating circles on your club. So when I'm at the bottom, I'm pushing harder as I go up through. Then I'm softening as I go back down and I'm repeating that harder. So pushing harder, coming down soft. As you can see, it's creating. As you can see, it's creating, really, They shape to this. It feels a little bit more rounded and three dimensional. You take a little bit titanium white, and I want a little bit of a cloud hiding in here, so I'm just gonna put that in there for now. We'll come back to with a different brush in a minute. I also work with the cloud right around here for now, so grab onto your brushes that's a little bit thicker. This is a 3/4 inch brush. Anything around that size will do fine. I want you to pull you do not need any medium. There's enough medium in your sky already. So just grab some titanium white and we're going to start working in building with these little clouds. So with my brush face flat against the canvas, I'm not coming at it like this right now. We're just blending. We'll have it completely flat, not pushing very hard. But I'm pushing just enough to start giving that line some shape and the same with the bottom. Just softening that edge that I had created just to create the look of a cloud just pushing up ever so slightly to give the hint of a cloud underneath there. So I'm just gonna soften up underneath here. It's a little too contrast ID. So I haven't added any white to my brush. I'm just using what was left over on my brush. Just kind of working along underneath. And as you can see, it's really softened up that shadow 7. LANDSCAPE TUTORIAL: TREETOPS PART 2: with that same brush, I'm going to dip my brush in a little bit of my charcoal gray and Payne's gray just ever so slightly. Not too much. See, there's not too much on my brush and at a little bit of my titanium white just gonna come up here and I'm going to start creating another cloud layer on top of this white line that we kind of painted on with our larger brush just going back and forth with my brush flat. This is all blending right now. It's not futile work, and I really want to soften up underneath that little line that I put on. So I'm gonna pull that paint down a bit, have it fade into this next layer. See him gently. I'm using this brush. I'm not putting a ton of pressure. It's just really slowly and softly pulling the paint across the canvas and blending it for me. Using this person set of our big brush with this, just like you have more control over the area that you're brush is working, the bigger one and kind of get really big, loose clouds. This one's going to start tightening up our cloud line, really making it more three dimensional. So I'm just having any pain. What I'm doing is I'm just going over all these clouds and where that edge that we had already created meets the sky. I'm adding another layer. I'm just kind of softening it all up. So I'm doing is with my brush flat and was just the paint I've been working with. I'm putting my brush maybe an eighth of an inch onto the layer that's already there. So the bottom of the cloud that have already painted and I'm gently just pulling and rotating that up and down just to soften this whole cloud up we don't want it to pronounced We really want a soft sky. I'm really like and how this is looking so far. So I'm gonna add a little bit more charcoal gray, A little bit of Payne's gray. This blood knows him together on my brush. I'm not gonna have any titanium weight is what I want to do is I really want to soften some of these other layers that we've done so going up to the corner, I was working in some of this color, so I'm just pulling this color down from the corner. I just want to create a couple more shapes of clouds up here. This is a really nice, soft, warm color that will really help. It's what I'm doing is I'm just blending together all of these different sections that we've already painted. So there's light sections light where it meets the darker sections. You seal the contrast in areas. What I want to do is just actually play with those As you play with him, you're going to see how three dimensionally become Aziz. Well, you can see how quickly you could transform the sky with just this simple brushstroke. We have not done much, and we already have a three dimensional sky that's really moody and really soft. So up here, this is a little to contrast it with the white. I haven't added any paint to this. So what I'm gonna do, I'm just gonna gently pull my brush up down to soften that whole cloud up and then I'm just gonna pull it up to the edge. That's what's gonna fade off the horizon. I have white on my brush from working that cloud, so I'm gonna come down here I just work over this dark grey section that we have just add a little bit more lightness to it. I'm not doing much. I'm just pushing my brush like this up and down all over the campus and blending things together. If you find that you have too much lightness in one area, go ahead and grab one of your darker colors. We've used in to go charcoal gray and pains. Great. Use any of those at a bit of that tear brush. You do not need any more medium at this point and start working where you want those shadows to be again. You do not need them to be very dark. If you can see how subtle the shadows are on here, it makes the most statement, especially we start working on our trees. What's fun about this style with painting is whatever section you finish on is the color that you have on your brush. You don't even need to dip it in your palate anymore. So now I have a bit of gray, but I kind of want to create a little bit of a cloud. Shape up here doesn't have to be very pronounced but it's enoughto let the I know it's there. I can show you a little trick that I use just to create a really highlighted cloud. Super, simply so down here. I think I want the hint of a little cloud just peeking through the dark cloud there. So I've already taken just what was already spread out on my palette. It's a little bit of white, mixed with everything that's on my brush. I'm just kind of makes it around a bit. Did not meet much. I'm just gonna go like this and show you something. So if I do a line like that, take the edge of my brush on a side. Just so it's a little bit of the bristles, and I pulled that line up a bit and dance it down a bit and then put my brush on its side and slowly pull it in this direction until I don't have any pressure on that brush against you, starting with a bit of pressure. And then as you move further away, you release that pressure and you allow that cloud just to drift into the other clouds without a harsh ending or beginning. But that's what you can create a really simple, highly Claude with very minimal work. So it's a really fun way to add a little cloud into something I myself would rather that not be so pronounced so I could take a little bit of my grade A little bit of my blue. You can put it on the edge of my brush, This flat side just gonna kind of walk it over the whole thing. My brush over where it's a little bit lighter just so it doesn't get too dark. I was gonna work it into the layer that was already there, just gently brushing up and down and all around it it kind of fades it back into the background, which is what I would like. It could have a little bit of it there. I just want it so pronounced. I really want my trees to be the focal point. I don't want my clouds toe have much definition. I'm just gonna go back and I'm gonna drop my skyline a little lower to make sure that my tree line just adding a bit of white just painting low enough so that when I paint my treetops, I don't have any blank campus showing through. If my tree line happens to be a little higher than where he did, we're gonna, Lord, I had a bit of grace. Now I want to build up this into a darker area again. It seems I think I put too much weight down here. That's what I'm gonna do is I'm gonna add a little bit more Payne's gray, a little bit more charcoal gray and some of that blue not having any white or medium. I'm just gonna pull that across the campus until I just gets a little bit darker. Then I got a blend my layers that were above right into what I created just to create that real nice softness. I'm not using any pressure on my brush. I'm just really gently pulling my layers together. All right, so now, for the really fun part, we're gonna paint some trees. So if you have a one inch brush on hand, it could be at the tackle on or you're pro word white handle brush doesn't matter. Use that. We're gonna block in the darker values of our trees, and you need a bit of a bigger brush I like this one, but it just really pushes the paint across the canvas quite nicely. So to really tie the sky into our treetops, I'm gonna actually use some indigo blue. Whenever I block in my trees, I'm gonna put actually a decent amount of indigo blue just over here. A little bit of medium, not too much. And then I'm gonna take my Prussian green a good chunk of that, because we're gonna be using a lot. Also going to take some of my green earth. You can use whatever greens you have on hand, Onda, uh, tiny bit of my sap green. That'll be fine. So I mixed that together is a fair bit there is not too much. So what I'm gonna do is I'm gonna block in the trees from the bottom up. I'm only gonna do my real dark values near the bottom. I'm not gonna go right up to the top. We'll show you why in a second. So I'm just gonna put this darker value just all across the bottom. Okay? I am. I grab some or into go blue and some more Prussian green, and I'm just gonna go up about that much as I go across this painting on this side of the painting, I think I want some or all of green and sap green more so than in to go blue and my Prussian green just want to create a little bit of variation in the different depths of trees here that we're working with. So take your olive green and take a little bit of sap green. And I'm gonna start kind of building that up around what we just locked in. So just a little bit. You don't need much just in pockets, kind of blend them into what you've already done Really rough. You don't need a ton of paint, but you do need enough just to push it around. Blended up. Okay, so you should have no way canvas in this bottom section. You should have a strip of white toe where we're gonna build up our treetops into the sky. You don't want to be doing that with these bigger brushes because it can start looking really sloppily. We'll be doing those finer detail works with a smaller brush when we get there. So I'm switching out my brush now for one of my fill birds. This is the number 12. Any size around that will do. And what I'm going to do is I mean, you kind of start working on some lighter values up through here. I'm gonna take my son green, gonna create a little spot. We're gonna work with that. I really like the green er's and a little bit of my pressure green. It's gonna mix those together right here with my brush, A little bit of weight, but we'll add more to the canvas in a second. So don't put too much