Painting a Fall Landscape with Acrylics - Paint with Ryan

[Music] hey there i'm ryan and today we are going to work on an acrylic landscape lesson all of the tools and materials will be listed in the video description and if you'd like help with the drawing process i'll have the traceable up over on patreon along with the reference photo for color matching with that said let's jump into it [Music] we're going to begin here today with a one inch flat headed brush and i'm going to dip the bottom third of it in some water to help condense the bristles and ensure that our paint stays wet for a longer period of time we're working with acrylics and that is pretty important with that we are going to move on to step number one where we grab quite a bit of titanium white just a hint of our ultramarine blue with the corner of our brush and a hint of mars black as well i'm wiping off the excess so that it doesn't become too strong in our mix with that said i do mix it up fairly consistently and then i go to apply it at the top left-hand side of our sky now i am going to need quite a bit of this mixture and i generally like to start by mixing very minimal amounts that way i can ensure that i get the color the way i actually want it to be and then once i'm fairly confident i'll start mixing larger amounts but it's great to start in the background and in the sky because it gives you an opportunity to warm up ensure that all of those motor skills are firing the way you want them to and we can also layer all of our mid mid-ground and foreground subjects on top of those background layers rather than kind of having to work meticulously around very detailed foreground subjects with that as i get to about the middle point in the sky i am mixing in a slightly more blue and mars black and darkening the mixture not much but by enough that i can create a slight gradient and that is very much the goal here i want the light to be coming in from the left hand side of the painting and therefore the right hand side is going to get a little bit more blue a little bit more gray but i will do this a couple of times build up a number of layers and just ensure that we don't have any of the drawing showing through our acrylics because they are innately fairly thin after that's done we're simply going to let this dry and move on to the next step [Music] so for step number two we are going to begin with a filbert brush which is actually a lot like a flathead brush except the edges are actually rounded so it's quite versatile with that it's about a third of an inch and i'm grabbing quite a bit of my cadmium yellow dp about half that of my cadmium red medium hue because the red is a bit of a stronger pigment and then an equal amount of titanium white to the cadmium red this is going to render us a fairly desaturated yet bright orange and i do want it to be slightly more desaturated so i'm also grabbing a hint of mars black but i'm wiping off the majority of it so it is just a hint then i'm testing it over on my reference photo and the color i'm attempting to achieve here is not the brightest colors in the foliage not the darkest colors but very much the middle that way we can add some shadows into it and some highlights later on this is essentially just the base layer we want a large block of color and this brush is going to do a great job of that because as you can see we can spread quite a bit of paint very quickly but i can also use the edge of it to capture some details like what you see here i'm essentially just rotating my brush trying to get all of these little clusters of foliage to stick out in different directions create something interesting and really ever-evolving one thing you don't want is for a singular pattern to kind of take over unless you want it to be a very windy day which might actually make sense of in the context of a fall painting but for the most part you want those kind of moving in different directions as that is how it would naturally be an easy way of ensuring that it continuously is different is kind of hopping from area to area that way you don't kind of subconsciously let your tendencies take over and kind of do one thing over and over again you kind of have time to think about it reflect on it and then go back and do something differently i'd also like to note that throughout the majority of this process i'm not actually going to be dragging my paint around all that much i essentially apply as much as i can with my brush but once i feel like i'm starting to run out i will go back to the palette grab more and then continue to apply that way we don't kind of run into the issue of areas that are a bit too thin also i am going to speed up some of this lesson that way it isn't like a seven eight hour video but that way you can also still see all of our applications the entirety of the process and really get the full picture with that i think that is a fairly decent first application and it's time to move on to the next step [Music] now while we wait for our base layer to dry here i am going to take my filbert brush grab quite a bit of my cadmium yellow dp about half that of my cadmium red medium hue and yet again mix those two up so that i don't have some areas that are yellow some areas that are red i do want it to be nice and consistent i'll also grab just a hint of our mars black and then about an equal amount of titanium white to our cadmium red at this point the mixture is exactly the same as our initial one however i'm now adding extra red to darken it a little bit i'm also now adding in some extra mars black to darken it further and what i'm essentially trying to render here is the color for the shadows in those background trees as you can see it is far too saturated at this point and arguably too dark as well so my next step is essentially to desaturate the pigment that is done normally through the conjunction of titanium white and mars black as they do mix to make a gray so that's really what we're adding to this mixture might sound a little counterintuitive to add the mars black when we know we want it to be brighter but we'll just add more titanium white to kind of make up for that i'm also adding additional red into the mixture because the mars black will mix with the yellow and end up making a green which is something we don't want so we need to ensure that this mixture does lean a little bit more to red than it would to yellow i'm also now going to grab a half inch flat headed brush and this one is synthetic it's quite old as these bristles that move in all of these different directions and that's very useful because i'm going to use it with a tapping effect to render just a myriad of little implications here on the canvas this is going to be for the shadows and it's going to make the painting admittedly look a little rough for the next five or so minutes but it's a necessary step and you'll find that a lot with acrylic painting with that here i am applying initially at the base of my clusters of leaves and foliage and then i slowly move upwards as i do move upwards i essentially lose paint it dissipates and we get this nice gradient of a darker base that then essentially moves upwards and then loses that's darkness it loses that fullness so the tops of the trees look brighter and you don't have all of those shadows which makes a lot of sense right the light is coming down it's hitting the trees on the top you're not going to get as many shadows at the top of the trees as you are at the bottom so that's very much the idea of kind of what we're working with here i'm also rotating my brush in the air in between a lot of these tapping motions and i'm doing that so that the taps all look quite nice and different here yet again we are going to speed up the footage because there is a lot to do but in the end i'm quite happy with what does look like admittedly a bit of a messy layer but it's exactly what we need for what comes next [Music] so while we wait for that background layer to dry we are going to take quite a lot of our cadmium yellow dp just a hint of our cadmium red medium hue and a lot of titanium white this is going to be the color for our new highlight and as you can see i'm mixing it on my palette right beside our initial darker layer that way i can see essentially what it'll look like beside and on top of that pigment then i test on the reference photo i can see that it's quite close to what i want so i switch over to the fan brush and this is what we're actually going to use for the majority of the details in the foliage throughout the entirety of the lesson so we mixed all of that pigment with the filbert brush because it's just an easier process and then i do switch over the fan brush now here technique does matter and it's going to take a little while to get it exactly how you want to but i would like to recommend not going in and trying to press the entirety of the brush into the canvas with each of these applications otherwise you may end up with something that's rather linear in aesthetic here i'm using the corner sometimes i'm using half of the brush i'm using different edges and i'm trying to ensure that with this tapping effect i'm getting all of these different clusters that again don't necessarily look like straight lines and you can definitely do a lot with this brush if you are kind of cognizant of how you're going in to the tapping and application area i am also starting with the majority of these on the top of the foliage and i'm doing this specifically because again that's where the light is hitting predominantly the light is going to hit the top and then you're going to lose it slightly as you move farther down the tree more shadows are going to be incorporated but you definitely want to start in this top area right here with that i am going to go over it a number of times and i go over that edge to the point where you almost don't see the base layer so you have a bit of a gradient not a traditional gradient and that you see one color moving directly into the other but you see there's a lot of this yellow and then it slowly dissipates creating more openings and then you have the most openings down at the bottom where again you can see the majority of those darker applications showing through and all of that shadow it initially isn't going to look incredible so again that's that's acrylic painting you need to go through some of those awkward layers but