Painting Vietnamese Mountains Using Oil Paints

1. Blue Mountains Introduction: Hello, my name is China and welcome to Authors. And in this lesson, we are going to be looking at how to paint some mountains using oil paint. Now, this is quite a special painting for me because it's slightly different to what I usually do. Usually I paint in realism meeting that I try and replicate what I can see onto my canvas or onto my paper. This time, I'm trying to include some feelings and emotions that I felt when I saw this scene. I was recently in Vietnam and I came across these mountains and it was such a misty day that when you looked into the distance, the mountains, really ominous and inviting, but also a little bit intimidating at the same time. So what do you want it to do with this painting was I wanted to show you the process that I would go through. If always painting from memory, from feeling, and also from a very, very vague reference picture is this is your first time using oil paint. Have fun with it, but also makes sure you have some turpentine that will help to clean your brushes to make sure you can use them for another day. Do make sure you have a very clean area to work with and you're not wearing anything too precious. The worst thing that can happen is you get paint on your clothes and it literally will go everywhere and it will stain really badly. Now, during this process, I did do something that I wasn't happy with because I didn't plan the painting to make sure it was perfect for you. I wanted you to see how I would paint it as an artist and show you the reality of what else is going through. Sometimes we make mistakes, sometimes we do things that we actually want to change and want to make it slightly different so it follow the process. And you can decide at any stage that you want to use different colors, you want to do different mountains. You maybe want to add trees. Whereas I added trees and then I took them away. That's fine too. Mistakes happen and changes happen all the time. So good luck with your painting, and I really hope you're feeling comfortable enough to show me right at the end. Or other folks there grab your paint brushes and let's get started. 2. Blue Mountains - Stage 1 - Mixing Your Colours: Okay, So here are my color choices. I'm using my favorite paints. These are the old Holland classics. Now, I will be doing a review on the different paints and the things you should look out for. But I do also have a tube that I've had for so long. I think I've had this for about 12 years, probably because it's absolutely huge. I just don't really want to waste it, the colors fine, it'll work for this painting. But there's a mixture of my amazing favorite paints and a good old cheap one. So what I'm gonna do to start is I'm just going to mix a bundle of colors. I want to play around with my blue because this painting is gonna be quite like Misty and I want to miss the day and everything has a touch of blue and it's a little bit passively, so I'm going to do a chunk of those and then I'm going to mix it with some color and then some white as well. So let's see how that goes. So what I've got here is I've got my ultramarine blue. And then I have a pilot with a little bit of cadmium red. The next part is with yellow ocher, ultramarine blue with black, and then a lamp black. And all we're gonna do is get a bit of titanium white. And I'm just going to add some little dots of what I'm gonna do, maybe three to start, and we'll see how that goes. What I really want to do is mix these colors together and just see what happens when they go down the palette because you'll see that you can get so many colors. And we're moving down, the color will get a little bit weak at each time. A little bit more wire shouldn't say week. I'm going to start on my right-hand side now, this is actually clean. It is just full of old paint because I'm lazy sod, so yet please clean your palette brushes people. Okay, so I'm gonna pick up a bit of blue, quite a lot of blue actually because it blue, ultramarine blue is a very intense pigment. And you can see that I actually put a lot of blue on there, but it's still quite light. So I'm going to try and get rid of as much of that in that pile as I can and then pick up some more blue just to get that darker. So it is struggling. The not too bad, maybe a little bit more. That's not bad. I kept from there, I'm going to pick up a little bit more, put it in the white. So he took it straight from the previous poll and then put it in the white part. And that's looking nice. I'm trying to keep this in the same area as much as I can so that I'm not spreading it every way. See I'm just tapping back in the same area and then scooping up, scooping in. So that's looking pretty good. I could maybe do one more for that blue. But I'm going to try the next pile now. So after you've done one row, you want to clean your palette knife with a clean rags and get rid of all that excess paint. Okay, so let's go to our blue with cadmium red. I want to mix it all together. And it's actually really hard to see when the blue is at its purest. So I can hardly see what's going on there. I don't know if it's too red or too blue. It's a very dark color. It almost feels darker than the blue itself, which is a good trick actually, if you ever wanted to use black, I'm going to pick up some of that and putting it with a white will show me what it looks like. I'm aiming for us. Lightly purple tint. Yeah, that is looking nice, but again, it's still very light, so pick up some of that purple. My mixture is really simple. I'm just using blue and a little bit of red. And then I'll pick up some of that, Get down. One white. Johnny, keep it in the same area because there's a lot of neighboring colors going on. Fabulous. Then take that down once more. So I'm really seeing a great range of values that we're gonna do the same for the rest of the paints and see how you get on. I'll take a picture so you can have that as a little handout and then you can compare your colors to mine. Okay, fab, so I'm really pleased with this pallet actually because it's exactly how I imagined it. If anything, I'm probably not going to use the green that much. Because I had in my head with these jacques blues purples, great, this blue there. Because I know exactly what colors I have on the top is really easy if I run out too, but I need more of this color. What did I have? I had blue and black. Throw it in, push it down. Get your palette ready, and we're going to start on our Canvas. 