weight here. Just not lighten it up ever so slightly. So now we're going to start building the shape of the treetops. So if you look at our reference photo, we have those three big trees. We have a tree here. We have a tree here, here, and we have the shape of a tree The beginning of a tree here. The reason why we dropped our skyline below are thirds line was so that when we paint our treetops overtop any pieces that are showing look like the sky coming through the branches . I'm gonna establish where I want my tree chopped to be on the far right. And what I'm doing is I'm just kind of gently patting, just kind of gently patting my brushing. It's the campus. See, there's my one on the right. And now I'm gonna start building up the next one, which is gonna be a little bit lower than the how have established that month. It's okay if the sky mixes into your paint right now, we're just establishing where we want our trees to be. Just kind of roughly grab some more paint. And then there's this tree all the way down there. So this is a rough idea of where I want all my treetops to end. I'm starting below the third line on the left side and my treetops air gradually climbing to just slightly above the third line on the right side, we're gonna be building upper light source rate around here, which is gonna create a really dramatic and soft focal point for the guy to be drawn to. So the space that we have been painted yet I'm just gonna start filling in with some sap green and some green earth. Maybe a little bit oppression green as well, but not too much. I'm just gonna fill it in. I pushed gently pushing my brush just like this. Don't worry about the highlights yet. This is already a little bit later than what we've already put down so we can start seeing how it's going to start taking shape as we look across here. So again, I'm just using my sap green and a little bit of green er's and a touch of pressure green, not very much of all of them. So somewhere sap green green er's a touch of depression. I'm just filling in this white space, my brushes on its side, just like our other techniques. But I'm just using a smaller brush. I'm just pulling these later greens right through this whole area. You can see how much lighter these greens look because we're picking up some of that light gray from the sky over here, which is exactly what we want. So that's awesome. There there should be no more white space left on your campus 8. LANDSCAPE TUTORIAL: TREETOPS PART 3: if you just stand back and look at your campus right now, it looks like there's a really dark green chattel that's falling on these trees, which is exactly what we like. But what I want to do is bring these shadows up to really create the proper shapes of individual trees. And then we're gonna put in our highlights, which is our final step. So with this brush have been using to spread across this middle there like you two graphs impression green a little bit of your indigo blue and just mix them together. We're going to start building some shapes. So about two inches into my campus, I'm just gonna start patting my brush from the dark up into the light. It started creating shapes of trees with my brush as I moved. So this is gonna be the shadow, and the shadow is coming up into these treetops. He's gonna be pockets of shadows that come out down here. I don't want to put too much of this darker color up into this later color that we laid down because we're gonna be using some of this of their highlights. It's really nice to have that contrast, had feel with different greens and blues. But you want to put enough shadow up there So the trees come toe life and feel like there in front of each other or behind each other. They they have their place on the horizon. So I'm just slowly pushing this dark paint up to create some shadows where the sun is not hitting these trees now, a lot more shadow down in this area. So I'm gonna actually bring my shadow a lot higher than the other one. You get some more Prussian green, green earth and a little bit of indigo, mix it together and just gently patted. So no pushing the paint like this with my brush that needs streaks and what I'm doing, what I'm doing is patting my brush just like this against the campus and what that does it kind of creates the look of leaves or voyage. So it's really helpful in creating the realistic tree. Look, then, down here, I'm gonna create some more shadows. I'm gonna pull some of this all of green that we put over here with the submarine up a little, take some of my darker color. I'm gonna create a little bit more contrast right in here. This takes a little bit of practice, but it's a lot of fun just to play around with it, cause you can literally create any kind of tree like any shape a tree thes could be huge trees, tiny trees, anything you like. So we take a look at our sky, you can see where light source is actually gonna be coming from this cloud Here is our latest cloud. We've also, with our brush techniques created almost like a rain like feeling like a mist is falling from the sky. So we're gonna be using that to figure out where the light is gonna hit these trees. When you think about where that light's hitting the trees, you can start to imagine where the shadows are gonna be there going to be down at the bottom. We're getting building in trees here that are gonna pop out with the light. Therefore, down here is gonna be a lot darker than we're gonna build up one more tree over here and let the rest fade back. So what I'm doing is I'm just creating some of those shadows to help me figure out where I want my highlights to be in our next step. Play around with it, Have fun Every tree is a happy little tree, as Bob Ross would say and the only lots of friends Okay, so I'm happy with how those shadows are looking. So now for the fun part, which is our highlights and our final detail work on your palate, I want you to take some more of your south green. Just mix it over here on the side. I want you to add a bit of your Indian yellow to that and a tiny bit of your titanium white just to lighten it up. It's a more sap green in there, a fair bit. It's a really cool green is exactly what you'd see if light were to hit these leaves. So what I'm doing is I'm just gonna be putting this lighter green where I feel that this son is gonna be hitting these trees filters down to the canopy, we obviously know is gonna hit at the top. You want a nice light green up there, so that's more white to your sap green, a little bit of Indian yellow and with the corner of your brush. Now, this is a number eight. You can use a 64 or two or one. Whatever you're comfortable with. I'm just using the edge This used to using these brushes. You can use a much smaller one. If you were comfortable, tap it ever so lightly on this, the sharpest edge you have in a little grouping and you're going to create pockets of leaves when you do that makes light colored leaves, which is where the light is hitting your tree. As that sun filters down, it's really important to keep the contrast. So don't put too many light areas. You really want your eye to be drawn to our focal point, which are these three treetops and this undergrowth down here as it filters down. So first we're gonna do these treetops and make sure we get them. I'm gonna add a bit more white to my green. I just really want these to pop against the darker shadows that we've already created, holding my brush just on the edge, and I'm gently tapping it against a tree that I'm creating all along the treetops. Here. There's hints of these lights, leaves all the way across your tree lines. You can add them all the way down while you have that paint on your brush just to build it up. What's really cool about creating realistic trees is they're not perfect. And you have little random branches and leaves kind of coming up above the trees. And that's where you wanna had your highlights to really give it a three dimensional look. So I'm gonna add more highlights down here to the section I'm gonna create a little tree that's coming up in the undergrowth over here. I haven't added any paint to my brush. I'm just working off what is already there. And if you add too many highlights to a section, I'm going to show you what you do just to rebuild it back into that nice contrast between light and dark. But right now, let's just get this down and we'll see where we're at. So this is where our focal point is in our painting. Now I'm gonna build up where the sun is hitting these other trees that are in the foreground. As that sounds coming down, that's gonna hit this tree. I need more white a little bit more yellow to really make these pop. I was gonna hit this bridge and I'm gonna have a bit more of my green, My suffering gonna hit this bridge. Just putting little tiny leaves everywhere. I had a bit more weight, but more yellow. I'm gonna have another French right around here. I need a bit more sub grants. A little bit too yellow, which could have some stop green to that, just gently topping my brush against a campus to give the illusion of leaves. It's a really easy way to create Voyage takes some practice as you figure out your light source and where exactly that light will be hitting your trees as it falls down into the forest. So I'm just creating some shapes here that will let me. I know that this is our focal point. And this is where the light is coming down through the canopy, create a little bit over here. Just some hints of leaves and branches down here. I don't want them to pronounced. I was gonna get too busy pretty quick. You just wanna have hints of things at this point when you're working in the undergrowth, I'm just building up layers upon there's of branches that are filled with different variations of our league. So now I'm gonna take a smudge, smaller brush. I think I'll take this number two Filbert. I'm going to start building up the fine detail work that really makes he is realistic all along the top of my tree line here. So with my tiny brush here, I'm going to grab some nice light color with a bit of extra soft green that we've been working with. I'm just going to start creating little pockets and leaves that sit above you tree. It might be tricky to see, but wherever your treetop is, add a couple little random leaves in the sky just hovering above it. Some were gonna be a little bit darker. Something later, play around with it, but you're going to give the look or really realistic tree. By doing so, we're gonna do a few branches next, But right now we'll just focus on our leaves and I want a couple right there. How fun of this play around is a great time to practice finding out what those subtle intricacies are in nature that can possibly give your painting a really realistic fuel. So I'm adding light dark you name it is working along my treetops, adding these little definitions as I go, I love this part. And as you can see, it's really starting to come to life. In fact, I'm almost done because I'm really happy with how we've built this up. I just want to add a few