with that now i'm mixing up a brighter application and i'm going to start applying this on top of what we just created it's important that you do let that previous layer dry first before going in and doing this because otherwise you can have a lot of mixing going on you won't get those sharp applications that you really want for the foliage and it's really just best to take that little break you know figure out how exactly you want to mix it all up and then come in once it's dry and render some really nice sharp applications and now it's starting to look really good it's starting to look nice and full it's three-dimensional you have this light working its way across all of these leaves and i really like this for the beginning of our painting [Music] now once we have our background trees applied we're very happy with them we're going to start moving on to the middle ground and these trees are going to be a little bit more red a little bit more orange so we're going to start by creating an orange mixture that has slightly more cadmium red in it than we did before and slightly more mars black however as i apply this as you can see we end up getting a bit more of a green because the mars black was mixing with a lot of that cadmium yellow we fixed that by adding more of our cadmium red back into the mixture and now we're getting to a color that i really do like we do need to use quite a bit of mars blacker at least more than we were before because we do want to desaturate the pigment i think an issue a lot of people kind of find themselves in when rendering fall scenes at least initially is that they kind of just make everything oversaturated because it can be difficult to mix mars black with oranges because a lot of us mix oranges to be yellow dominant so if you find that you're having that issue just do try to use slightly more red play around with your mixes and you will get to something that you really like with that i found a really nice mid value for our trees again i'm not looking for the brightest value on the reference photo i'm not looking for the darkest because i do want to incorporate those shadows and highlights later we are really just looking for a nice middle ground now i do work quite a bit of the pigment into the body of this new tree but i'm also tapping around those edges starting to establish where those details and pop-out areas are going to be obviously we really explore that later on with the details and the highlights but it's a great way now to kind of start just plotting those ideas seeing where you want things because you have a lot of control with this brush arguably more than you have with the fan brush so it's a great kind of time to explore and just figure out exactly what you want to do this is also something where you know you're going to want to do a couple of layers build it up and ensure that you do have a nice thick layer so that you don't have the canvas showing through here i'm going over the bottom area a second time i'm kind of trying to fill in some of those little spots where you can see the white of the canvas making the orange a bit brighter but with that i'm very happy [Music] for step six we are back to adding some texture into the tree and this is going to be done yet again with that medium-sized flat-headed brush again it's about a quarter of an inch and we're going to use it to create all of the nice little textures and shadows within this mid ground now here i am mixing up a bit of our cadmium red dp some of our mars black i do still want some titanium white in there because we don't want it to get too dark too too quickly this is still the background and we need to kind of keep things in check but i definitely want it to be red i definitely want it to be darker than what we're working with before and so i am mixing it beside that initial pigment that way again i can just kind of see what it'll look like in contrast once i'm very happy with that i do go in to applying this at the bottom same technique that we used for the last application so it's great that we kind of have this opportunity to reinforce those ideas and ensure that we do have them kind of stuck in our heads so that we're not only implementing these techniques in this painting but you know we can kind of retain them and use them in future painting lessons as well i know that i personally really learned through a repetition and paintings like this definitely hammer home all of those ideas that you definitely want to keep in kind of the back of your head but with that i do apply this again at the bottom predominantly and then i slowly move my way upwards i'm kind of trying to find open areas that don't have enough of that texture and then i'll also go in and apply some extra applications to areas that i feel like should have additional shadows your shadows aren't going to be the same throughout the entirety of the tree and when you're looking at your reference photos you may find i want that area to be a little bit darker i want that area to be a little bit lighter and this is just kind of how you play with it [Music] once our backing texture is nice and dry we are going to move on to the highlights so for this yet again mixing in a very similar area that way you can see what those colors will look like in conjunction with our previous mixes i'm using quite a lot of our cadmium red despite wanting to be quite bright i think a lot of people associate brightness with yellow because yellow is inherently generally a brighter valued color but in this scenario we are working with a tree that is more orange is more red so i definitely want more of that cadmium red in there than i do with the titanium white or the yellow though we do still have quite a bit of titanium white because i do want it to be fairly desaturated with that here i'm actually going into the reference photo doing a little test here and there i like it but i think it could be a slightly more red so we add in some cadmium red i go in and just do some extra tests so you know what maybe it needs to be a little bit more orange and that right there is exactly what i want so now that i have that mixture fully done i am switching over to the fan brush starting at the top of the foliage and working my way down so kind of as some general rules when you're applying your darker shadows your second layer in your foliage you're starting from the bottom and working your way up because you have more shadows at the bottom of the tree than you do the top when you're working on the highlights you start at the top and you move your way to the bottom so it's the opposite because that's essentially just naturally how light's going to work in a lot of these scenarios with that here we do have a couple of close-up shots so you can see exactly how this is turning out you'll see that the difference isn't incredibly stark at this point between all of our different values it's still fairly subtle and i definitely wanted to start this way because we are again working with a subject that is fairly distant and you don't want all of your contrast all of your saturation in the distance because then you won't be able to really entice the viewer to look at the foreground you also have a lot of atmospheric reflections in the background which will make the colors a little bit less standoutish with that i'm quite happy and we're moving on to step number eight and step number eight here is a lot of fun we're doing something different in the lesson and we're going to be taking a small liner brush now this is quite long it has a very sharp point and it's great for drawing things like that of our trees our branches our tree trunks so for this i'm grabbing quite a lot of mars black about an equal mixture of my cadmium red a hint of our yellow and then a bit of our titanium white as well but i'm essentially using the red to give us some extra color in this what would have been otherwise fairly gray mixture i'm going to start at the bottom and then i'm going to work my way up now when you are starting with the bottom much of a tree you generally want to incorporate a bit more pressure with your brush because it'll expand your bristles and make your application larger but as you move up in the tree you're going to want to very much lighten that touch that way your application is a lot softer the bristles will not open up they will stay condensed and they will create a smaller application so this is something that again takes a little while to get really the hang of but once you do it makes rendering trees all of these branches and just incredibly efficient because you can work with varying sizes while utilizing a singular brush so very happy with that i'm also not kind of taking the branches and moving them all the way up or all the way down i'm skipping areas that way whenever i see a bit of a highlight a tapped application that's brighter i kind of skipped that so it looks like the branches and the trees are going behind a lot of the foliage rather than just kind of sitting in front of it so we're creating a lot of depth here very easily by essentially just not completing these longer lines you also probably don't generally want to create the longest lines when applying trees because then often you'll have something that looks fairly soft or fairly linear when in all actuality trees have all these different little bumps and movements that are going to make them significantly more interesting so having to take these braids is a good way of ensuring that we don't kind of get lazy with it and then create a very linear or samey looking tree set of trees right so very happy with how this is all turning out i'm just looking for the most open areas trying to diversify my strokes and make something that looks quite nice for our next step here we are going to head back to the palette and we're going to create some additional highlights for this tree remember how i said that we didn't want to make it incredibly bright that we still wanted something that was relatively subtle we did that so that we had room to play and now we can do exactly that we can mix up something that is slightly brighter so you can see that i'm actually working on top of my previous mixture that way i can you know ensure that we are going brighter but not too too much brighter i'm using quite a bit of our titanium white a little bit of the cadmium yellow but i'm trying to stay away from the