3. Blue Mountains - Stage 2 - Drawing The Outline: Okay, So this is a landscape. But because my mountains are going to, they're going to have depth. So it's really going to push through into the back. I'm going to try and work from the front to the back because I want to make sure that my focal pieces, the focal mountains, are exactly how I want it to be. I'm just going to use a to B pencil to do this because it's not going to smudge too much and it's a nice light pencil. I'm just going to think about my composition. So let's start with, start with a base. Actually, I'm going to have a very, very small or river or lake, whatever it turns out to be, I'm just going to pop that along there. So this should probably be flat and straight. So sorry about the noise. Getting his me that went terribly wrong. I'll get a rule that is because I've got all this equipment in front of the canvas. It's like very difficult to get in front of. Okay. So much easier. People use a ruler, don't do a China. But saying that now I do have a rule that I'm actually going to measure it because that's going to really wind me up. And probably any viewer, if it's wonky. That goes to 9.66. Yeah, that's fine. Submillimeter out, but I will fix that in the painting stage. Okay, so first of all, I want so we've got actually some smaller ones. And just notice how I'm dragging my pencil along so I'm not being precious. And I've got a really cool shape coming on with little mountain. I love it already. And then this one is more wonky with a bit of a roof. Mountains or I don't want these all the jumps coming out of the land. I've just never seen anything like it. It was amazing and we were there. It was wasn't like the best weather. So everything was soup Misty, and it was like, wow, you know, when you're just like drooling because something is so insane and you're just not used to it. That is what this landscape felt like. I really, really want to get that vibe. So that's going to go up. Is that nicely? This is kinda like a little viewing point. Let's do another one. Here. The more you do, the more debt-fueled landscape has. And if I, if my line kind of ends at a new bump, that means it's setting itself in the background. So it's easier for me to kind of recognize when to go lighter, when to go darker. I'll do a little blue ship there. Then I'm gonna go. Do I want one more? I kind of do. Hey, I'm going to put one there. And the teeth such as extreme, just flatten that out. Let me go. I'll keep it goes like to tease my kind of like the one on the left but now changed the one on the right. Okay. Yes. I'm happy to. I want one here. I think I'll make this like super, super faint. So say that I would like to make this higher actually. Yeah, that's good. Then just write this out so we don't get confused. Nice. Do I want this to come up, make this a little bit higher because they weren't very steep. Sun width and they live they speak. Let me make this a bit more slanted. Yeah, there we go. Okay. Five, I think that's enough. Kinda wanna put one there, but let's see how it looks when we put color in. The next stage is gonna be starting to add a bit of color. 4. Blue Mountains - Stage 3 - Base Layer Of Paint: Okay, so I'm actually going to add a thinning agent. This is called sensor door because oil paint is really thick. We want to start our base layer by getting as much color on as possible. But without it being too thick because then it's a little bit more difficult to maneuver. So if you've got something to thin it down this way quicker to get on, it dries fairly quick. So I'm just going to add a little bit of sounds the door. And I'll show you how to put that in the paint. So it literally just put a tiny bit in the lid. And then I'm just going to dip this in here and then dip it in my colors. So I'll just think about the sky and start with, and I think this guy is going to be lighter than the mountains. So I might go for purple is nice. I might actually go for this one. I'm going to go for the black and the blue. They're really, really light blue. So grab your big brush. Always work big first if you can. Get a little bit on that, and then let's put that on the canvas. Okay, So let's see, I've got a bit of green in there. This might take a few batches, but if I spin it down or just added a little bit moist, see how thin that is. It looks like watercolor paint. I'm not being super precious about it. I don't mind if it goes over the outline, That's fine. I'm just wanting to knock off the y because y is really strong and it lies. Who is this? Well, it makes us think that when we put color on it, it's really dark. Because when I look at this guy, I'm like, Oh my God, it's so dark. But when I looked at my palette, this was the lightest one that's had the most white in the color. So I know I know that it's not that dark. But let's just watch this run out of paint already. So let me just make a new bank fab made loads. But the good thing is, is that making a new batch of that, what I just needed to take a little bit from that top pile where I had the black and the blue is the pure pigment. And then I just needed to add a bit of wind is super-quick. So hopefully, that's a good little tidbit for you. It's been a lot of references in his video. Okay. I think the sounds that DO is like an alcohol base. And it evaporates. Evaporates really quick. So it's not gonna be like completely dry to touch because oil paint, it takes a long time to dry. But it will make it a little bit manageable so you don't want your painting to be shiny. If it looks wet, then that means there's too much sense to do it there. So just add a little bit more of your pigment and then shove it on. Mix it in with your brush. And you see what I'm scumbling on a different direction, it's not really