Oil Painting Project - Farm Near Belgawi

1. Introduction: Hi, My name is Manda monarchy, and in this week's painting project we're going to paint a landscape based on reference photograph which I clicked in the Bell Garvey area. It's going to be Ah, farmland scene in which will have farmland, some mountains in the background and a victory Onda. We want to use the M three method off painting in which we simplify the complete bending process. The first step will be composition based on the reference photograph. The second will be the blocking in, in which we lay in the broad colors off on the shapes in the painting and the final, and the third step will be about adding details so that we can make the picture or make the painting complete. 2. Farm Near Belgawi - Step 1: So let's get started with the first step in which we use the photograph and then compose the picture. I'm using this photograph as the reference image for my painting. Gree. This is a photograph Vigia clicked somewhere near the city off belong when I was just traveling through the city towards go up and I like the scene because off these fields, I I thought I could use it for some painting. So I click the photograph. Obviously it's not composed as I wanted to be, So I'm going to use this tree. Or maybe this tree and the scene here to compose a picture again. I have selected oneness toe 1.6 proportion canvas on in that I'm goingto have this shape off the small hill like this and I'm going toe, have the mountain in the background, something like this. I don't want these two lines to mimic each other so I might change the shape of the mountain like this. Then I'll have this This big tree pushed back a little, So I want the three Toby. Something like this may not be so high when I want a big three here, which is one Toby dark on this side on. This is some part off land here, and this portion is going tohave this bright green crop, whatever that is. And then this near the point where this mountain or this hill meets the flat ground or flat farm. They want to be some smaller trees or bushes or whatever like that. And then here they'll be just this farmland appearing here on. So it's going to be, Ah, pretty simple composition, Andi. I also want to keep their keep the sky very clean because I want the focus to be here. And I make sure that I've been or have the light coming in from here, which is what is happening in this photograph. Also, if you see this tree is getting light from here, so it's the same all over you will industry. You wouldn't see that. So this is the basic composition which I'm going to go use. So now let's go to the next step in which I draw this on the canvas and then start laying in the colors in the step to which is the blocking 3. Farm Near Belgawi - Step 2: welcome to this part off the painting process in which I'll first explain you which colors I'm using, which process I'll be using. And then we will, uh, make the drawing on this canvas and then we'll get started with the blocking in. So, as we say in an three metal off painting, we use only three colors. So this is our Domitian blue. This is born Sienna is sliding down because I've I'm using a glass palette. Then we have ah, lemon yellow and we have titanium white on. We're going to use mostly three or mostly two brushes. This one is ah, flat brush with number 11. This one is a brush again flat brush with number nine and this is, ah, small round brush with number five. We'll use this only if we have to add some findings. Otherwise, the main work off pending will be done Justice to brushes. So in the last step, we saw how we made this competition and I'm going to now draw this on this paper or its oil paper, which I'm using to paint this time on DFO or medium. I'll be using only linseed oil. I'm taking some linseed on on the brush and I'll be using this burnt sienna just toe Make the old plane off the big shapes. So this is the bottom off the a small hill Have some trees here. This is the up on the hill, and it's going to be this portion off the land on which this big tree will stand. And this is the lion which, well, which is the bottom off the mountain in the background. Maybe I need to go a this mountain line. Hi, it and we'll waive this lineup. So this is just the basic drawing which I need to get started with. The blocking in on this portion obviously will be the farmland and the light will be coming in from here, so this hill will have some highlands here. So now we start with the blocking in. So I'm taking the born Sienna, and the darkest dark is goingto be industry. I'm goingto use this blue color to make a dark brown email and some yellow. And let's test this I can make it slightly bluish, some ending that blue. And now I can yes, knowing I can't live in this color, I'm picking up the color so that, like this so that I can use this edge off the brush to I fly the pain. I've been mixing some color. Then the next dark is going to be here where this tree will be casting shadow on the farmland. So I'll have to make this slightly lighter than what I have here. So I use this broader edge and randomly have some trees and bushes here. Andi, I'm making sure that I very their size and shape Justo a more demonic Tony And they will be costing shadows like this. We won't be able to see the shadows. We won't see the shadows with a lot of height because the you are we are standing at almost this level and not hi it up. And just so that I make this color and I just want to make this part off the clean, darker? Yeah, Now I'm gonna do lane color for this and it's going to be green. I'm just wiping the brush on the piece of cloth I'm gonna do now. Make a green with lemon yellow and on be adding slight amount of white here because this mountain is also not very close to us. But then let's first try out this color. So this is I think it needs to be lighter and slightly more blue. Yes, this seems good. So I'm going to use this color towards the base of the mountain or base of the hill and toward the top of the hill. I'm going to use a lighter version of