yellow as much as i possibly can because i do still want this to be for the most part a tree that leans more towards red than it does yellow because the trees in the background definitely more yellow you want your trees to be different colors if not you know only just slightly that way it's going to be a significantly more interesting and it'll feel like you have a much more full forest with that i am now moving over to the fan brush yet again starting at the top as we do and rotating that fan brush in just a number of ways at this point i haven't even touched the right hand side of the fan brush to the canvas because i was just using the corner of the edge the side and ensuring that i wasn't getting a purely linear application or something that was a lot more interesting and here you can see those highlights really starting to build we're getting that depth that we did in the background so generally if you want a lot of depth within your trees doing those four layers is really that sweet spot that thing that's going to get you there you could do more you could work in additional variants and that will be really nice but recognize that you can kind of make it over complicated and again we don't want to do that so with this one here i am going to go to the fifth layer but i'm going to be very careful with it i'm not applying too much of this highlight to any one area it's very much in the areas that i feel like okay you know this is going to receive a lot of light it's very much protruding it's not going to get any shadows on it this is an area that could stand out so that's essentially what i'm doing here and i'm a bit more loose with it as i start to run out of paint because i know the applications won't be as stark but for the most part here i'm being pretty careful and applying it to the areas that i do just want to really stick out [Music] so while we wait for that application to dry we are going to grab our liner brush quite a bit of titanium white about half that mars black and are going to start mixing up a nice gray for the birch tree which is going to go on top of our previously rendered tree this is going to create even more diversity in the painting because now we are introducing multiple kinds of trees and i like this one a lot it isn't going to have any real foliage on it at this point in fall all of the leaves have been taken off which again is additional variants more trees or rather some trees are going to have more leaves than others and i'm going to begin by trying to be as subtle as i can with my application i'm not applying much pressure um when i'm at around the bottom i do apply slightly more pressure but for the most part i want these applications to be as small as they can be that way i have more option and i can make them larger it is significantly easier to make your strokes and applications larger than it is to make them smaller so that's definitely something i'm focusing on here in this process and i'd also like to note that my brush is incredibly damp throughout this the more water you have on your brush generally the more you can thin your paint the more you can condense your bristles the sharper the mark you can make on the canvas it does have its drawbacks in that it makes your pigment more thin but i think at this point it's worth it especially considering we're working with a lot of titanium white and mars black which are both inherently normally branded brand a much more thick pigment than your reds yellows blues all of that the mars black and the titanium white are great because you can add quite a bit of water and still have a decently thick pigment and if it's not thick enough that's okay you essentially just let that pigment dry you come back into it you do a second a third layer and you build it up while keeping your strokes incredibly small so i am trying to keep my brush quite damp throughout the entirety of this process especially as we get towards these top branches which are just so so tiny and when you take a step back you can tell really just how small these strokes are throughout the entirety of this lesson i'm going to try really hard to show you close-up scenes but also far away seems the close-up scenes so that you can really see how the technique is going how the actual applications are being made but also the far away scenes because realistically when you walk into a room you're going to look at a painting from 5 6 10 feet away right you're not going to be just a couple inches away so i want to ensure that you can see both options and i think that subjects like this are so interesting because when you get close you can see just so so much detail it's a lot of meticulous work but when you take those steps back when it's a bit farther away like it is here it just looks like a a regular tree and it's really amazing so very happy with this application here [Music] now step 11 is very much about progression and recollection so we're going to be doing a lot of what we did in the previous steps however we're going to make a rather large change with a rather large tree with that i do still want to start with a nice mid value base layer so something that isn't going to be our darkest value but also isn't going to be the brightest value still using quite a bit of our red and our mars black here you can see that we do work in some of that yellow but only after we do have quite a bit of that red established that way we don't end up with something that is a bit more green though it's worth noting your fall scenes can have green trees and a lot of them you know can have some yellow can have some orange there's a lot of variants don't feel like you need to follow this or the reference photo exactly you are more than welcome to play with it have fun make it your own and really deliver your version of fall right these lessons here these reference photos these traceables they are meant to aid you they are meant to assist you they are meant to inspire you but they're not meant to handcuff you to a certain idea so if you do want to work with greens by all means interject those greens into this painting with that here i am is still using that filbert brush to cover a large portion of this area and you could use something like a one inch flat headed brush to do this significantly more quickly but i actually really like the texture the application of this brush and i think throughout the three to four layers that we do through these trees it can add a lot just a little bit of brush stroke here a little bit of texture there it adds a lot of extra life to the trees and ensures that they look more realistic than they do cartoony i think in a lot of scenarios your subjects look cartoony because they're just slightly too simplified they don't have enough texture in them they don't have enough detail and sometimes the brush stroke itself can render that detail that you need to bring it to that next level so that's why i really like working with the filbert brush here despite the fact that it is taking quite a bit of time and that we could you know use something quite a bit larger and arguably more efficient with that i'm now moving over to the right hand side of our canvas and i'm delivering the same pigment again mixing quite a lot of it because we do have a large area to cover but going back and having to remix it is great because it's starting to allow us to memorize how we get these colors so when we want to do another fall painting it'll be much more intuitive than it will be kind of necessarily exploratory i think paintings will always be exploratory every painting is different every color palette is different but you can kind of retain some of the larger ideas especially through this much repetition and do something great i'm also adding a little bit of extra red over into the left hand tree just so that there is slightly more variance in our painting i wanted the right and left hand side to have quite a similar brand of orange but i did want it to be slightly different as well with that i'm now mixing up a darker pigment and this is normally where we'd mix up the texture color right the color for the shadows however we're working with a tree in the foreground and its lighting situation is a little bit different than everything else so i'm taking a color that i would normally use for that next application and i'm applying it on the right hand side of our tree really in the middle in this body section not going all the way to the top or all the way to the bottom with this first application and this is going to be a shadow that exists within this larger cluster of trees now why am i doing this rather than just putting it at the bottom rather than you know moving it all the way throughout because in the background those trees have a lot of trees that are beside them so the sides can't really be illuminated they can't get a lot of sunlight however this tree is different we have a road and an open area beside it so that light that is coming from the left-hand side of the painting is actually going to come in illuminate the left-hand side of these trees and make a bigger contrast a gradient so here we want the right hand side to be the darkest we want the um left hand side to be the brightest i added that very dark mixture to the far right hand side of it i'm adding a mid value here in between the brighter oranges and that darker area and that's going to help me blend it all together now this blend really it doesn't have to be perfect we just talked about the added benefit of leaving some of the brush strokes in getting that added texture i very much believe in that especially right here in the canvas so i'm going through i'm blending a lot of it i'm smoothing quite a bit of it out but i'm not really worried if we do end up having some brush strokes we're going to have a lot of applications on top of this and it is still just the base layer we're doing more with it than we have previously in the base layers but it is still just a base layer and we're going to have a lot of opportunity to play with it in the very near future we're also going to have our foreground trees on top of it so there's just another added level of texture detail all of that to kind of distract from some areas that we may not love a little bit later on and that's another big benefit of working on your backgrounds first and then making your way forward in the painting if there's an area