moving. So that means this answer Don't has evaporated, but I just want to make it a little bit tiny bit thicker just because the color has changed to touch with it being that thin, so shove it on. Okay, Fabulous. So what I wanna do now is work my way from the back to the front. The back is going to be slightly darker than the sky and the ever-so-slightly. And then the front is going to be the darkest. Because when we look into, um, into the horizon in 20 landscape, things are grayer and I think de Vinci figure that one out as well as top dog in the world with any seven finished paintings. Okay, but, but because my small bits are really small, I'm going to switch to a smaller brush. So I'm probably going to use this Philbrick because it has a nice round end, end. And it means I can get some small edges. Same technique of going from having some sounds that are in there. And I'm actually going to try a little bit of the purple, see how that looks. Not against it. So I'll do my two furthest ones. You see how dark it still feels, but it wouldn't feel that dark once. Once I've added the darker foregrounds on there, I want to try and get that shape back. Weird. Sorry, it's not weird. It should never say weird is unusual. Rock formation that I'm not used to in the Western world yet. Wow, it looks so dark. Trust the process. Jonah, trust the process. Which is what I have to tell people all the time because office I'm also like, okay, cool. Alright. I'm going to stick to the purple. Um, just to see what the bugs I think I'm probably going to go over the whole thing is like another layer anyway. So I'm just going to move forward with a slightly darker, what I thought was a slightly darker purple. But I think what I've done is I've put more sounds that are in here than I did the background. Okay. Well, I'll just put it on a material to make space and store it in these two backwards, just to thin it out. But yeah, this is definitely buy it. Oh dear, oh wow, mistakes happen and you just got to get used to it. Let's see if I can there we go. Light in that word. Shove that in there. Yeah, That is why you clean on my rag. There's no euphemism. Okay. So this base layer is called, it is the local color officially. So if you have a search, local color is basically saying these are the colors that my painting has, but that doesn't mean that you do any details. So all I'm doing is putting a bit of color underneath. And then eventually I'm going to put more detail. I'll put more color. So let me just wash this a bit more. Okay. So let's move forward. I think that would be this one. Just trying to rebuild the shape a little bit. So it looks a little bit pinky. That's fine. It's just the base layer. So let's continue now. So keep deciding which, which mountains in your foreground, which then your background. And just think if it's coming forward, it's a little bit darker. If it's a little bit backwards, It's a little bit lighter. The base layer should always look a bit naff. Now for baseline, is this going to work? Question, are these things have a little meltdown? Tell your partner that you give up. But at least please keep going. And then at the end, if it's still ****, then you can have your money back. But it won't be you got to follow the process, trust the process. The last thing I wanna do is a little bit in the water. And I'm just going to use bluey gray. So nice wash of bluey gray. So it's not garish purple that we've been working with. Picking up a bit of blue from the pure pigment and putting it in the blue gray mix. Just to increase the hue. And the hue means like the color, the saturation. If you increase the saturation on your camera or an Instagram, it's like, whoa, very bright color. I just want to introduce a little bit of that. And keeping with the sounds the door as well. Getting all those little white gaps. Stunning, isn't it? Cool. So that's our base layer, otherwise known as the premature. But we've called it local color in this case. And I'll explain all that in different videos. You don't really need to know it's a bit boring. And it's exactly how I wanted it, a big fat mass. In the next session, we are going to add more layers, add more colors. And it should look way better because this is horrific. I'm not happy with this, but this is the thing that paint and it takes time, it takes patience and it takes layers. So I'm off to grab I'm going to leave the house a few hours. Let that settle a bit like this and pseudo do its thing and hopefully it evaporates. So when I come back to work on it, it should be a little bit more. Should be harder. They shouldn't be soft and wet, dryer. Dryer. Alright, we'll see you for the next video. 5. Blue Mountains - Stage 4 - Adding More Colour: Okay. So I left it more than a few hours. I left overnight because we got very distracted. But if you'd like to if your hours, it should be absolutely fine to paint on. I have had a little touch of mind already and it's super dry. So that means the next stage, which is way more fun, is ready to paint on. So let's begin our next stage and get your colors and make sure they're still wet, which they should be. And we're going to apply that to our paintings. So let me flip the camera. If you remember on the sky, we use that bluey gray, which is this one. So all I'm going to do is pick that up straight away. Just with my big fat brush though, it's a tiny bit stiffer than yesterday, but it's still fine. So I'm going to pop that on my Canvas. So you can hear it. It is quite thick. Actually, I might just add a little bit of oil. We just tried my pain and actually it's a little bit thick. So what we can do to water it down is add some linseed oil. So this mixes with the paint really well. And it just kinda gets it back to how it was. But my God, this is odd. We got there. So all you need is literally a tiny, tiny little drop, and I'll just use my palette knife. I'll dip it in the linseed oil and mix it back. So let me just show you how to do that. Okay, so literally the tip, not too much, just going to mix that in with this. And it just, it's like adding a bit of water to watercolors, just making it re-ignite itself