this green. So this is the and towards the edge of the painting. Anyway, I want the color to be darker. And now I'm going to have more yellow to it. So this will be the top portion off the hill. A little bit off oil just to me. The plane flow. Andi, This days I'm OK with it. But later on, I'll are maybe somewhere I Tito this in terms off color on value. But that's what is the blocking his concern. I'm OK with what I have. No. So I go to the mountain shape in the background so this mountain is far away from us, so it's going to be more blue, green or blue and lighter than these values. I want to use this white here on and more blue, and I'm going to test this color. Let's see how this looks. This needs to be more bluish, Andi. Even more later this'll Why did Here again? Let's just this now I need more more weight in it. I will be adding some more variation in the color. But to start with, I need a light color. Till I feel in this area, it can go lighter than what it is now. I'm gonna go light and some amount of color here. And let's see Yes, this looks good. I applied on this whole mountain area. - I want to wear some sky holds here and it on. I want this edge between this hill and this mountain Toby, slightly sharp because I want to indicate that this is very much closer toward where we are standing and this month and is far away. But you can see that this edge is here. This edge is very sharp where this is blown here and I want it that way so that the attention of the viewer goes here in the focal area and know what remains are the farmland and the sky. So next I'll come to the farmland. I want to clean this brush even to clean the oil painting brushes. I use South Florida. So that way I'm not using any kindof minute and spirit or turpentine, for that matter. So now I'll come toe the mountain area here before that, I'm gonna go lean this this color in the for media because when I lay in the green, I want to lay in this very lightly. I'm going toe, though I can't add any turpentine I want. Oh, brush this color in it will make the green stand up because this reddish color is the complement off green. So you know what I applied the greens off the from? It's going to stand up right now. I'm just getting it off the white off the paper. So that's enough for me? No, I'm going to wear the green on. I want the farm, Toby. Really fresh and bright color. So I'm gonna go first. Try applying color with palette night, and it's going to be slightly greenish than moderate. I want this kind off rough. Make sure which I'm getting with the ballot night. Otherwise I could have handed this applied this color with brush also. Now I will come in with the brush and apply this color. - I really want the focal area with this. So I'm not going toe Apply this green yellow all over in this painting are applied with it tingly so that the viewers are engendered and go there. I'm going to make it darker green as I come towards the boredom off the painting and I'm going toe make it more picture with vertical stroke just to indicate the good. All as I go away from the viewer, I'm going to use smaller height vertical school. We have come in here again and had some do does. But for now I'm keeping this really genetic, not very detail. - And now you come to the sky area. And for that I'm going to use another brush because I wonder cleaner brush there and we'll do you the smaller fresh and the sky is not going to be very detailed. But still, it will be more bluish on desire than this side. Let's use this on we can, and just the color later on. This is go blue. So I need some more white on. I'm making sure that I don't use or get white mixed with this green here off my earlier green last month Someone to use this pure white here Because anyway, I have some blue on my brush again. I want the edge here, Toby Soft to indicate the distance at which this mountain is from the viewer. So toward the base are towards the horizon The skies always more fine or lighter blue then toward the dock off the sky And now I'm slightly going into blues As I go toward this corner tomato had slightly more blue And I'm going on to want to have this blue towards their double The Skying on towards this idea No orphan off the painting at least. And I don't want this edge to be so sharp Someone go Dr my brush over that to make this edge glower And I want so under para on sky Hold here So I started the blocking its concern I'm happy with it. I'll keep this brush like this only known Wash it right now, But no, we're done with the second step off the painting with just a block in So I'll take a break now whatever medium you are using, it's always good to take a break while you're painting on. Look at the painting from a distance which gives you much more better perspective off the painting are You will instantly know if something is going wrong. There's another method which you should try toe. Find out if there are any obvious mistakes which is using a mirror. Let me see if I have a mirror here. I use a mirror which on I look at the painting in the middle which makes the mistakes obvious. So you should give that Metella try Onda. Uh, after the break, we will continue an and details to the spending So see you after the break. 