that you don't particularly love it's not a big deal you can simply cover it up with another subject and we'll probably talk about that a little bit later here in the lesson here though i am now switching to that older square-headed brush this one again about half an inch and i get a lot of questions as to where i get these and i believe this one probably came from a dollar store i generally like to use artist loft brushes because i find that they're fairly consistent they're quite affordable they're great brushes they last years if you take care of them but when i'm doing this little tapping effect i want a terrible brush i want something that is synthetic but very inconsistent very rough you can always rough up a brush you can kind of peel back the bristles until you get a very rough aesthetic but here i'm essentially just taking the brush as is and i'm tapping this into a lot of our trees here again starting at the bottom with the left hand tree because it doesn't have the same lighting scheme as the right-hand tree but as i move over to the right-hand tree here we are now starting almost at the bottom but not quite again for the most part we are moving our way over to the left with it and i'm actually going to leave a little bit of the bottom is slightly brighter for some highlights that i'm going to incorporate a little bit later on here in the painting but with that we are going to speed a bit of this up because it is a bit of a timely process and very cathartic right it's one of those things where we've done it a number of times in the lesson so far we're comfortable with it we enjoy it we know what we're doing we are still rotating our brush we're filling in some areas to be slightly darker and we're having a good time so really really enjoyable i am then grabbing some extra mars black making my mixture slightly darker and then i add this to the bottom of our tree over on the left hand side i'm also adding it to the tree over on the right hand side starting at the bottom a slash back right hand side and really just moving up slash to the left very much in the same way we have done before again very cathartic in that we've really had to think about how we wanted to go into this how that light was going to work through the tree but then as soon as we know as soon as we figure it out it just makes sense and it's a very enjoyable process so that's also just a kind of a great reminder that in the painting process going into it with an idea of what you want to do is so beneficial often in this process i'll take five or six minutes to just kind of look at the reference photo look at the paint and say okay what do i want to do next for the next step how do we approach this and i find that it saves me a lot of time and not having to redo subjects with that we are heading back to our palette here i am using the filbert brush for the mixing and i use a filbert brush for the majority of the mixing in this lesson this is where we are trying to find that highlight and we actually very quickly found exactly what we wanted for this tree because we've been working with oranges for quite a while now things are starting to click it doesn't take as long to kind of adjust to the proper colors and i also do think finding the brighter colors and values is a lot easier than finding the darker shadows and all of that now i'd also like to note here that these applications are going to look more dramatic we are moving closer to us in the foreground so our darts are getting darker our brights are getting a little bit brighter and we are starting to create a greater contrast now this happens because when subjects are closer to us we can see more detail we can see more individual colors and also because we don't have that atmospheric reflective light that we have in the background that kind of makes everything look a little bit more hazy a little bit more soft and it's actually great that things naturally work that way because it means that our foreground subjects can be more visually stark and captivating they can draw our eye in much more effectively and that's exactly what we want to do with these landscape pieces so the background much more soft here you can still see those very dark pigments showing through a lot of these lighter pigments and now i'm jumping over to the right hand side i wouldn't say that i'm done with the foliage on the left i am actually intending to go back and do quite a bit more but i felt like i was getting pretty repetitive with it so i wanted to move over to the other side that way i could kind of play with it get a fresh feel for it look at that other area and you know kind of have some time to live with it and see how i wanted to adjust i decided that i wanted to go with something a little bit brighter i'm still applying it for the most part on the top but i'm also working my way around that edge because the light will kind of follow it i also want a couple little protruding areas at the bottom that you can see me rendering right now for the most part we're leaving quite a bit of darker open area for that shadow but there are a couple of areas that do a stick out catch that light and make that whole area significantly more interesting because it's not one single large cluster of leaves you can tell that there are other little clusters within that that do stick out to different extents and therefore have their own personalities creating that diversity is really what's going to take your painting to the next level so it's always important to kind of keep that in the back of your head but with that i think that this layer is going quite well and i'm very happy with how the painting's progressing as a whole [Music] now while we wait for that layer to dry we are going to head back to our palette grab quite a bit of mars black a little bit of cadmium red a little bit of our yellow titanium white and then some additional red because we do want it to have a bit of a warmer darker color then i'm going to start applying this and creating our very first large base to a tree now we've done a couple of them in the background but this one is going to have more character it is larger it is in the foreground and so we're going to see a lot more of those details i'm still trying to ensure that the higher up i am with the tree the less pressure i'm applying with my brush the farther down i get the more pressure i can apply but i do want the first applications here to be significantly smaller really than what i want them to be in the end that way i have an opportunity to make them larger wider kind of depending upon how they look with each other but also if i want them to be wider you know kind of moving towards one direction or the other so i start with something that's pretty small and then i'm heading to the top here as you can see i decided that i wanted that to be a bit more thick which means i do need to make the bottom more thick because the tree can't essentially be smaller at the base than it is of the top branches right it just it wouldn't make sense so now i'm going back and i'm thickening that bottom area i'm having the extension kind of occur more so to the left hand side and i'm also now kind of working on these draping branches at the top which i think are really quite a lot of fun you can see just how small some of these brush strokes are going as i move to almost no pressure at all the brush is also quite damp which is definitely assisting me in that process though when you get to the head size of branch you probably want to switch to the liner brush it'll get the job done and significantly better and that is exactly what we are doing here so i'm remixing more of that pigment i have that liner brush and you can also see that i'm taking my pinky finger and i'm resting it on the canvas my hand did just cover it up there but it's a great technique to kind of ensure that you're going to remove shake from your hand i find sometimes if i've been painting for quite a while i kind of forgot to have lunch dinner you know i think that happens to all of us but in those scenarios i find that my hand can get a little bit shaky and just taking my pinky finger resting it on the canvas it's a great technique to ensure that we can really move through that and get those very finite applications that we want here i'm also expanding on some of those smaller branches here with this really nice brush kind of going over some pre-existing ones ensuring that they're a bit more thick you can tell that there is a bit of water in this brush because all of these applications aren't all that's dark i'm going over this a couple of times to ensure that it is a bit more built up and i'm also re-going over the base of that branch right there because it wasn't as wide as the end so again another little thing to look out for it's another mistake that i think a lot of beginner painters make and it's something that even a lot of advanced and intermediate painters can kind of fall into as well because you just you render so many branches and it's easy to kind of just start following the motions not really considering every branch individually how you want all of them to look but it really will make the painting look significantly more professional if you do go back and ensure that your branches are progressing in a very natural way here i'm going back and working over some of the larger areas yet again because they were done with a arguably not enough paint you can see that the canvas is kind of opening up in between a lot of the strokes but b with quite a bit of water which also probably didn't have that process making the applications that are there just a little bit too thin so here i'm going over it yet again i'm still using a lot of water and if you find that you're going over a watery layer with more water and the paint's just not sticking that does make sense that will happen occasionally just let the area fully dry then you can go back in with another watery layer and that should allow it to actually stick but sometimes if you just have too much water on the canvas the paint won't actually be able to get onto where you want it so just something to kind of keep in mind don't get frustrated just let it sit for 5-10 minutes let it dry and then come back to it it's one of the wonderful things about acrylic painting it just it dries so so quickly and so if you mess up you can kind of go over something again