a little bit more fluid. Easier to apply on the Canvas, makes it a lot together and it looks a little bit shinier, like a little bit more glossier. So let's grab our brush again and we'll put it on the canvas. Yeah, a little bit easier. So sorry, I'm going a little bit lighter, but I think I could've picked up a tiny bit of white from underneath it. Remember, is why you can always easily just mix up some more of this color so very quickly running out actually. So I am just going to mix a fresh batch. And I know my ratios because they used was black, blue and a tiny bit of white. So I'll mix some of that now. Dish bash Bhatia did just like the other color that we made up, just took a bit from the top of the pile. Whereas pure blue and pure black, and then added a bit of white and super easy. I'm just going to speed this up now so you can see the end result because it's very self-explanatory. How to put this on? Yeah. Okay. I'm sorry. It looks fairly patchy at the moment that I think that first of all, the lighting, I've got the lighting on this side. Well, it's the first layer after the base, so we're slowly building up. You can see in certain areas that it starts to look really smooth. So I either at this stage want to keep adding more paint so it's really thick. And that's basically going to fill all the holes or I just stopped moving down and do the same thing. And then once I can see everything, then I can decide what to do after that. So I think the best course of action is to work my way forward and stop building the thickness on these because then it's going to start to show me better results much quicker. So what I'm actually going to do, my color is I'm going to pick up some of the purple and put that in my blue, the blue gray, sorry, Just because I do like that. The hue, the saturation, but I don't want it to be so bright. I want it to be quite misty and murky. So I'm just going to literally pick up a little bit of the color and move it across. So it's just going to gently change this to have a slightly warm if field because it's got read in that purple. So I'll just do that with all of them. And then I'll start doing the same process by applying it to the mountains. And then as I'm there as well, I can literally just add a drop or two of oil into my colors. So we'll just pick that up and move that across. So because we have the same amount of Y in each of these rows, it actually means that it won't change the value, which means like the darkness or lightness won't change that too much. So it's always good to pick up the color from its same row. Then we do this in here, and it probably needs to make a new batch of there as well. So we'll do that whilst I'm in the mixing phase. Actually, that's much darker than this. So we'll just mix those together. More of a medium. When I'm painting it, I can always go between the values. It doesn't mean I'm only using three. Just means I've only made three because sometimes lazy. Now to be fair, this is absolutely fine. Okay, I'll make a new batch of that and then we'll continue. Cool. So I've gone back to my smaller brush and I'm just gonna go to that lighter one first. And we'll start popping that. It it's already got a little bit of oil in there. It's got a little bit of purple that we've picked up as we've remixed the paint. And it's got the purple coming through from a base layer. We're going to do exactly the same thing, working from lightest to darkest. And just say a town that's trying to find the edges a little bit more and will enjoy this part because this is a really lovely stage. You've done the hard work, you've done the outline, you've got your colors, and you should really start to be enjoying the painting phase. So, yeah, good, super happy with those. You see how they start to sit into the sky. I mean, obviously we just use a very similar color that we did for the sky. But they're really light and blend in and really sit back into the background. So I'll just go between the next two colors, make it a little bit darker. And then we'll move forward one. Always amazing seeing. Seeing the colors change. Because when a color is next to another one, it will just look so different than when it's on pure white. So there's always this game of like, I don't know, I read on my blue and my light and my dark. And you never know just because it's always plumbing changing. I mean, you do know you get used to it and it does take a little bit of time and training your eye and just playing around with stuff is really about observation. I'm just trying to see the differences. So if you're getting frustrated, please, please, please see this through to the end because I think it will get a lot better. It always has its sheer stage by stage. Now, we're onto a fun bit. Oh, I love this stage. Well actually it's all uphill from here. So it just gets better and better. So the pain is an incredibly thick because it has that oil is still a little bit thin. So that means we're seeing the color underneath and I'm really enjoying. Some of that color from underneath is coming through is creating a bit of an edge. So I'm very happy with that. So once you've done that, again, we're going to come forward, which will make that a little bit darker again. When this color is against the purple, it looks gray. Which isn't my a my wanted to be a little bit more blue. But again, maybe it's just because it's warmer color, which is the purple, that it starts to look gray. So I'll keep going with it because everything can change when it's done as soon as all that purple is the picture, excuse the pun. But it could look very different. So just keep an eye on yours. Thanks yourself. Is it warm or is it cool? If I say, is it warm? That means it looks a little bit more red, is glowing, a bit more, slightly more autumnal. If it's cool, it's aiming towards blue. So that means this cooler. Bluer. It's hard to explain a while some painting and B without showing you, because I definitely don't learn from hearing, I learned from seeing and doing. So if you're like me, when I'm saying makes absolutely no sense, but I will make a video on that one day. Yeah, cool. Wow. Sorry. Well, I