more leaves because it's kind of addictive. But there you have it. You've just painted a beautiful, soft, ominous sky with some bright, vibrant summer treetops, which, let me tell you, I need right now it is snowing out, and I'm not too sure how I feel about that yet. So this is a welcome painting in my world. I can play around this for hours, but I'll stop. So I'm gonna show you how I do some branches and some tree trunks really softly here in this landscape. So I'm gonna add some white to what's already on my tiny brush here and some charcoal gray because it has the most brown hue out of what is on our palate right now. And I'm not gonna put much on my brush. I'm kind of wiping off all the extra paint. So that is, See if I'm gonna drag my brush along. It's not very much. This is fun, because whenever you look into a force, you often see just hints of a branch or a tree trunk, and I'm gonna add some really soft, muted branches you don't want to use to happen. On a definition, you just want the I to be able to see hints of them, drop them in where they might be seen in the painting. So I think I'm gonna put a couple right down here just gently using the tip of my brush and pulling that later color from the bottom up, and you might not be able to see it while you're doing it. But I will pick up on that hint of what you're trying to achieve, and that's what's really important. Before you keep adding more tree trunks and branches, step back and make sure you want to. It's very easy to overwork in area and add too much detail with this piece. Less is more now, before I call. This painting complete was can add a few branches coming out of the tree, showing that he's in fact, are realistic trees that are not perfect. It's very important. These little pieces really go a long way and making your peace look believable and realistic. A couple little branches here and there just ever so lightly, really delicate lines. You might not even see what I'm doing over there, and that's okay. That's exactly what I want. I'm another branch there. I'm really happy with how this has turned out. We have a really dramatic yet soft, muted sky, and we have a really vibrant focal point in our beautiful green tree tops. The sun is falling down into a focal point, which is right around our thirds line, which we discussed in my last tutorial, and it's all fading into the shadows as the light filters down. 9. LANDSCAPE TUTORIAL: OCEANSCAPE PART 2: this one looked a little too rounded. So now I'm just gonna take my brush. I'm just gonna pull those colors to a bit of a tip and let them fade towards our focal point down here creates a really in a soft, sweeping cloud. Look, I'm gonna do the same appear I'm just gonna gently blend these darker shadows that we just put in. I'm not pushing hard on my brush, but I'm just softening up all the edges that are there right now. They're pretty clunky. I just want them to look like they're part of a cloud speaking. So I'm just gently rolling my brush across them with the face down. I barely have any pressure on this. I'm not adding any paint, and I'm just pulling it down towards a focal point and blending in all the rough patches. Sewing at a little bit more white, very, very little amount Don't need much. I'm gonna come over here when there is a I'm gonna come to the lightest part of this cloud over here and slowly work that white out towards the edges to create the shape of a cloud. But the harder you push on the brush, the more color from your brush, you're gonna transfer onto your campus to see, I just made it really nice cloud, and I'm gonna blend in a bit, so it's not two out of place, and again, I'm gonna pull that down towards our focal point, Got a little bit more white to your brush, and let's go up here and blend in these areas really softly working the colors towards our focal point. I'm not pushing hard. I just want to get rid of all of those really rough players that I put on kind of blend them so they look like a unified quote. So down here is gonna be a nice white section of a cloud pushing a little harder just to get some more of that light paint off my paintbrush. Not too hard. I want these ones to remain kind of dark, so I'm not gonna play with them too much. I think I want a little bit more lightness on this cloud, and I'm gonna have a little bit more white to my brush. I'm just gonna soften up this cloud here, pushing a little harder because it's more of a tight space. I want these clouds to be a little bit more detailed and closer together, So I don't want my brush to be really broad. I wanna close in my breast stroke with a more refined edge. Add a bit more weight to your brush and you'll see when you step back from your painting. All of these little blending techniques are really starting to create a really beautiful sky. Now, play around with this. You do not have to have it look like my sky create your own. By all means, Just have some fun with it. I'm gonna have a just a little bit more light sky down here. So before we had in our mountains on our shore and our ocean we're going I just want to build up these clouds a little bit more So I'm gonna create but more that charcoal gray and that raw number. I'm not adding white to it because I have a bit of white on my brush stone. I'm just gonna create a little bit more contrast right here before we put in our mountains . I really like this color and the feel it gives to the peace a really easy way toe add cloud clears in a painting like this is just a have a simple brush stroke of colored go across the sky. It just gives a bit of dimension to the peace Very subtle, but allows the I to play with what's there just playing with some of the shadows with this color. So I'm grabbing a bit more of that dark gray we just made. I'm just gonna create another cloud line right about here. It's just gonna really balance out the skyline that I'm creating right now. It's really dark and blue all the way up to here. And then it just kind of fades into nothing, which is not what I want. I want to just toe softly fade over here. I don't want it to be such a pronounced drop off. Okay, I'm gonna take my brush. That's a little bit lighter that still have some of that white paint on it. Just gonna blend in this work. I just did just softly running it over top of all those dark colors. I just put on blending them together just to give a little more beautiful look. So take our blending brush. That we're using for more of our darker blending, Just radioing Here, just add a little bit of that color. I'm gonna show you why, when we build up our shoreline, but it's just gonna be really helpful. It's gonna be pretty cool. Okay, Before we add our mountains or any other part of this, we really want to establish a nice straight horizon. So take a ruler or measuring tape or street edge of any sort and reestablish your shoreline . Not do you establish your horizon line again. We're gonna create the mountain. Now, this mountain is gonna be a lot warmer. Doctor Mia's blue. So grab your charcoal grey, your pains grade and use the same brush were using for blending just so all the colors keep transferring back one another. I had a little bit of indigo just really make it flow of the sky, right about the line that you just established for your horizon. We're gonna create a little bit of a mountain range that's gonna fade down towards the sea , right at that third line that you have, you can have lots of peaks if you like just taking my brush and pulling it along down on to our horizon line. Even though we have a darker color on her brush, the under painting is much lighter. That one that we did for the sky. So it's transferring through it already, creating some really nice shadow and light on this mountain range in the distance Really want the tips of these mountains toe have a little bit more shadow In reality, these mountains air right beneath this heavy cloud cover there really close to the mountains. So there's gonna be more shadow on the top of these mountains, so I'm gonna build that up. I'm just gently pushing my brush where I want my mountains toe, have a little bit more shadow and then drawing that gently down towards the horizon. I'm doing that all across. You can have a lot of fun with this and create any kind of mountain you like. And then I was gonna draw that line out like that. So we just created our focal point. We already have the clouds drawn towards it. Now we're gonna help create even more of a focal point by pulling the waves up towards it. So next we're gonna create the shoreline with the sand. I'm gonna keep using this brush that we just used for the mountain. Since already have this dark color on your brush, Let's start in the middle section of our beach. If we add weight to it, we'd lose that dark color and, yes, would be able to achieve our background beach. But up here, we'd have to recreate this color that's on our brush. So this is just skipping a step. So I'm just gonna add a little bit of the shadow. You don't want too much of it, Just a hint and we're gonna bring our brown's over top of it just up to this point on our short line. So what I'm doing is I'm just following that. So if you have a clean brush, grab one of those. If you need to wash one of them, go ahead. This is a one inch brush you can use any size you like. I recommend probably on the half inch to one inch mark just because we just want to do some rough work and rough in our beach. So we have three browns on my palette. I have my van Dyke Brown, which is really warm. I have my wrong number. And then I have my raw umber green shade for this I'm gonna be using a lot of my raw number and my raw, umber green shade And then it makes a little bit of my Turkle gray in a swell just raw umber, green shade and raw number and charcoal gray. If you only have one brown and one gray just makes a bit of those two together that worked just fine. So I have that nice, deep rich brown. I don't need a lot of this deep, rich brown. I just need a little bit of it in some sections of the beach which are right over talk of what we just kind of put down with our other color. We're gonna blend really nicely, so I have my brush on its side as I get closer. The water edge. I'm picking up my brush so that just that one tip is running across the campus and it creates that nice little fade out into where the water is gonna be. This is how you create a nice shoreline. Now, that son of shadow for now, I really need to start lightening this up. It's what I'm gonna do is I'm gonna grab some titanium white, a tiny bit of my medium. I'm gonna grab a little bit more raw number. What you're going to do is again your brushes flap. You're gonna come up to the top because now your colors a lot lighter, right? It's not as dark is this So you can start your background color work too, So pull from left to right. I wouldn't go further than halfway because it's just gonna create a really nice line for your beach at a bit more white to your brush. So it's just a little bit and gently pull your brush across the