you can fix it it's not a big deal and you can also just let very watery areas dry so that you can go back in and make them exactly what you want them to be relatively quickly here i'm starting to crisscross some of my branches and that's another thing that i think people are initially a little bit hesitant to do but i very much implore you to do because trees don't essentially just grow with branches to the left and right right they go behind they go in front they really move out in all directions so you want that crisscross effect and it's going to add a lot to the entirety of the painting process here i'm creating some very tiny little branches we will be doing more of those a bit later on in the painting but i did want to start with a couple and i think a lot of people generally aren't really sure where to stop with that sort of thing recognize that you can add more later on so in that scenario i'm actually applying less than i know that i want but in general if i'm ever really not sure of how much i want of something i'll kind of overdo it and then i'll work my way back that way i've gone to the point where i said okay that's not enough and then that's too much so i know the mix is somewhere in the middle and again kind of painting over areas with acrylic really isn't the biggest deal because it does dry so so quickly it doesn't really create texture unless you're using a lot of paint and so it's just incredibly easy to remedy should you need to but with that we're now moving down to a much smaller tree so i'm using that liner brush i'm being very cautious not using much pressure and you will see that i start to criss-cross some of these like that right there ensuring that the two trees do kind of intertwine do kind of connect a little bit and they feel less solitary right so i really like that technique and here you can see we're really creating just so many little branches and you can have a branch on a branch on a branch on a branch on a branch again be a little cautious initially that you're not overdoing it in one specific area forcing yourself to overdo it in all areas but you can continuously expand and just have so much fun with it i think painting branches like this is one of my favorite painting processes and while we all do have different favorite painting processes i think you can really find a lot of joy in this process just remember to continuously make the trajectory the angle of your branches different how they start to split off different the length of them different and all of that diversity it's really going to add up over time and create something that is continuously captivating something that the audience can look at and not say okay i immediately understand this painting and everything that's kind of going on there are different areas to sink into to explore to really appreciate and this is a great way of kind of giving them that opportunity [Music] now we're going to take a break from our actual trees and start working on some of the fallen leaves that we have on the ground so for this we are going to be using quite a lot of our cadmium yellow our cadmium red a little bit of the titanium white and mars black as well here much like a lot of the foliage we are starting with the mid value something we can add shadows and highlights on top of and i'm quite happy with the mixture that we have right here but i didn't test it on the reference photo and once i started applying it to the canvas beside all of our previously applied oranges i realized that you know what this could be a little bit more saturated so i went back to my palette i added some extra red yellow and titanium white and i was much much happier with that it is a friendly reminder here that you don't have to go with the first pigment that you mix you can kind of assess look at how it's working in conjunction with everything else if you need to change it and then going back and doing so even if you mix quite a bit of paint going back and changing it i think will save you a lot of time and effort because you won't be redoing that layer later on in the painting because it just doesn't look as good as you want it to so just recognize that you can change those mixes with that i apply that to both the left and the right hand side of the back of our fawn leaves and then i start mixing it to be a little bit darker so here we have a slightly more red in the mixture maybe a little bit more of our mars black and i want it to progressively get darker as we move farther down in these leaves because that middle area of the painting it's going to be receiving slightly more light and then the area closest to us is going to have a bit more of the shadows from the trees that are very much in the foreground so here i'm starting to mix that in we are creating yet another gradient like what we did on the right hand side of the foliage and trees in the foreground i'm mixing it in a very similar way it's all done with this little tap and drag effect however you know i i don't really care if it's incredibly soft looking i'm okay if we have some texture if we have some brush strokes i think that will add to the painting really as a whole but what i don't want are thin areas spots so that you can tell that the canvas is right under it and when you're working with a lot of oranges that can be slightly difficult because they're just not that thick uh colors right it's not like titanium white and mars black as we talked about that you know you can use quite a bit of water and still have a very thick opaque pigment with your colors your yellows your reds it's a little bit less so you know we do have that mars black and that white in there to help thicken it but you do want to make sure that throughout this process you're doing your best i'm also adding a bit of a shadow to the right hand side of the left hand cluster of leaves and some shadow to the right hand side of the right hand cluster of leaves because that light is coming in there's going to be a little bit of a wall on that left area that kind of moves upwards and doesn't get that direct light the same as over on the right hand side you get that light hitting that wall and then as you move back it gets darker i'm also making the back of the painting a bit darker as well because you're just not going to have that much light but i'm not going to make it as stark because i i don't want it to kind of pop in an unflattering way i don't want it to kind of take away from what we have elsewhere in the painting so i am trying to keep that background area a bit more subtle and realistically we could have done that background area earlier and had you know just as good a results i i just i admittedly kind of forgot about it so yeah that will happen and you can go back and just fix that that said once all of my pigment did dry here in the foreground i went back in with another orange this one's admittedly a little bit more thick a little bit brighter but i wanted to do a secondary layer because i felt like that first one was just a little bit too thin you could still see the white of the canvas showing through in multiple areas especially where the brush strokes were prominent and i just wanted to ensure that this was nice and thick i also wanted the opportunity to brighten it up a little bit after testing it on the reference photo again reference photos not meant to handcuff you not meant to tell you exactly what to do but they can really aid the process and again for everybody who is up over on patreon there is a link to that in the video description but with that here i'm also reapplying some of those darker mixtures into this as well and i think that the gradients are much more noticeable now that we have some thicker applications with that our next step is to let this dry and then we can head in with some detail [Music] now the next step here is going to be an accumulation of a couple of steps but we've done them all before so it won't be too intimidating with that i am taking that more disheveled flat-headed brush i'm mixing up a bit of a darker pigment for what we initially used as the shadow pigment and we're actually going to use this and this brush to create more of that texture like what we did in the foliage so i know that we're working now on the bottom of the painting on the ground however we're still working on leaves the actual subject remains the same despite the fact that it's now covering grass rather than actually on branches and that's important to remember because it's going to keep the painting really nice and cohesive with that i am starting to tap this along the bottom area in the darkest spot and then i do let it dissipate as we move up towards the brighter opening though again i do still want to cover the entirety of that area because i do want all of it to have at least a little bit of texture i'm also going to move over to the right hand side so that we can incorporate that same texture but i do start more so at the top and realize you know what i probably shouldn't be doing this so i head back down to the bottom and then go from there now i'm heading back to my palette we're grabbing quite a lot of our cadmium yellow dp about half that with our cadmium red medium hue and we're mixing up a brand new light color for our highlights so that means in this scenario using quite a lot of titanium white i essentially took as much titanium white as i already had of every other pigment mixed together and i'm now testing that as you can see really really beautiful really really close i like that a lot and now i'm going to start mixing the more reddish tone that you can see below in more of the shadowy area so i do grab some of our additional cadmium red i grabbed some of our additional mars black we start mixing a fairly good amount of this because i'm a pretty confident initially we go in for the test and i like it but it could be a little bit brighter so here we grab some titanium white i realize i simply have too much on that brush so i take off the excess and then we go back in with some taps and that right there is looking really nice but a little bit too desaturated so i work in some extra red to kind of give it some extra life and that right there is exactly what i want again friendly reminder not to go with the first color that you mix too you can continuously have fun with it with that here i am back to the fan brush and i'm tapping in a lot of the