had jumped into it is really starting to come together. Next one forward, a little bit darker. We know the drill by now. I'm going to keep playing. Sorry, I'm going to keep this video in fast-forward until I get to that front mountain. So keep going. You're doing really well. I'm so excited to see them. I really do hope that you show me what it looks like at the end. I know it's hard to imagine sharing a complete stranger who is me. But I honestly love seeing what people make, especially when the fall. It's something I've I've led, so yeah, really, really can't wait to see them. Anyway. Keep your eyes. If everything is oh my God, Jonah sharp, I've never going to show you this. Um, but, well, let's hope I can change your mind. Okay, Fab, So that is the mountains done for now. And then all I wanna do is add a bit of a river. So I'm just going to add a slightly blue version than the mountains because the mountains did have february purple in there, so she just make that a little bit bluer. But it's still quite dark because this isn't Misty. I need it to be colorful, which means less white. But it will have a little bit of white in color, isn't it? When I'm painting, I'm trying to get rid of any little white patches. I don't want to be able to see any of the Canvas through the color because first of all, it's distracting. And second rule is not creating a good like evenness on the painting. Wherever you're working, you just want to make sure you're really rubbing your brush in there and you're not leaving any pockets of whites. Because we want to fill those pockets with paint and color and lovely good stuff. So just make sure your edges are all filled and you've got a nice even surface and consistency. And just went into the mountains. I can fix that in a second. I'd rather go over the lines and get rid of the white then this sum, I guess it's now a very heavy running river, fast flowing river, but it's also got waves. So let me just try and flatten that out for you. But because there's still work and still kind of work into the color a little bit, So that's good. Okay, cool. Just checking that. I don't have this on my face. I'm I'm quite happy with the colors as this stage. I've got everything on it. I can see the depth, I can see the foreground, and I can see a really nice range of colors. I think, why ruin something? What is looking good? It doesn't mean it's over, it just means that I'm going to sleep on it. I always think everything looks better the next day. So if you're following this video, you can sleep on it as well. Or you can go to the next stage, but I do want it to be a little bit dryers, so having that night overnight should just make it a little bit more stable. So when I go over it with a missed, there should be much easier to play with and not ruin what we've just done. So unless you're using drying agent, I would suggest just to wait overnight, maybe two if you want to as well. If it's completely dry, That's absolutely fine. Because what we want at these buildings, these mountains to come through the myths. So the next stage is where all the magic happens. So without further ado, I will see you in the next video for the mist effect. 6. Blue Mountains -Stage 5 - Colour Layer Of Paint: Hello everyone and welcome to the next stage of our painting. Now, I've come back to it this morning and genuinely, I am excited. The next stage is incredibly fun. We are going to start to add some mist. We're going to use lots of linseed oil. We're going to make sure that our paint is quite translucent, the quite thick at the same time so that we can see our mountains coming through the mist and all the colors will pop out. I'm not going to use straight white because sometimes it's way too harsh. So I'm just going to play around with a bit of color to see what it looks like. And then once you've applied it to the painting, I can always add more color or change things around. So let's make some paint and let us get started. So I'm loving this. I think it's actually worked really, really well in the painting, but I want to make it a little bit grayer. So actually I'm going to use this bottom one and mix that with that. However I have run out of paint. So all I need to do in this, take it away. Well, you just leave it there. And I will add more white because I'm going to need lows of this and a touch of black because that comes from that Hugh, anyway, When I might actually make it a little bit lighter because I do want this to look stupid mistake. I give myself another Squeeze of white. So I'm quite ill to date and everything's going around it. Fab, and then I want to make it a little bit more translucent. So I'm going to squeeze some linseed oil in there and it's not shy amount but it's not like pouring down. I just want to loosen it up nicely. I think that's good. A blue tinge of the white palette anyway. So just make sure that mix everything in properly. I might put another splash of linseed oil actually come up. I can see there we go way and that's probably too much. Oh, well, let's live with it. Let's see what happens. So long as you mix your linseed oil in really well, then it's all fine. You need to make sure that it's really binding with the pigments. So best way to tell is by putting it straight on the painting. Yeah. Oh, isn't it like icing? I don't want to look at don't like each other. Please don't look at anyone at home. Okay. Fabulous is loads there. So hopefully hopefully it's enough. Okay. So let's see how it goes. I'm going to start off in the sky so it is quite white. Once they start spreading it around. It's going to thin quite a lot. So we should start see the colors coming through the textures. So you see I'm using this circular motion. So let's say I start scumbling that into the mountains. This is going to spread quite far actually. I don't mind if it's slightly uneven. Meaning if you textures up in the sky and say it's actually a little bit thick, so let's keep trying to spread it. I'm not stressed if I think ****, I wish it had kept that color or I can come back to that color and I can paint on top of it. The thing with oil painting is that you can always