beach. I am using barely any pressure. I'm just transferring a bit of that white and letting it fade into the water line. As you can see, the water line in our reference photo is not very pronounced, so you don't want tohave harsh edges ending in the water. You wanted to kind of flow into it. I'm grabbing more white, and I'm just gonna keep working this white into this horizon really gently. So you're a lot more work into this area Once I start working on the water. Just want a rough that in for now. So, Russia, would you grab your wrong number and we're going to start building this beach. I'm still holding my brush like this on all my movements are left to right. I really want that Santo look like it is here on the shore and it's greeting the ocean. The waves, in turn, are going to be creating the sand in the same way. This is how you create a really realistic shoreline. You don't want your brush strokes going like this or like this. You want everything to be greeting each other. So by creating these lines with your colors, you are doing just that. As you get closer to the front, your lines are just gonna be feeding a little bit more towards this corner, but very subtly so I'd like you to grab a little bit of Van Dyke brown A little bit of your raw number we're gonna create. It's a contrast in the sand. So what I'm doing is from this dark point where the water greets ashore, I have my brush. I have it almost on its tip and putting medium pressure on it. He was gonna go back and forth, and I'm gonna draw that brush right down to the corner. I'm allowing our I to find some different colors of sand in doing this. 10. LANDSCAPE TUTORIAL: OCEANSCAPE PART 3: I'm gonna Gramps more land like brown. A little bit of raw number Also gonna add a tiny bit of Payne's gray And I'm going to do the same thing for the tip of my brush I'm gonna pull it all the way down this water's edge . So again, I'm just following the Shortland that our first sketched out. As you can see the reference photos, Santa's a lot darker where it starts to greet waves. So we're gonna grab some more Van Dyke brown. We're gonna grab some green number and some raw number. Mix them together somewhere on your pelvic where there's room, you can add a little bit of charcoal gray A tiny bit of that blue we've been working with I don't see what we're looking at. The color can It's really nice From the end of this line that we just put in our sand I'm gonna pull some more sand So let me show you what I did So I push my brush right on the edge and I walked that brush back towards the left in a grab some or that dark color. Do that again. You keep walking that sand this way So through this whole painting, we've been pulling the eye towards this focal point. So I'm gonna add a bit of white to my brush, gonna grab it more Van Dyke brown A bit more somber. And I'm just gonna work on this light patch of sand. One of the tricks to creating a really realistic shoreline is to not over blend the layers that you do. We're using different colors and different shades throughout this sand. You don't want to blend them all together. If you have to go back and touch something up, try and use the same color that you used in that section, don't you? Just whatever's on your brush, you might lose that magic that you're trying to achieve. It's gonna grab some more of those dark color just gonna rebuild up some of these shadows by pulling it up onto the beach a bit more. I want to fill this in with a bit more Van dyke brown and titanium white, A little bit more weight than that in certain areas. I'm just pushing pretty hard on my brush. Just transferring whatever I can into the sand. Now I want this to be just a little bit darker, so I'm gonna grab some My raw umber, My remember Green Shea Little van dyke brown on a little bit of my charcoal gray. I'm just going to work my brush across the sand just like this. I only have this section to go. I would like to use a little bit My raw umber green shade and my white I'm just going to maybe a little man like brown and white. I was gonna fill that in back and forth, pushing to our to my brush. Just transferring a little bit of a lighter brown on. Now we're gonna play with this until it looks fantastic. This is just getting that white space filled in so you could get a fuel for your shoreline as well. Of where you want your ocean to meet your short. So I picked up my darker brush that I've been using just to get these darker colors. When I grab some of my charcoal gray a little bit of my indigo blue he grabs a fund like brown in my raw umber green shade. I'm gonna make another little mix of that. So again I really want to soften this up. This is far too dark for what I want. So I'm just gonna pull my brushes on its side. I have it on its edge where it meets the ocean. And then I'm slowly pushing the whole thing down so that more paint transfers onto the campus and pulling it to the left. I'm gonna do this down here as well. On this little he's a sand pulling it to the left. You can drive it back down, just play with it until you achieve the look of a sandbar coming in from the ocean. It's still a little too dark. So what I'm gonna do is I'm gonna start working a couple of these sand crops over here simply like that, without pushing too much pressure on your brush. You can really soften it up. I'm still going left to right. I'm keeping my brush parallel. It's not doing wonky brushstrokes. It's pretty uniform. Now, down here is a really fun little trick. But I've learned before we build up the waves, I'm gonna show you how I do this. So I'm gonna grab some more of that dark brown that I've been using. I'm just gonna fill in this white space of I forgot. Now this blue is exactly what we used in this guy. So it's a nice, perfect reflection, but the sand has more brown in it, So ever. So gently hold your brush like this, and just back and forth just once, transfer a bit off that brown that's on your brush into this area. No more than that. Then you take a clean brush. Any clean brush will do. That's a little bit bigger. And you just go back and forth like this a few times, not too much. You still want someone that blue to come through and then leave a B because we're gonna come back to that in a bit. So our final stage for this painting is the ocean, and it is a lot of fun to create. The ocean is gonna carry along with these earthy tones, and it is the blue tones up in the sky. So for the water, keep your brush that you've been using to do all this work down here on the sand, whatever. Paint whatever brown paint that you had on your brush in with that Prussian blue. So once you have that blue or the closest thing you could get to it at a little bit of your liquid, like jell just till it pools easier with your brush flat. You're just gonna pull a little bit of that paint probably through to your first upward line from your grid. Okay, so it's just gonna be just like that too much. Just don't need much. That's all that color ocean that is showing, and that's all you'll need. We're still gonna use this brush in this color that's on this brush, but we're gonna add a lot more white to it. Now, Now we're gonna have a big white waves working through here right underneath that dark blue section to push down your brush and work this new color that we just created just along that bench. Then you're gonna add more white, work it into your brush, let's nicely mixed in, and you're gonna go and add it underneath that layer you just put on and then this white since it's much later, we want that right up to our horizon line, and you're gonna keep pulling your paintbrush until it meets your shore. All right, I'm really liking these colors there's gonna blend it a bit more. We're still going this way with our brushes. Okay? We're not pulling this paint down this way. We're not pushing up or go inside the side Left to right. When we blend, we're doing the exact same thing. You don't want to lose much of that dark color, so don't spend too much. Now we're gonna add even more weight to our brush. Were not adding any other colors were Just keep adding white. So don't have any more liquid like Jill at the stage where one or pain to be thick and you'll see why in a second. So our next layer is even more white. So we're gonna add that not a bit more white, And I'm still going left to right. And I'm bringing that white right up to my shoreline, the sand that I've created. If some brown gets in your weight, that's totally fine. We're gonna be adding some of that and pulling it out into the water. Anyway, I'll show you what I mean in a second here with this brush that you have been using, that you being continually adding more and more white too crab. A fair amount of titanium white onto your brush. As you can see, I have a lot. You're not gonna be pushing hard with this. What we're going to be doing is creating your first waves. So let's start at the top here, about half an inch below the horizon, We're going to create our first wave break. So what I'm gonna do is I have with my tip of my brush, I'm gonna push some paint onto the canvas and leave it. It's gonna be a thick layer. That's fine. And I'm just gonna keep working that paint across like that. It's not gonna be perfect right now, but we're just creating the beginning. And then that wave it was right up to the horizon like that Wave number one complete. So get some more weight on that brush yours. We're gonna create some more waves that are in front of that. So we're gonna come ID, say about one more inch from where your waves just meant the horizon Come forward. We're going to create another line of waves, so push a little bit onto your campus with your brush. With a little bit of that weight transfers and keep where can your brush all the way along Creating little waves Just like this again. I'm going left to right. I'm not blending. I'm literally just putting white onto the campus on top of the layers I've already created . And already you can see how the waves air coming to life. You don't want to create too much dizziness with these waves. We already see them coming in, and they're really beautiful and awesome. Now we're gonna create the surf. So I have a lot of weight on my paintbrush. I'm gonna come close to the shoreline, and I'm just gonna tap my brush along the canvas, transferring some of that white paint off. I'm just going to start creating the look of that nice, frothy water coming to the shore. Now, all that doesn't come directly to the sand kind of flows back just like a wave pulling back and forth So you don't bring it all the way up by topping your brush on the canvas. You're creating that look of frothy water, I suppose. A smooth water. So a neat trick when you're creating waves on a shore is to follow the shoreline with your white, but keep it a little distance away from your shoreline, so it gives the illusion of a wave that's come in and pulled out or wave. That's just coming in to greet sand. So way up here, there's gonna I had a bit of white there, all the way down this little