highlights here for the fallen leaves the technique is going to remain the same from our previous techniques because you know again same subjects leaves just this time on the ground however i am going to try to angle some of my applications so there's a little bit of a hill there's a little bit of a roll down towards that road with the area on the left hand side being maybe a little bit more raised this is going to be very subtle at this point and i arguably could have made it more prominent but it's a fun idea just to make the ground not flat and it's something that you could definitely expand on and do more with in your painting again our paintings they do not have to look the exact same you can have fun with it and really make it your own interject your own ideas and just kind of enjoy the process right with that i am going to take some of our red now and start applying that to the bottom and start moving it up in the painting and you know kind of have this nice middle area that has both the orangey yellow highlights but also the more red highlights that way we get a proper transition from one to the other we don't want it to be yellow into the halfway point and then red to the bottom point right we want that good mix we want that diversity and i think that's definitely going to make it look significantly better i also go ahead and do the same over on the right hand side though i was trying to make my applications with a bit more force to make larger impressions into the canvas to create larger leaves but we'll also go over that in detail a little bit later on in the lesson here you can see that i am mixing some paint with the fan brush it's admittedly not the best way of mixing but sometimes you don't kind of want to jump from brush to brush especially if you've kind of just mixed all of it you just don't want that paint that's fresh on there so it is doable to mix with a fan brush it isn't as efficient but here we have it with that i am mixing up a bit of a desaturated red for the highlights in the background again we have a lot of reflective light over there there are a lot of shadows in this area so i'm not brightening it all that much i'm not making it all that orange i'll go back in with a slight highlight but it really isn't all that bright in comparison to everything else and with that i'm quite happy with the foreground and the background [Music] now we're going to work on a very small but prominent detail and that's going to be the light working its way into a lot of our leaves so here i'm taking quite a lot of my cadmium yellow dp a lot of titanium white maybe a very small hint of our cadmium red but if we do that it will be incredibly minimal i am testing it directly on the reference photo i realize that i want it to be a little bit more bright so we add in some additional titanium white and that right there looks fantastic so here i'm heading in to do that detail with the filbert brush i'm doing this with a myriad of very small taps that way we have you know kind of grazing the tops of some of these leaves but there are these areas that kind of protrude that move down that don't capture that same light so i am trying to keep openings within a lot of these applications and i'm also trying to add a little bit of a curve here now you can see the light and the ground kind of moving down gradually towards that road and this is a great way of kind of further emphasizing that if you feel like in the previous layer you weren't kind of able to achieve it i'm also using my pinky finger quite a lot in this process to ground my hand and ensure that it's exactly how i want i'm also taking little breaks with these highlights you can see that it's not you know fully moving from left to right there are some little breaks and stops in there because there will be branches and different things that kind of obstruct those direct light beams right so with that i'm also going to add it over to the right hand side of the canvas kind of following where they initially were over on the left and just ensuring that there's this very natural progression though this one in the foreground is a bit more original and doesn't follow any pre-existing applications [Music] so now we're going to switch to the one inch flat headed brush because it can carry quite a lot of paint and for the first time in a long time grabbing some of our ultra marine blue the color that we used from the sky and the color that is going to look so so gorgeous with all of our oranges with that here i'm grabbing quite a lot of cerulean blue about an equal mixture titanium white about half that mars black and i'm mixing up what i initially intend to be a bit more of a mid value for a road however i do realize it's a bit darker than what i intended and so rather than kind of fussing with it in the brighter direction i figured you know what it's darker why don't we just mix our darker pigment now so i add some extra mars black i do really end up liking how that works though i do realize that the road actually has some red in it you can tell that it's kind of purple i opt not to interject the red into our mixture here because i do want that nice contrast of blue and orange they are complementary colors they do really make each other look incredibly beautiful so i decided not to dilute my pigment there and instead we keep it with that darker blue from there i do move on to my middle value kind of working on something a bit brighter and once i have what i want there i grab quite a bit of titanium white and start mixing our highlighted pigment as well we're going to be working on this larger area i'm going to want to create a fairly good gradient from that light blue to that dark blue and i'm going to want to do so while all of my colors are wet so rather than kind of having to mix all of these on the go as i apply one after the other i figured you know what i'll pre-mix all of my pigments it'll make creating that gradient significantly easier because i won't have to take time mixing new colors while the old one is drying while the previously applied one is drying right so by doing this we can save a lot of time i'm very happy with that mix and now i'm heading in to the road where we are applying this blue at the back of our painting so with that i'm moving my way forward and a lot of you are probably wondering why is the road blue you're getting a lot of reflective light here from the sky and so we're just going to get that nice blue effect you can also take some artistic liberties of course make it slightly more blue than it actually would be in reality to make the painting look better i don't think there's anything wrong with that i think that you can add a lot of personality through artistic liberties and you know again i don't think you have to follow a reference photo a traceable real life to a t you can have fun with it and do your own thing with that here i am adding some of those mid values and then i add the darker values as well i am having to remix some of these pigments because they did start to dry on my palette i get a lot of questions actually how i keep my paints wet on my palette for such a long period of time throughout these paintings and to be honest with you i do not they actually dry it quite frequently and then i go back in and i mix more of them i know that some people like to spritz their palettes with a little bit of water to help keep those paints wet for a longer period of time i don't think it's a bad idea but i like to mix with a lot of water as is and once you start doing that you add in additional water and it kind of can kind of hinder your ratios and how you want to work with it so i don't personally like to do that but it is a way of keeping things wet for a longer period of time now here i'm adding in a lot of that darker mixture at the bottom but i'm also going to run it along the edge of my fallen leaves here on the left and then blend that out over towards the right because they are protruding they are going to create a slight additional shadow here on the road and i wanted to incorporate that as well you also notice that i'm going over the road a number of times i am trying to smooth it out to an extent but i'm also not too too worried about it because we're going to be going over it a number of times with some additional layers but essentially the softer you can get it the better it's going to look a little bit later on sometimes you want those brush strokes this isn't one of those scenarios um so you know just kind of keep that in the back of your head there are these general rules but there are also times that you want to break them but i also move over a lot of this with a very soft brush stroke because generally you're going to get more brush strokes when you're working with a lot of pressure so that's another general rule to kind of help you throughout this but i'm quite happy with it if anything i just want the bottom to be a bit darker so i'm adding in more mars black continuously moving that up i'm continuously making my brush damp so that the paint on the canvas can stay wet for a bit of a longer period of time and i think we were fairly successful throughout this process so we just rendered a really gorgeous pretty much immaculate road however when we look at the reference photo it's not all that immaculate it has a lot of fallen leaves a lot of texture and detail on it so that is our next step we're going to start by taking quite a bit of mars black about an equal mixture of our cadmium red and then a little bit of our titanium white as well i go in to test it and it looks really good i can tell immediately that it's a great match i have a little bit of an issue distinguishing if it's going to be our mid value or darker value but in the end i do realize that you know we could make it a little bit darker for the bass player so i mixed up a second application right beside i don't want to ruin that mixture that we just made because i know that i want to use it as a reference a little bit later on but we do mix up something a bit darker and now we can start crafting some of the leaves that have fallen along the sides of the road here and the biggest piece of advice that i'd like to offer you at the start of this process is something we've touched on before but that is diversity we've put a lot of time and effort and energy into this painting thus far and it is not the time to kind of get