come back to it. So you can let it dry, you can work on it straight away. It's never dead set. So if you're like, Oh no, I've lost it is to whatever. Too dark is too thick, it's too light. Then always, always remember you can come back to that. It doesn't like it's disappearing. It is disappearing. Keep going. Now, if your paint is if your paintings a touch wet from yesterday, you might find some of it is smudging as well. So do be careful if you don't want it to smudge. If you're happy for it to smudge, then of course, there's no drama whatsoever. But smudging might happen and it might pick up paint from one area and take it to another. So what the painting is telling me just by feel, is that there is quite hard to scramble it. So what I wanna do is I want to go back into this with the colors that I had yesterday. Then I'm going to use this probably the same brush just scumbling in. And I want to stop bringing those colors back out. So I'm adding the layers, adding, adding, adding, and it's going to look really good. So let's try that with adding the colors that we made yesterday. I still do want to keep those lovely, crisp edges for now. And I can see it through my my whitewash as well. So it's not too difficult to go over. We've we've done all the work. So I don't want to lose it completely. So I'll just use a smaller brush and go over the edges. But it's really nice to see this misty effects starting to take place. So I'll just, I'll start with the darker bits. First. The front runners run is I've just changed one of the mountains. Let's just fix this. Just to make them pop again, come forward. So I think the clearest bit needs to be at the top of the background, mountains. So try and get as crisply, crisp, clean, crisp, clean lines up there. Because it's a mountain and we don't need to stress too much on it exactly the same edges I had before because it's a mountain, so they're gonna be unique, an edgy, edgy. I think actually the, the mountains in the foreground have to be the sharpest. So I do want to be a little bit more cautious of these edges because these will probably be in front of the myths. So, um, let's see, this is all experimental, so playful. They say sometimes when I pick up a little bit of paint that's slightly darker. And then it starts to push it in and like, Oh ****. But all you need to do, because this is lovely landscape, we just want to mix it in basically because we have a wet layer underneath. You can just shove it in, give it a wiggle, is starting to look missed it, but my paint is I don't know if it's because it's winter, so things are a little bit what what what stopped working it a little bit colder. Sometimes it does affect the pain. It might mean I just need to put loads more linseed oil in it. Okay, So we've added the midst and we've redefined the edges of the mountains a little bit more. Now, what do you want to do is kinda work back into the piece and pay bit more attention to the myths and the colors that it has. So let's go back to the pallets in the next video, create some slightly different paint and we're going to make that become a little bit more magical. 7. Blue Mountains - Stage 6 - Final Layer Of Mist: Okay, so what I'm going to show you next is a part of the experimental phase, or in other words, the mistakes that I went through. I'm not going to show you the whole thing because I don't want you to do it just to get to the point where I did at the end when I was like. So instead, I'm going to give you the option. There's a partway at trees and I do think they look quite nice, but I do end up going back over the painting anyway. So if you want to add trees, do this right at the end, after you're happy with your layers, it'll all make sense. I'm just going to talk over it now so you can see what happens because transparency is key. And then you can make your own mind after that. So just watch what happens and decide what you wanna do with your own painting. Okay? So grab a small brush. The brush I'm using is it's quite hard because I haven't cleaned it properly. But sometimes they do keep them because they can make very useful tools. Now, all I'm trying to do when I'm starting the trees and the bushes is I'm just trying to make them escape from the mountains. The further back the mountain is the smaller your bush or tree it should be. So I wanted to start in the middle, just so I can kind of gauge what that looks like. And you'll just notice how I'm scumbling. So I'm trying to blend my tree in with that mountain edge and I'm just working my way across it. Now, a good thing to do is maybe to look at some reference pictures of trees. But think Mountain edge or the ridge of it because just being able to see some shapes is quite useful. As a rule of thumb. They are thinner on the top and wider at the bottom. These mountains really, you want to vary them in size, in color, maybe not colored, but definitely tone, light and dark. And you want to go around the edges. So here, here's what, here's my attempt. I do think it looks quite nice, but what I do after this, after I've done all this work is I decide to then do the not the frosting the midst again because I just wanted another layer. So before you do All of this tree work, do you decide if you want to do another layer of myths like I did, and then do your trees. Or if you are happy with your midst at this stage, then you can do your trees after that. One thing I definitely wanted to do was to add another layer of the sky. And I think it does make quite a big difference in my painting, but yours might look a little bit different. So again, you need to decide if that's the level of finish that you want or if you're happy with the texture that you've given it. Now. Now what I'm about to show you, it does get a little bit worse. I mean, this guy you can tell it looks really nice, it's fine. But when I add another layer of missed, it looks terrific. And what I needed to do was just keep going, keep going, keep going. But there's gonna be a point on your own painting were like, Oh my God, I give up. I can't do I can't do it. But trust me, you can if you get to this point like I have and you're