shoreline. I'm just going to give the illusion of a wave that's either coming or going, but not one that is right on the sand. I just pulled us out. Create the little waves by just tapping your brush against the canvas. Don't blend it too much. You really want to achieve a little bit of contrast in your water. So, like you declined, grab a clean brush. I have a three. It's brush that I'm gonna use. You can use anyone that you have on hand that's a little bit bigger. Nothing to find detail, because what we're gonna do is we're going to start creating the look of these waves greeting the sand. So, as you can see right here I have a dark brown line greeting white, wavy, frothy awesomeness. What I want to do is I really want to soften up the waves greet the shore. So I'm really gently pulling some brown out into the water along and then pulling some of that white back up onto the sand. It is a super delicate pressure on your brush, and you just keep going back and forth until you see a lot better blend happening between land and sea. I'm not pushing hard, but I'm making it look a lot more realistic by doing this down here. I have a bit of white on my brush. I'm gonna create line just like that. It's showing where the water just was on the beach. This is the reflection, the water left on the sand as it receded back into the ocean. I'm gonna do some fine detail work in this area soon, but these are the exact colors I want in the same exact vibe I'm going for. So I'm just gonna keep blending some of us in to make it look realistic. And you want to keep the same left to right brushstrokes so that the water looks like it's all flowing in the same direction. So you can keep playing around with this for hours. I absolutely love this part of painting. It is so much fun to see it all come to life at the final stage is take a flat brush. I have a nice crisp edge on it. This is the number eight you can use any size. Really? And we're just gonna do our final wave detail work right at the beginning of each wave. I'm just going to put a little emphasis on where that wave is meeting the shoreline. By doing these really small, detailed brushstrokes, you're really creating realistic water line and shoreline. So I want this wave to come in a bit. So I'm putting a bit more weight there. He's going to do that all the way up, using my crisp edge. I'm just going to added here and there along the shoreline just to give more definition to what we've created, especially up here. So as you go up the coast, the ways become really small to the point where they just look like specs. So this fine tip is absolutely perfect to do these final, distant waves where they meet the shore. They're literally just a simple line across your canvas that's super subtle, but it's gonna give the final touches to your painting and really finish off your depth of field up here. You can play with this for hours. Water is so much fun now that you know the basics. I hope you have a lot of fun with this. 11. LANDSCAPE TUTORIAL: WINDSWEPT PART 1: So the first step for this third and final painting was gonna require a little bit of patients. What we're gonna do is we're gonna paint the entire canvas with our sky blue, and then we're gonna let it dry for 24 hours before we start beginning to build up the actual painting on top of that blue. It took me a really long time to be able to build up a really beautiful, realistic sky using the wet on wet technique, which is what we did in the previous two paintings. So with this painting, we're gonna painted in a blue sky, we're gonna let it dry, and we're gonna build up our clowns on our little mountain scape on top of that, after it is dry. So for the first step of this painting, all you need on your palate is your titanium white and your oppression blue. I also have my medium. My liquid might shell over here in the corner, and that is all you need for this very first step. What we're gonna do is we're gonna build a blue sky and any time you walk outside, so any time you walk out, you can see that break blue sky. It's a lot darker up high in the sky and as it face down towards the horizon, it gets a little bit lighter. So we're gonna create that same effect with our two colors here with our blue and are white . So first, I'd like you to take a little bit of your medium liquid like Joe, and we're not gonna add any white to our blue. You're just gonna get a fair amount of blue on your brush. You don't want globs of it, But you wanted just to be coated on the top. I think she had just a little bit more liquid like jail to that just to make it easier to push around when you gonna start at the top and just put that blew straight across. It is bright and beautiful, so I chose to use pressure blue for this piece. You do not need to use this blue even use any blue you like so long that is not into go. So you do not have to be using brush and blue for this painting. You could use any blue that you like, so long as it's not into goat and so long That is a nice dark blue. You don't want to need the lighter shades cause it's not gonna translate as well. And when the look, we're gonna go to war So take your pressure blue, add some looking like job on your brush a fair amount And in our typical technique, put your brush against the campus. Put some good pressure on that brush and begin moving your brush around along your top layer. I'm gonna grab some more of that blue at some liquid gel. Not too much. You don't want the paint to thick on the cameras. You just want enough to push it around again on the next layer down. I'm pushing my brush really hard against the canvas straight across the next line. So the reason why we're pushing so hard on her brush to move this peach around the campus, it's really gonna blend out that entire blew across the campus. You're not gonna have chunks of dark blue in certain sections won't look that realistic. So just Monday not around you could be smaller circles for certain sections. We're gonna take the same brush, dip it in some liquid might jolt. Also, that's old. A fair bit of titanium white to that. As you can see, my brush has a fair chunk of that white mixed in with the blue that's already on my brush. You don't want all white down here. You wanted to be just ah lighter version of the blue were working with. You're going to take your brush and just pull it right across the bottom of those canvas. So the mountains in this painting are just along the bottom line here, they're about one inch up off campus. So just put that line of lighter paint right across the bottom. You don't want it to be super light. You do. Just wanted to be a slightly later version of what you're working up in the sky. We're gonna blend this across That makes you put a good amount of pressure on your brush. As we push it in a circular motion all the way across, we still this middle section this blank. So what we're gonna do now is we're gonna go back with this same brush and just pick up a little bit more oppression Blue at adopt of looking. What jail to that tip just to help move this across and we're gonna have this right through that middle section that we haven't yet. Make sure all the canvases covered doesn't have to be to be blended right now. We're gonna do that in a second. We're just getting all the paint down on cameras. So if you stand back and look at your piece, we have our darker blue We have our middle blue and we have our light blue that looks like blue neopolitan ice cream. So now we're gonna mixing this altogether decreed a really beautiful, seamless guy with this brush that we just added to here. So with the same brush, no added paint this line between our light blue and medium blue. We're gonna just work that you don't need a ton of pressure at this point. Now we're just gonna be blending the sections together. You just gently not too much pressure, but just jumping, going along That line that we've created between lighter and the darker as you do that keep moving up about half a niche and repeating the same amount of pressure as you do. You're transferring a slight amount of that lighter paint into each layer that you're going up and it's helping to really blend together all your blue from the bottom to the top without see the lines in between. You're creating that start flew down to a slightly lighter blue, Very just keep going up all the way to the top. So I'm super obsessive. A painting, a really fall a sky. I really like it. Just look exactly how it is in nature for this thought. We're gonna be covering a ton of this in really beautiful, wispy clouds once it's dry. So don't worry. If it's not perfect, it's still going to achieve the look you want to go for. So now that we've created are flawless blue sky, we're gonna let those dry for at least 24 hours. I know some of you are having issues with paint coming up from layers. You want this to be super dry to the touch before we put our next layer on. If you're to start working clouds on this and it was not completely dry, the pain from the bottom layer was start pulling up, and chunks of Caymus will start showing a couple of my students have already had this issue . So tow. Avoid it completely. Just make sure this is super dry. You should be able to run your hand across this campus and no paint should transfer onto your hands, not even a hint of it. 12. LANDSCAPE TUTORIAL: WINDSWEPT PART 2: This is a very simple palette for this painting. We have titanium white, Prussian, blue, indigo, blue, charcoal grey, Payne's gray and I have my liquid like Jell O. So using some white, we're gonna rough in our mountain ridge down the bottom. So grab a tiny bit of your liquid like Joe on your brush and a little bit of your titanium white. Not too much on your brush. Just enough that you can able to see a line over your blue of where we're gonna put our mountain So on this side I'm gonna keep my mountain About one inch off the bottom of the cameras I'm gonna bring my first peak so that it's well before my halfway mark on my campus It's gonna create that wonderful focal point that draws the eye to the left. So I'm gonna put my first little peek here now it's not too big. We want the clouds to be the focal point on this painting. So from that peak, put a little tiny one right here just to give some more magic to this piece. And I'm just gonna draw my mountain line all the way down over here. I think I'll add one more tiny peek here. Whenever we go toe block these in with color. It will be way more pronounced, but just gonna give you some idea what's happening on the bottom. One of the greatest things about oil painting is that you can transform your painting as you're going. If you do not like how this ridges looking as your cloud, they're being built up. You can change it really easily, so let's go ahead and block in their mountains with a bit of shadow. So I'm using indigo blue Trickle gray Payne's gray in a tiny bit of my Prussian blue, mixed all together here on my palette. It's really important to add a tiny, but oppression blew into all of the different colors