lazy with it and start making everything very visually samey we want to ensure that different clusters of leaves do have openings that different clusters of leaves do extend out towards the middle at varying amounts right some of them are going to be longer than others we're going to have thicker stretches here and there and we just want to ensure that it's continuously interesting if you are up over on patreon if you are using the traceable you could go back in and redraw the fallen leaves onto the canvas here i generally like to use conte or chalk for that sort of thing because it comes off with water and it generally doesn't work its way into the hue of the actual paint but just try to make sure that this is as diverse as you possibly can because it really will make a difference i'd also like to note that my applications and strokes in the background here are much softer and i'm applying more pressure as i get closer to us because the perspective is going to make the leaves at the back of this lane look significantly smaller and the ones closest to us significantly bigger there are a lot of different ways to render depth in your painting earlier we talked a lot about kind of wrapping light around subject that's going to create depth you can also use perspective to create depth and generally it's going to be the amalgamation of different steps that render the best depth in your painting it's not normally one or the other so just kind of again keep that in mind and i guess i'd also like to note on the note of creating depth the third thing that you can do that we are doing here is we're making the background a bit more less saturated and with a less heavy contrast because we do have that atmospheric light reflecting down so that area in the distance isn't going to have the darkest of the dark pigments like the foreground will with our contrast so as you move towards the foreground we're letting our darts get darker as you could tell by the actual road right with that here i am moving over on to the left-hand side of our road i'm starting to connect to some of our previously applied areas and i am you know while i am trying to make a lot of these applications bigger because we are close to us i'm still making some of the smaller ones that way we do have a diversity in size even here in the foreground that is going to really add to it and ensure that things don't look cartoony later down the line here you can see a bit of a distant shot again i think it's so important to look at things up close so you can see the details but also take five or six steps back fairly regularly that way you can see how the entirety of the painting is coming together and ensure that it's looking quite nice so easy to kind of add too much detail to one area or make one area look incredibly good as you're up close to it and then take a step back and realize that it just it doesn't fit with everything else so i'd heavily recommend you know taking five or six steps back every couple of minutes it really will aid you and that's another reason that you know throughout this lesson we are painting very up close but we're also painting farther away as well now with that i did decide that i wanted portions of this to be even darker so i added some extra mars black and i'm doing a secondary layer on some of the applications here closer in the foreground i'll also tap in a couple of little loose leaves that are more so in the middle of the road just making it a bit more interesting and eclectic but we'll use a different brush to really expand on this in a minute [Music] so now we're going to grab our liner brush and some of the mixture from before because it's time to start incorporating some real details in our previously blocked in fall in foliage so this is going to be done with a bit of a tap and a drag effect and when i do this generally i'm trying to create just a very small impression in the background but as i get closer to us i'm adding some additional flair i go in with a very soft touch that way i get a very sharp application and then i apply slightly more pressure with my brush so it expands the bristles and makes that application larger and then i relieve pressure again as i come towards the end of that short stroke creating another sharp end that way our leaf has a bit more dimension and interest however you won't have that much room in the distance so this is something that you do want to reserve more so for the middle ground and foreground and i really like how this is going you're also going to want to go over a lot of the previously applied edges because with this you're getting significantly more detail than we were with the filbert brush and you don't want some areas to just kind of look soft because they don't have as much detail you don't want to kind of look lazy so we're going to go over that a number of times and really just kind of continuously expand with this smaller liner brush though as we do go again towards more of the middle ground in the foreground we apply a lot more pressure we make these strokes quite a bit bigger and it's also a great process because when we go over our previously applied areas we double down on this darker mixture right where with the initial application with the filbert brush we were using some water on our brush some of those applications weren't all that stark and you could see some of the blue from the road showing through however pretty much all of these leaves are opaque so you do want to ensure that these applications are nice and thick i'm also going to use the liner brush here to create some added depth in the fall and leave clusters that we have over to the right and left-hand side of our painting because i just felt like the road itself was quite dark and that needed to be matched in the foreground in our other subjects to look natural so i'm just working around some of the larger brighter leaves that we've kind of pre-established and we will go back in and add significantly more leaves with more detail later on in the painting again it's all a big layering process and this is another area that might look a little bit awkward for the next couple of minutes but we've had a lot of processes that i think did look awkward and then ended up turning out great so have faith in yourself and the painting process [Music] once all of those smaller applications are dry we are going to head back to our palette with the filbert brush grab quite a bit of our cadmium red and yellow probably about an equal mixture then i'm grabbing enough titanium white to equal that combined mixture and then quite a bit of mars black as well this right here is going to be the mix for a fairly desaturated more red leaf color that we can have here on the ground i'm testing it i can tell already that i really like it but i want to test it in a couple of areas to ensure that it is going to work throughout the painting once i've done that i decide you know what let's start a second mixture here and this one starts with more mars black we have some red we have some yellow and this i think looks really gorgeous so with that i'm taking my fan brush and i start to tap this on into the foreground the foreground again is going to have slightly more shadows in it than the middle ground because we have these very large trees casting shadows so we're going to use our darker mixture of the two in this area and we'll save the lighter mixture for that middle and we did something very similar earlier when we were working on all of the highlighted leaves that had fallen on the ground remember the ones that were closest to us were more red and were a bit darker the ones in the middle of the painting were a bit brighter a bit more on the orange yellow side very much a similar idea here so it's just you know kind of figuring out how the light's hitting in the painting and adjusting your values and hues to really accommodate those larger ideas and those larger ideas are once you get them down just going to make the entirety of the painting so so much easier and that goes for really all paintings you figure out those lighting presets and then you work around them with that though i'm quite happy with this so far though i do feel it's incredibly limited at this point we definitely need more of our foliage especially in the road in the foreground and we will build that up i also want to start transitioning my edges into the fallen leaves a bit better so you can see that i'm tapping that in between so it's not that this application this color specifically just goes on the road it's also going to start building its way up onto the sides of the leaves to the right and the left and it's it's going to take some time but the clusters are are going to look really really good i think that this is actually one of my favorite areas in the painting once it's done so again just trust in the process enjoy it and have fun making all of these different applications in different areas because we are trying to be fairly random with it still right we have different clusters of different sizes that connect in different ways and that's something that should be continued through this that process and that idea shouldn't end with the initial base layer that said i do this for quite some time so we are speeding up more of the footage here i think that the painting probably took me about eight hours total including the time where i had kind of test colors off on the side and you know sit back really just look at the painting look at the reference photo and say okay how do i how do i achieve that best so recognize that this isn't something that you have to do in under two hours i know the video time will probably be around there but take your time don't rush through it enjoy the process and especially once you're this far make sure that you're doing all the little things that add up to make it really special so here i'm going back to the liner brush and i'm adding in some brighter leaves kind of down in the bottom area i'm initially going to allow them to be quite sparse because i don't want to do too much too too quickly and this is also going to be a great bridge between the color that we have on both the left and right hand side leaves and what we'll have in the road here so again taking our time applying more pressure in the foreground less pressure in the middle ground and background i'm also slightly changing a lot of or a little