like, I hate it. I wanted to throw this into been just keep pushing, keep blending, keep trying and make it really nice and soft and layered and colorful and everything in between because it will get better. I said this all along. Hopefully you've seen the end result already and you know, you trust me and you trust the process. So as you can see here, my miss just wasn't quite working. Now the good news is, is I do stop very soon because I just knew it wasn't working and I needed to change while I was doing as I'm moving forward. I also realized that I needed to get rid of the trees because they were in the way. So what I'm gonna do is I'm actually going to show you the point where I stopped, which is now and the next part where I start to fix it. Okay, I got to this point. It's worth really struggling to enjoy it. So what I'm gonna do now is I'm actually going to go back to basics. I've re-made that blue and black pile. This one here. I've picked up one of the lightest colors. So what I'm going to try and do now is a little test. Scrap the trees. That's gonna be fiddly to to paint through. So instead I'll just redo the trees. And every time you pick up a color. So I just picked up that color, painted it on, and then I'm going to pick up that color, paint it on, pickup in-between paints on. So I'm creating a gradient. So I'm on this one painted on, so I'm going to be fairly liberal with it. Let it go a little bit higher and then pick up the color in-between. Move that up. Let's see what happens here. So you see it's getting progressively darker as it gets to the top. Now, I don't really want to make this color. Much darker because I think that matches it, blends, blends in quite easily. So what I'll do now, I'll just squeeze the excess paint from my brush and I'll just pulling that out so you can see as I paint up, it pulls the dark color from the top and puts it at the bottom. So all they need to do then is blend that back in and start to push that up. So now that's going to have the dark color. I can go from the dark to the light, then, then it can go from the light to the dark. So it's starting to spread the color. Just drag your brush and then I'll use my makeup brush and swish that all together. And let's see how that looks. We'll go right to the edges. To bed, brush, right? Don't buy things cheap folks. Okay, So this is picking up some of the paint. You can see little splotches that are happening. So what I'm gonna do is add more. I want to do that one more time. It's just got a bit too much green in. I've made a fresh batch of color That's looking a bit more blue. Might just be that I need to saturate it more with with blue. Let's go over it. I did want a little green tinge, but not that much. That feels a lot better. I will just go all the way down. Yes. Cool. Then all do is just go on a slight angle and then just need to use the edge of the brush. Now the tip, stroke that in. Okay, that looks way better, but I can see that this is a touch too dark. I think it needs to make that he's doing all over again. That's fine. I don't mind. What I'm going to do is just try and put some of that color in. So it's basically pulling the code from that side to this. It needs a bit more light. Okay, Not bad. Why just wiping my brush on this highlight. Then that way as well. I can just fix this edge. Make it a little soft in color. Shouldn't leave this has in there now they're really there about the fainting. It is annoying, but you know, people like to see the artist's hand in these things. And that's what I'm telling myself anyway. Okay. Cool. Yeah. So that's sitting back, That's way forward, but we've got these in-between layers. So let's now give this some TLC. That one's really nice. It's really, you gotta go through these tough times, so appreciate a good journey. Yeah, I've really liked this contrast now it just feels like it feels a bit more natural. I think that's what I'm struggling with is like making these mountains feel natural. But it's also kind of working from an image, but mainly trying to go from a bit of memory and feeling. That feeling that I had when I saw them was like, wow, these incredibly mysterious mountains that were hiding amongst the midst and just stunning shapes. So I really, really want to do it justice. And I think by you wanted to do that. I've added a lot of pressure to myself and the painting and I'm like, yeah, just wing it and show everyone how to do it. But you just can't do that when it's when those feelings involved you to say that that is feelings evolved into painting. I guess there is because you spend so much time with it and you won't be able to see it. Or maybe you don't. If you don't want be able to see it, is because their feelings involved. So, yeah, I think this, this is why painting is so good for you. It's like, I don't know if anyone plays Ultimate Frisbee, but I played ultimate Frisbee for about four years. And they have this thing called the Spirit Circle. So after a game, even if it was like super competitive, there was a lot of Ag, both teams will get together, put their arms around each other and like feedback on how the game went. And so even though it might have been a hard match, you still try and find positives and put that to one side and celebrate the other persons when or even if U1 is about spreading kindness. Just having self-control. So I don't know where I'm going with this story. But basically like, no matter how hard something is, you have to put it to one side and still look at the positives like if you're painting. Well, if I've lead you down to a nasty trial because I went wrong, then you've already got me to blame. But it's about picking yourself up, getting over it and thinking, right, well, let's move on. How can I do better next time or what did I learn from that? I think that's massive thing like, what did I learn from that painting? Is it that mistakes happen and that's fine. It's okay that things happen. Or is it the use of color? Were you able to change the color even though you weren't happy with it on the painting? Is it the, I don't know the shapes of the mountains, the, the tiny gave the layers in-between. There's