4. Farm Near Belgawi - Step 3: welcome back. After the break on, now we'll be adding the deeds to the spending on. I'll start by refining each shape in the spending, so I'm gonna go decide now. I think I will start from this mountain, which I feel after looking at it from distance. I noticed that I can make this area slightly more bluish because the sun is coming or sunlight is coming from the side. So this portion off the mountain is going to have some shadow, and that's going to be bluish. So I'll make Oh, I'm using the earlier color because I'm using oils. I can use these colors even after coming back after the break. If you're using acrylics, maybe your colors have already dried up, so it's a good time to clean up your palate. Someone go. Just this blue here looks cool, and now I'm going to refine the shape so that I don't have to go come to it again. This area of the mountain is also going to be in shadow, so it's going to be much more bluish. - Andi , I'm also when do indicate some dark trees and the bottom of the hill. Who's this color is too wet, and so it is dripping down. Our has a lot off oil in it. I'm going to use this corner of the brush toe, indicate some trees or bushes here, and I'm also going toe Indicate some bushes here in there, I will not have definite shape on the Monken. But then I want some variation in the mold and shape here. - You know, you can now see that there is some definition or you can see Ah, some bushes are some smaller trees like these at the bottom, off the my mountain in the background. So now I can define the from could do that and I'm gonna go, are slight amount of white into this yellow and then use it Cool. Do you find this edge? I don't overdo it, because anyway, that Portanova form is far away from us on. I'm just laying in some yellow color, Derek, and I'm not dragging the brush so that it creates this kind off shapes are indication off. Could not receiving direct light. And maybe these are flowers. Maybe these are bright shoots off the crop on whatever it is, but I just want o give that idea. A bit more brightness, no oil coming as some dark nous or dark green to the bottom off the painting. I also don't want it to be too dark for just indication off good all in the foreground. This will also prevent the viewers attention from going out off the painting, so the compositional adjustments off the painting or immoral in the painting continue even when you are actually painting. So composition is not only about arranging shapes, it's also about arranging colors from the shapes or when news of the shapes. Now I'm gonna go on detains toe these smaller trees. Onda, I need to add Ah, middle value color, middle value green And then I finally come in with the lightest value. So this is the middle value I also want Oh, and just the shapes on at least make the shapes and blurred because these trees are not very close to us. And now I'll come in with even light and color again. The green, which I use here, or the lightness off the color here will be much more then what I use here because these trees are near the focal area on these trees are away from the focal area, so I won't Don't want your contention toe. Go here for a lot of time. I need some smaller brush work here. No, Had slightly more highlighted media on the hill like this indicate the direct light which is falling on the top of the hill and no, in this area I mean I need Ah green, middle of blue green on this green I want tohave slight plea there this tinge. So applying this middle value green here I'm making sure that I don't lose the sky holes - And now some highlights. Let's I want to make some brown with this color to make it not so Lemon yellow. I'm wiping my brush in between two strokes because I don't want that wide on any other color too. Change the color be terms there on the brush. - And I'm not going to make this tree. Ah, very corn trustee. I'm not going to hurt too many highlights here because again, this is the focal India, not this tree. So I just wanted this one to create this entrance for the year to go in. Andi, I think I'll not I don't think I need to touch the sky so much. But I'll use the smaller brush toe and in few Didion's usedto bring out I'll give more pop to the pending. This brush is actually to some extent it has hardened, so you can see it's not as flexible as a new brush, but it does my work. I'm no purposely cleaning it so much that becomes totally flexible, so I might do it at some point. This adding fuel flicks off dark color toe and the game leaves in the shadow. Were there some things we generally just to break the monarch? Tony and I still want some contract between these two mountain shapes, so I might are few. Bush is on the top of this hill on. I'm going to use this big brush, even though it might seem inappropriate choice. This will just bring more contrast to the shapes, and I don't want them to be uniformly spaced. So some adjustment here in there. This is the color, which are news for the top of the hill. Someone to use that again, too. Make a few adjustments on these small shrubs are want to catch more like so might give some high like him. But I don't want to overdo that because that will take away attention from this area. Let me step back on Bond. See this painting from a distance. This will just make given impression that we're seeing things from or through the dark foliage under the screen. So with this brush, I'm going to play in some shame on maybe some quite so. The bottom of victory used to separate this land from the area are from the dark foliage. Andi, let's see if I can make few marks like this. Yeah, lets you know, do your new form. I think I will call this painting done. After having a located from slight distance, I might need some vertical lines somewhere here. Yeah, something like that is just to break the monarch Tony off the horizontal. I think that's it. This fight is becoming so obvious that so I'm just munching these videos and some of this blue you're that is the holds through which we can see the Monckton. Anything that's you know. And now let's remove the tape. Well, I wear these gloves just to protect my hand so that I don't have cool or it's easier for me to wash afterwards. So here is the Pending. So just to summarize this ah painting, demonstration or painting project, we started with the reference photograph, and then we composed a painting using the broad or big shapes in that photograph. Then we drew it on the canvas. We blocked in the main colors. And then in the final step, we added the details toe. Give the painting the finished look. I hope you like the video Andi. Each week we paint a new product painting projects so that you can use the photos, which I included in the video are with the video downloaded composer painting and make your or paint your own version off this painting. So until next time, happy been.