that you create on your palate. We only use that Prussian blue for the sky. We didn't add any of these other pallet colors in there, so it's really important that we add a tiny bit, too colors that we create on our palette so that it draws that sky into the clouds and into the mountains. It's not gonna be just a stark difference between gray and indigo and white over this Prussian blue sky. We're gonna bring that Prussian blue into our clowns ever so slightly now for painting wet on wet. And we didn't wait for this to dry, you wouldn't have to add pressure blue to anything because it would automatically lift into the layers that you paint over top of it. But since this is dry, you want to include a little bit of pressure blew into all of your cloud work where you add either a shadow or a low light. All right, so we've made our little color here, using ah, fair amount of integral. A fair amount of charcoal in the fair amount of Payne's gray and a touch of Prussian blue were adding a tiny bit of medium. You don't need too much. This is a small painting, so it's going to be pretty easy to move the paint along the campus. Now what I'm gonna do is just at the base of these mountains I'm gonna block in that shadow . So I'm gonna pull my shadow up and leave it. I'd say about 1/4 inch from the rough in lines that I created with my white paint, whether to be snow laying on top of my mountain. And if I bring my dark color rate up on top of this edge, my mountain were grow because that ad snow on top of that, I don't really want this to gain any more height than I have already established. So I'm bringing this darker color just up a little bit to start creating some of these shadows of this mountain ridge that's down on the bottom. As I come over to this side, I'm gonna add just a little bit more Payne's gray and a little bit more Prussian blue just to change some of these shadows up a bit. I'm using the same brush so these color is still transferring. It just creates a slightly different color over on this edge of my mountain, rich. So I'm gonna leave those shadows, just as is it's enough. Something I can understand where I want my focal point to be, how I want my clouds to roll off those mountain peaks. Now, this may come as a shock to you, but I want you to grab your two inch brush. What we're gonna do is we're gonna block in just with titanium white and a little bit of our liquid like job. There's not much paint on my brush. It all really light amount that just covers the end of your bristles. And we're going to just block in a really love idea of how we want our clowns to sit in our blue sky. You know, this could be a daunting step. You've created this really flawless background and now you're gonna just start putting white paint all over it. You can't mess us up. I'll tell you why. Nothing in nature is perfect, and clowns are just unique and one of a kind. No matter how you paint, um, they're gonna look like a cloud. So don't worry. And just have some fun with this. So I'm holding my brush so that it's up against became this like this. I'm not gonna push hard. I'm just gently resting it above the campus. What I'm gonna do is so right above this mountain peak, I want to start creating a wispy cloud that's gonna dance up and out into this corner. So without much pressure, I'm just gonna dance my brush across like that. Now I've created a feel of how I want my wind to be pushing these clouds through this skyline. I'm gonna come down here. I want to create a couple more wispy clouds to join in this. Now, for those of you have done my deep, quiet landscape, just like with fog. You want to create the movement off the clouds with your brush? If you were just a put a line here, a brushstroke here, it's not gonna look realistic. You have to create the movement. So every single time you put your brush on your campus have a purpose for where that brush is gonna go, just like becoming the fog you need to become the wind. So what we're gonna do is I want this to come around into a big cloud. I don't feel like that Wind is pushing it in a circular motion across seas mountain ridges . So up here, just put a tiny bit of pressure on my brush. I don't have much paint on there, and I'm just gonna block in where I want my big cloud to rest. This is just the very basic player. So follow the line of these wispy clouds that will be created in greater detail soon. Imagine that my brush is the wind pushing these clouds up performance piece up here. Now, I want this wind to be coming from this side of the campus and pushing across. I want some clowns coming in right around here that are just running parallel to this mountain ridge. So I'm gonna add a little bit more weight in a tiny bit more liquid like Jell O. I'm just going Teoh rough in a couple clouds along this ridge that aren't quite as dramatic , thes ones coming up just a bit, but not very much. I'd like to create a cloud that comes up right above this mountain peak, my focal point that mimics the curve of this wispy cloud that we're gonna create in greater detail. So what I'm gonna do is right above my peak. I'm gonna start my brush, and as soon as it passes it a little bit, I'm just gonna curve it back like a reverse e just like that. And we're gonna play with that and create some really neat detail there that's really gonna create that wispy feel. But now we understand where we want the bulk of our clouds to go. We're gonna get a really big cloud up on this area right here. So I want you to go ahead and grab some titanium white and a tiny bit of liquid later. Not too much of either, and appear in the corner. I'm just gonna start filling in the cloud ever so slightly. Now I have a little bit of blue from my easel. That's transfer around my brush. So that's where you're seeing a bit of blue there. Just ignore that A little bit more white, my cloud to start here and come just above the halfway mark I'm stopping. So it's not right down to the middle just above I just really like how it's sitting a little higher than all this drama that we're gonna create down here at a bit more titanium , white, tiny bit of liquid. Right, Joe, I'm putting a fair amount of pressure on my brush to support this pain along. And I'm remembering that I'm also the wind forming this cloud as if I was Augusta Wind pushing across the landscape. Thats color that we created to rough in our mountain ridge Here. I'm going to grab a little bit of that on my brush When you mix it around, I don't want to dark. That has every color that we need toe create a bit of shadow work. I'm actually gonna add a tiny bit more charcoal grill. I kind of want a bit more warmth to backers. There we go. I'm using the same brush for my cloud of my white brush. Have just added this shadow color, which is a combination of essentially all these colors which is just heaviest with the charcoal gray. I'm gonna go up to this cloud and I'm just gonna push my brush pretty hard on the cameras. I'm gonna block in a few shadows right up here. Grab a bit more that color if you have to make more. So grab trickle gray. A tiny bit of indigo. Tiny bit of Payne's gray In a touch of your oppression Blue can't forget that I had a bit of wine under one too dark the underside of these clouds. I wanted to look as if this cloud is billowing this way. So I have to create shadow to make it look realistic. You're gonna add some shadow The base of this cloud here. Not very much. We're gonna add some shadow coming down. It's from here. A little bit of shadow coming along our mountain peak with that same brush that has our ground It I'm not gonna pick up a bit of titanium white. I don't need any liquid like jell at this point because I've already mixed that into my base layer that I'm working on here with the white. I'm just gonna start blending this darker color in with the rest of the cloud, so it's not quite so pronounced. I'm not pushing too hard. I have my brush flat against the campus. I'm working in a circular motion and I'm transferring the white paper. It's all my brush into the darker layer and I'm pushing it around. And what that's gonna do is really create a three dimensional look to my cloud. Clouds are just white fluffy things that sit in this guy. There's a lot of different colors that play into them off the landscape below. So I just didn't really need effect with this brush on the very corner tip right here. I pulled the paint ever so slightly from the area that it was working and what that's done is created a tale to the cloud, and it looks as if the wind it's ever so gently is pulling the tip of that cloud back into this little gust that we're creating. So I'm gonna pick up a bit more white on my brush. I haven't added any other color to this. Also, it's gonna keep playing with this big cloud, adding white highlights in all, not shadow that I just teach it in. I want another white highlight. Just back up here. Just where that light is hitting this club. Give it a little bit more so I don't have very much pressure on my brush. I'm just kind of dancing it along our campus. Have fun with this. Clouds are not perfect. They can become anything you truly want them to be. We do not have to look like mine. I'm just showing you the techniques to create different looks to your cloud, and you get to have fun creating whatever comes into your mind. So I keep adding some titanium white, just a playoff. These shadows up here, right here. I think I want this to trail back into this blue area a little bit. So I'm taking the edge of my brush pulling some of that weight right down and back. As I pulled this brush across, I lifted off the campus and allows that painters to trail off into the blue go back over here at some are wide. So with just the white on my brush I'm starting Create a little bit more definition to my clouds I'm holding my brush flat against the canvas It's on Lee White on that side and I'm just jiggling it along As I get to a point where I think that cloud should trail off I lift my brush from the campus. We're gonna be touching all this up with some finer detail work and some smaller brushes just creating the overall mood right now. 13. LANDSCAPE TUTORIAL: WINDSWEPT PART 3: I want some pieces like that down here. I kind of want this to be a little bit more white. I'm just gonna add some white down here right down to the tip of my rough in for the mountain edge. So I like how this over here is in shadow. But what I want to do to create three dimensions I need something that's really nice and white that's gonna make it pop and feel like it's coming towards person who's looking at it . So with no other paint on my brush, I'm grabbing my titanium white. You need a fair amount on your brush. You don't want too much, but you need enough That's gonna make it pop. So right here I really want to create some light hitting this cloud. So what I do is I have my brush just on its tip, the corner touching. As you can see, it's already transferring some of that white. I'm just gonna walk it like that a little bit more. Then I'm just gonna gently That's