so many things that you can learn from each painting. I've fully, fully encouraged mistakes or else I would not be an artist today because I've never made a mistake or would have been a bloody child genius. And I was not I was I was Orion out, but it took a lot of work and patients and mistakes and errors. And then here I am making a video making mistakes. And you've got this far, but hopefully, hopefully you have. I'm sure some people have stopped watching because it does take you on a roller coaster, this painting. It might actually try and put it in my left hand for a second just to get in the edge. I'm honestly holding my breath. Cool, so I just need to plan that a little bit more. So just go back down here. I don't mind that it's going a little bit darker. It will very soon blend in all the way to the edge if you can. Good. And actually think this way has got a little bit gray green. So let's just go over this a touch more, adding a bit more blue. That blue is just mixing with that. Baseless. Just disappears quite easily. Okay. Five, right, so then it's just these bad boys. So my lightest shade we'll start off with. And we start to go DACA. Nice, using fresh paint. Another weird accent. I feel like I should do a combination of all these weird accents I've done because they're all terrible. Push that up. Okay. It is quite stark difference in it. Okay. Good. Yeah, I think that's much better. There's a lot of pink going on, so I just need to be a little bit softer. Edge feel like trees isn't too bad. It's very different to the rest of them, so they don't have to be the same, but adds a bit more detailed and I can Let's get these ones done then. I think I'm pretty happy with it. Let's say that I speak too soon. Nice loves in that brush. Right? Last but not least. This one. Finish your mountains. And I'm going to start a new video for the final part of our lovely painting. 8. Blue Mountains - Stage 7 - Final Touches: Alright folks, this is our final part. I'm really excited to share this part with the lashes head straight into it and let's finish our painting and have something that we're really proud of. I think the coloring looks way better. So what I wanna do now is look soften the edges, especially in the background. And all we wanna do is get a flat headed brush. And all I'm doing, I keep saying all I'm doing is going along the rich, but never trying to cross them over. Soon as I'm done, I'll just clean my brush and just blend that edge back in. So basically I'm just softening the edge so it's not super sharp, but it still maintains the outline. To clean it for a new section here because otherwise it's going to blend into that. So a clean brush off. The same over here. Okay, so this one is created a bit of a peekaboo and color. So I can just try and drag that down. Try and blend that in. Cool, clean the brush. Let's go to, let's do this ridge. Yours may need more or less strokes in mind just depending on how thick your paint is. Mine's not to six. So I said, Well, I don't have to keep rubbing it in and just gently moving the paint. That one needs a bit of a blend. Okay, good. Then let's do this edge. Good. So that one responded very well. Because there was a bit more paint around. Great. Then let's soften. Good. Quite behalf. And in that one, because again, I was lazy. I fell out of the trees. Have to go by. Feel better about that To be honest. I think it works for the style I'm going for. I'm not going for like hyper realism. And do D and the trees just that neither moody know hyper-realistic holiday. So you gotta go kids. Alright, and it's a little bit the shape it will bother me to just wiggle you in that help it because it's some tree, tree influences. Sorry. Okay, fab, tiny mark here. Blend in. Boy. Cool. Alright, Amazing. So the final thing I want to do on here then is the water. So I want it to be a little bit blue still. So I'm just picking up a bit of blue from my blue section. Make sure it's still got that black. In the nice scraping noise there. I don't want it to contrast too much. So let's see what this looks like when it's a tiny bit lighter, this is actually the same color. Try that again. A tiny bit lighter than the mountains above it. The minute it looks like this side is lighter. Because that's lighter. But it's not. So what I'm gonna do, I'm gonna go a tiny bit lighter over here. Just to push that contrast of the mountain looks a bit darker. The river looks a bit lighter. And then I'm going to go a bit darker. This side. Maybe like a little streak was nice in it. Let's give it a little streak. So I've got the streak very aggressive. Then. Just want a stroke that brush back and forth. That's a bit wonky, straight out. And then the last thing I want to do would that clean brush, one that blended the edges together. Just want to merge these edges. Okay? So I think this is very close to what I imagined. Could see 10 error just here. Let's just blend you and we don't want any obvious outlines. No, thank you, sir. Yeah. Okay. And then I think you just need to judge. Just when is a painting ever finished? Yeah, I think I actually I'm really pleased with this. It's not often that I try and work from my head. I'm always copying from pitches. But the thing is, when you study so much from observation or from pictures and you're coughing. You can then apply that to the paintings or the artwork that you create. Overall, I'm really pleased with that. I think the colors are really nice. I really like the depth that we've created. Anything. It does capture what I felt and what I saw. So for me, I'm really, really proud of it and I hope you're proud of it too, because painting is not easy. And as you can see, we make mistakes, we fix them, and that's okay. So I hope you enjoyed this and I would love to see your artwork honestly, I say this in every single thing that I make. But if you've copied this and you've made this, I really want to see it so well done to you too. If you enjoyed this, then please keep following my content because I love sharing my artwork with you. Alright, then folks, I'll see you next time for another tutorial of making something inside out.