a little bit more white around the edges with the under side of my brush. So I'm just blending in a little bit and pulling that white back towards our big cloud, and I'm gonna push that right into the movement that we're creating. So I really like how this is starting to feel. We have a lot of work to go in terms of creating detailed clouds, but I really like the feel of it. I love how the wind feels like it's pushing along the tops of our mountains up into the corner of the sky and background is creating a really nice focal point in this area. This is my one and short handle brush. You can have anything in that size that you have or close to. It doesn't really matter. What I'm gonna start doing is I'm just gonna start blending these clouds to make them look a little more realistic. The brush we were just using leaves a lot of bristle marks and makes them look really rough . So this is just gonna help soften up what we just created. I'm gonna take a tiny bit of my liquid, my job and a tiny bit of titanium white on my brush. It's not very much on their at all, and I'm going to start working, say, on this cloud right here And I'm just going to pull the edges ever so gently and run my brush along What I've created and really soften up that rough brushwork. And it's just blending together those rougher brushstrokes that we didn't You can see a lot of the bristle marks and what we've just created with our larger brush. It's just gonna soften all that up So I don't have any extra paint on my brush. Just gonna keep softening up these clouds that I've created and building a bit one depths I want this cloud come down here a little bit more So I'm just pushing of his brush on the canvas, putting a bit of pressure pulling some of that paint down towards our focal point. I'm gonna add a little bit more titanium white. I'm not gonna put any liquid. Might joke because there's enough on these layers already. I'm just going to keep flying with the squad right here, pushing on the canvas. I'm pulling those clouds out to where getting some movement for just to put a line here. It's not gonna look a really realistic cloud, but if I blended up into its surroundings and pull it down a bit. Maybe there's another wispy cloud coming out from it. I'm just creating that circular feeling with my brush and lifting it off as I get to the apex to create a more defined edge in the cloud. Instead of having your brush flying flat lifted up on its edge, the paint that's on your brush is gonna come out in a line just like that. That's a lot of fun to create some interesting shapes within your cloud. So play with that as you work through this piece. So you pick up some more titanium white, and what I want to do is I want to create a little bit more dynamic and light and shadow through this area. So coming down from here, I want that to be closer to the foreground. I want that to be tough with light, so I'm just dragging that weight paid that I had on the side of my brush gently across sections of the cloud that I think need a little bit more highlight to them by adding some what you're making the club pop off the campus by adding a little bit of a shadow color. You're pushing it back and allowing a little bit more depth to be created. So manning some titanium, wait to my brush, play around with the amount you need to achieve what we're going for right now. It's not a glob of titanium white, it just covering all the bristles. So next I want to add a little bit more drama right over this peak that we're gonna be highlighting very soon with snow. So I'm going to just pull my brush like that So it's flat and jiggling it across the canvas And then I'm just letting go as I want that cloud to fade into the blue So again congrats more titanium white I'll do another one right about here Some jiggering it along the cameras I have a flat And as I want this cloud to end I'm gonna be picking up my brush show The tip of the brush is running along the campus some more just like this. And as I reached the point where I want that toe fade into the blue I lift my brush off the canvas to create that faded look, see how simple that is? I'm just gonna pull that weight just down around here A little bit creates a more highlights in this area. Gonna highlight up here? I really want this to have a wispy feels So at the end of all my brush strokes I'm pushing my brush in, twisting it around and lifting it off the campus Just wanna make this cloud feel a little bit more three dimensional. So you add some more highlights up here. So I just grabbed a bit more titanium white on my brush. Just gonna add it in sections, gently run my brush over the areas that I want to lighten up. So I'm not using any liquid night gel as I am Titanium. Wait. I don't want this pain to be too thin in these clouds. I want to be able to push it around and for it to hold its place. So again, I'm just gonna add a little bit of titanium white to this area to create some highlights. And I'm still following where I want that win to be bringing this cloud. So I'm starting here on creating that curved highlight, not pushing hard with my brush just enough to pull that weight across the cloud. You know, put some more up here. I'm gonna put a good chunk of weight up here in the corner. Pull it down just like so Play around with this. It takes a little bit of practice to understand the depth of a cloud and where your highlights and your low lights are, files are never perfect there. Never perfectly symmetrical. They're place. Didn't really strange way sometimes. So have some fun with this and really play around. So I'm gonna add a fair chunk of titanium white to my brush. I really want this cloud to have a really pronounced bottom layer, so I'm pulling my brush along the bottom. There's a bit of paint on there, so don't be shy with the pain here. And then I'm gonna blend that lightness that I just put on here up into the cloud so that it looks like it's actually part of the cloud. If I would just leave it really bright and white, it looks really out of place because it doesn't really have a whole It's not connected to anything. So we're blending it up into this big cloud now, playing some or titanium white on my brush, and I really want to just create some really neat edges and lines to this bottom cloud. So I have my brush. So it's up on the edge. I just going to walk it along in a wavy, fun little line. We're gonna fill that in and let it all up that I'm gonna blend it with my brush down that side and just play with it like that. You see how simple it is to create movement of clouds? I barely have any pressure on my brush. It's just a feeling it's just following. What do you think that wind is blowing this cloud or is blowing up on around and creating this vortex of movement? Up here, it's the most subtle brushwork that you add to a peace that really gives it light. I have no more paint on my brush. I'm gently just pushing my brush into the campus, where I wanna be the highlight underneath the shadow area, and it's giving it a really beautiful look to it. So I'm feeling that this area needs a bit more attention. It's a little too stark. I want to build this cloud a little lower. I feel there's not enough happening down here. So what I'm gonna do is from this wispy area that we've already created just gonna bring down another line of cloud and I'm gonna gently pull this base layer towards it just to incorporate it into the scenery, recreating my brushes flat on the service. And I'm just gently running my brush over this area to create some really wispy clouds. I just want to create a little bit more of a dynamic look off of this highlighted cloud that we did. So I have some more titanium white on my brush. I'm coming into this section here. As I followed that curve, I'm gonna create some pushing my brush along the campus and pulling it up as I get to the end of where I want that to sit. I'm just gonna blend the minute bit, create some softer clouds that might be floating behind this big shape that we're creating here. Just have fun with it. So I'm gonna add some highlights over here. Just drawing some titanium weight across that shadowed area. And right here I want some more highlights. It's like that we have a lot of wispy clouds going on? I think I'm gonna soften this area just a little bit. So there's not so much happening. I'm gonna take some titanium white on the same brush on music. I'm just going to blend these island almost one clouds just on the edge of what I've already done. Just going to blend all this together before. There was a lot of different sections. I just want a couple them to be blended together, so it's not quite so choppy. I have medium pressure against my brush. I'm just mixing some of those layers that we've put down together just to create a little bit more the background to this area. We're gonna add some shadows and highlights of smaller clouds here. That's really gonna make this pop. So I like how this is coming together. So using that lighter gray that we had already mixed earlier to create these shadows and are clouds, let's add a bit right here. And I'm gonna show you how you can create some really pronounced cloud. So I have my grail, my brush and pushing really hard into this canvas. I want to create a cloud this line parallel to our mountain tops, So I'm pushing pretty hard. I'm just jiggling it left to right as I pull it across the campus and then as I get to the edge of middle lifted up so that is not quite as dark. I'm gonna carry that shadow this way a little bit, and then I'm gonna go, and I'm gonna blend it in to that bottom way or ever so slightly. Just so it looks a little bit more three dimensional. See how much we push this bottom layer back just by adding that shadow layer. And all we did was take some gray on her brush and push it into the campus and pull it from left to right. The simple little shadows that we're adding really make your sky come toe up here. I want some more shadow right about here to break up this cloud. So again have gray on my brush. Same great and pushing into my canvas that I'm running it along the bottom. I had a bit more great cause I want a second level of cloud coming up here using just a bit of the greatest left on my brush. I'm gonna add a few more shadowy areas into here. You don't need much. The easiest way to learn and get comfortable with the stuff is to experiment. So make sure you play around with this and have a little bit of fun. And I also wanna have just a hint of that shadow right here. 14. LANDSCAPE TUTORIAL: WINDSWEPT PART 4: I still have that ground. My brush from the shadow work. I'm also going to create a couple clouds that are just what I create. Just a little rigid clouds hovering above our mountain range. We're gonna add a lot of weight to it to soften them up. But I just want to have a little bit of a more dynamic field to these little clouds that are over here. So I put the 1st 1 relatively parallel to our mountaintops as I move up, I want those clouds to form a bit more of an angle coming down just ever so slightly towards what we just created. This is just helping create a balance with all the movement that's happening over here. If our to do straight clouds all the way across is no, no, look quite right because it's saying that it's really windy here, but that I just know wind in this area. So this still shows that there's still some movement over here with the same brush that has the gray on it. I got to pick up some titanium white. I'm just gonna pull it across the top of the shadows that we just laid down for these little clouds. Add it to the top of all these shadows. Now I'm gonna take a clean brush. It could be anyone that you have. This is a number 10. I'm just going Teoh, blend the shadow up into the highlight ever so softly. I'm putting a little bit of pressure just to mix them together. And I'm just pushing my brush along the canvas following the horizon. So I'm just gonna keep showing you various techniques that you can add to your own piece. Here. There, you don't have to add. All of these is becoming quite busy, but my home goal here is just to show you how to do clouds this way. So, to my smaller brush, I was just using on adding some titanium white and I want to create more of highlight right in here. So I'm just gonna add that weight on like that and then I'm just gonna gently blend it into its area, coming back to our shadowed areas that we popped him. I'm gonna show you how to create a really simple and pronounced cloud. Take a fair bit of titanium white on the brush that you're just using all you have to do is on the top of this shadow that you just created. Drag your brush across it and just keep dragging your brush across it and changing the shape until you like what you see. That cloud is really close to the viewer now. It's very pronounced. It's very bright, and it adds a really cool dynamic to this whole area. So I'm gonna use this shadow here and we'll build up another club just to show you just adding that bright weight on top blending and ever so slightly, but not very much. Now we have these clowns that are in the foreground. If you're happy with it, you done. Just take your larger brush and you could blend it back in and it's disappeared. That's what's fun about oil paint. These pressures a really great just to add a little bit of extra light to an area rial specified area, so I just want that to become a little bit more bright. I will push this ever so slightly up into the shaded areas so that it blends in a little bit. Pull it out. I can do this for hours. I'm just showing you how you can add certain highlights Two areas to change the look of your cloud like this. It's gonna make it pop more. Now I'm gonna put all these highlights and just like this, and I'll show you how to do a quick blend if you want these clowns to feel a little bit more united. So look, I'm putting in all this weight highlight like that, this looking kind of choppy. So take your brush that we're using for our Ruffin. Take the lighter side that you were using. Just gently go over the highlights that you just put in ever so softly. And it's gonna blend them a lot easier than using a smaller brush, but still gonna keep a lot of those highlights there to these bottom clouds just adding white essentially anywhere. I feel like I want a cloud just to be a little bit more pronounced and then blending it back by pulling from where I put the paint out to the left and raising my brush as I get a little bit further away from that starting point allows that highly to fade into the cloud that's behind it. Go out another highlight cloud just down here. I'm just adding white to my brush. I'm pushing it into the area and just kind of dancing my brush along until I see a shape that looks kind of neat. I think I want a nice, bright area of a cloud right up here. I don't need my shadow underneath of it. Just gonna put highlight here for fun. There's lots of different techniques to doing clouds with the white that's on your brush. You could top your brush against the campus just the edge of it, and it changes the look of the clouds completely their smaller little clowns. Just by using the edge of your brush, every shape you can imagine can be found in the cloud. So have some fun playing around with highlights and brush strokes. So we roughed in our mountains of the beginning of this painting. Now let's put some snow on top, um, and finish off our detail work. So I still really like where this peak was hitting. So from my left hand side of the canvas, I put a fair amount off white onto my brush. I'm just going to drag it along the top line of the mountain that I had John in had some more white. I really want this to be a bright white because that light from up in the sky is gonna reflecting off this snow. So make sure you get a good corn will be a paint on your brush We'll blend it down and make these mountains look realistic after we're just getting it blocked in so that we know where to draw our shadows and highlights from from here. So I'm just running my white paint off the tip of this brush right across my entire mountain ridge that I already roughed in as it gets over here. The sun's not hitting those peaks quite as much, so I'm not gonna have it quite as bright. But that son is definitely bouncing off our focal point, which is what we want. So it's gonna be much braider white over here, so you need a fair chunk of paint there to make that look realistic. So this is just my number eight flat bristle brush. It could be any size you like, used to be a little bit smaller than what you're working with before, so I still have some of my sky showing through here. What I'm gonna do is with that grey we created for the mountains. I'm going to fill in that area just by pushing her brush in. And I'm going to allow my brush to creep into that snow that I created and with the same amount of pressure, I'm gonna pull it down away from it just like that. We're going to create the sides of our mountains by doing this. So I'm gonna grab some more of that dark agree that we created I'm gonna fill in this area . Then I'm gonna gently go push my brush up into that white snow we just put down and pull it down to create the look of a mountain. So grab a little bit of that snow we put in. So allowing your brush to come off the Caymus as you get a little bit lower. So just by pulling a little bit of that white paint down into this mountain scene that we already laid out, we're really creating a neat looking mountainside. You don't want too much detail work on these mountains in this particular image. Our focal point really was this movement in the sky. If you make this too busy, it might take away from the magic you've already created up here. So I'm adding a bit of my darker grey. I don't want this to be too highlighted. I wanted to be there. I don't want it to come down too far. And I just wanted to be a hint. I don't want it to be really pronounced Mountain Ridge. I really like how this is looking. I'm gonna grab some more of that dark gray. Now we made that dark gray by mixing together a tiny bit. Are Prussian blue, some indigo, some charcoal and some of our pains. Great. Mix it together. I'm going to create a shadowed edge right under the snow by pulling my brush all the way across without stopping and keeping the same pressure right under that snow that we laid down created a really nice line. So I again I'll show you again. What? I just So I put my darker color on my brush. I started here just at the base of my mountaintop. I've kept the same amount of pressure on my brush and I'm just pulling it all the way over to the outside edge. Then I can go and add a tiny bit of white, and I can just add a little bit, have definition to this mountainside by pulling ever so slightly down from the snow and creating the look of a mountainside coming down from the top. Over here, some of my sky is still showing, so I have my dark grade on my brush, pushing it up until it meets the snow line. And I'm gonna follow that just for a little bit. And I got to create a couple little mountain peaks down here. They're a little softer. I might add a little bit of my pressure blue to this just to change the color a little bit and introduce the sky color a little bit more into this mountain. Siri's. So I'm just adding a bit of Prussian blue. I'm just gently going up to meet that snow line that we created, and if some of that snow comes down into what I'm painting, it's perfect softening up my edges. It's creating some dynamic shapes, so I really love how much the light is hitting the snow right here on these mountains. over here. I'm feeling it's a little too bright. I need this to be so I need to really soften these whites down and darken them up a little bit. So what? The brush I was using from our mountains. I'm gonna stop. I'm gonna start at the top of this bound in here because this is gonna be in a bit of shadow. I'm just gonna pull my brush on top of the wait. It's gonna transfer some of that gray, that's all my brush over top of the white and really soften it up so quickly. That worked. I'm gonna do that again. If you wanted to see if maybe there's some mist coming up or some snow coming off in a mist like way Grab a clean brush. Anyone will do. Here's 1/2 inch. I'm gonna use hold it up like this. So push that right on top of the edge where your snow meets the sky and just gently pulled a bit of that color up into the sky and push your brush left and right immediately, it gives a little bit of a misty look or like snow was blowing around over here and you could just walk that all the way across, see how quickly not soften that area. So I'm gonna continue that just over here a little bit. This is still a little to break for my liking. Grab a bit of that. Great. Not too much. I'm gonna push my grade down into the snow and pull it up into the sky and just pull my brush from left to right to blend it all in as if it was meant to be there along for the final detail. Work up this mountain. I've added some titanium white to my brush and I'm going toe put my brush right on the edge of the snow that I laid down. I just really gently pull some of that snow ever so slowly and softly down the mountainsides. I really wanted to look like they're snow on some of these mountains, so I'm just putting my brush on the top of the mountain and pulling at an angle really gently about halfway down and then allowing my brush to come off the campus at that point so the snow fades into the layer below it. And where there's just a little too much shadow. You can just touch your brush and it transforms immediately. It's a lot of fun to finish this up. I'm just gonna add a couple more really detailed clouds just above our mountain peak Onley in titanium white. I'm gonna carry this one right down like this. So I'm just adding some highlights and creating a little bit more the pop right above our mountain peak here. I could keep going at this for hours. So I'm going to stop and allow you to finish off your canvas using all these awesome techniques that you just learned.