bit of the color because i do want to ensure that there is more diversity so this application's a little bit more yellow than the last and i definitely implore you to play with it [Music] now we're going to continue adding some detail to the ground this time in the form of some light rays now i love adding effects like this i think it is so much fun we've done a little bit of it previously up to the left hand side of those fallen leaves but now we're actually going to start applying it to the road so this is essentially going to follow the same stream of light the same path there's going to be a break between what we have in the fallen leaves on the left-hand side and on the road because i want there to be the implication of you know something kind of visually obstructing that in the distance perhaps it's a tree a branch but it's going to make it more interesting right and then i'm also continuing the highlights that i had over on the right hand side closer to us this time again in the road and one mistake i'm making a little bit here is that i'm angling the applications where they should be more horizontal if it's angled it kind of implies that the road is on a bit of an angle so i do go ahead and fix that with my liner brush a couple of times and in the end i feel like we definitely remedy it but it's one of those instances where you really want to start with the smallest application possible that way if you need to expand you can in this scenario we did need to expand and we were able to fix it very easily because of that we just we left that room for us to grow so i apply that in there and then i do want to go in with a second application especially on the blue road because these applications initially are quite yellow and when you put yellow paint over blue paint even if it's dry you'll get a little bit of green unless the yellow is incredibly opaque because generally you can see through pigments right so you can see through with the yellow to a slight extent that means you can see the blue you get this optical blend not an actual blend but an optical blend and that'll make it look more green so by going over it a second time we build that yellow up so that blue isn't visible and i did add a little bit of extra mars black in that process that way it was more orange and then even if you could see through it a little bit you wouldn't get that green effect so i do like to play with that a little bit do be careful and do make sure that your road is fully dry when you go in to incorporate this little detail here i also played around with those light rays you can see that there are a couple of them there's spacing and i also try to allow those highlights to kind of dance on the tops of our leaves rather than being a direct linear application over when we get to more of the right hand side and those piled leaves right because there are going to be little indents aries crevices where this light can't get to and we want to ensure that they are notable because it's going to make it look so much more interesting if they are here i'm doing that a little bit more but i'm very happy [Music] now we are going to take a little bit of a break from our road and start working on the larger foliage in the foreground which means painting individual leaves very fun process you have a lot of room to get creative and with that i am starting here with the filbert brush i'm grabbing a lot of mars black a lot of my cadmium red a little bit of titanium white because again i don't want it to be too saturated even in the foreground you want the foreground to be more saturated than the background to create more depth but not too too saturated so we do add some extra titanium white in there and once i'm very happy with that as our darker base layer for our leaves i start working on our highlighted value so this one is going to be a bit more red than orange and so i want to stick more with my cadmium reds though i do find initially that it's not as saturated as i want so i do need to add more yellow which means i need to add more red this actually happens a couple of times in the mixing process and you see that i'm actually straying farther away from that initial color that we can see on the reference photo i do decide to take an artistic liberty i do want to make this a bit more saturated because again we're working on the foreground the area that doesn't have all of this atmospheric reflective light right this is the area that has an opportunity to have some really gorgeous colors and i'm not overdoing it i'm not making everything hyper saturated i'm still using titanium white and mars black to tone it down a little bit but i want it to be more saturated than what we've previously worked on and once i have that i'm now heading in to the canvas i'm using that same filbert brush and we're creating individual little leaves i'm rotating my brush quite a lot i'm creating clusters having them connect here and there but i'm also creating some little strays that we can connect with smaller branches later on really at this point you're looking to create the best composition with clusters of leaves here i kind of have this area where they're higher up atop you know towards the right hand side and then it gets lower as it moves down in towards the road it acts almost like a very subtle leading line and i think that's a lot of fun for this area right now as far as the actual application goes it's quite similar to the leaves that we did on the ground and that i'm starting by touching the brush to the canvas with as little pressure as possible and then i apply slightly more pressure as i go through that dragging motion which expands the bristles and makes a larger application and then as i go towards the end of the leaf i lift off and i do so very subtly that way we have two very sharp tips and then a larger body to the leaf this is a technique that again you will get and then when you do it'll be so easy you'll be able to run through it it'll be very cathartic however it won't be initially and so while you're watching me do this very quickly recognize that you don't have to work at this pace you can take your time you can ensure that each individual piece is the way you want it don't feel like you're just throwing paint on canvas because each and every one of these applications is purposeful and the technique that is being used to render them is specific so it's not just kind of throwing the brush at the canvas or the tap it is a tap drag lift effect and we are rotating our brush in between each and every one of them we're considering how those larger clusters compositionally fit within the rest of the painting and again if you are working from the the traceable don't really have to worry about it i've drawn it out for you you uh you can just work from that but if you are doing this kind of off the top of your head or if you know that you're going to want to do this off the top of your head in a future painting do consider the orientation of the leaves in a lot of these you can tell that they're kind of dipping down right the weight is bringing them down there's going to be a little bit of wind in you know this scene so some of them are going to be fluffed up moving in different directions sometimes the stem the branch is a little bit stronger so they're moving up on a different angle but i do try for the most part to have the leaves at least the end of them kind of move downwards again pointing towards the road each and every one of these is acting as a miniature subconscious leading line and it's eating the composition something you always want to be thinking about in your painting process though here i think it's quite evident that while i'm using quite a lot of paint on my brush while i'm using a mixture that is a lot of mars black and some titanium white still not all that thick definitely going to have to go over some of these areas a couple of times with additional applications and really build it up because this is our foreground this is where we really want that attention to be and a lot of that attention is going to be there so you want to make sure that these applications are very strong that they are nice and opaque when they should be and with leaves they really should be for the most part sometimes you do find a thin leaf and that's a pretty neat when the light kind of moves through it but it's not necessarily the effect we're going for right here with these clusters so do keep that in the back of your head and remember that you can paint leaves that don't necessarily directly connect with the rest of the clusters because sometimes that stem at this distance is going to be so small that you don't even see it [Music] once our base layer is fully dry we're going to head back to our palette with that filbert brush and grab our highlight which we previously mixed and this right here as you can see is more saturated than any other application in the painting and we did that intentionally we wanted the foreground to pop we wanted to really capture the viewers attention and while it's more saturated than everything else it's still not hyper saturated we were still fairly careful with it and i think it's still a very realistic color when i'm applying these pigments i am trying to ensure that they are following the same lighting rules that the rest of the painting is so for the most part the highlights are being applied to the top and the left hand side of each leaf i'm not going over the entirety of our base layer because i do want it to look like some leaves are a bit farther away maybe we're seeing the back of a leaf maybe you know some leaves are casting shadows on other leaves and that's important it's also important to occasionally overlap some of your leaves and the highlights because that will naturally occur within these areas but overall i really like it and i think that the best way of going about it is initially with less and then add more as you feel you know different areas need it that said we are getting pretty far into the lesson and i generally do like to take a minute to say a big thank you to all of you out there for watching the channel for liking for doing all of the different things that you do to help out i really do appreciate and i really appreciate that you're taking the time here to just learn about art with me i think that it's a wonderful practice and i'm always excited to see just how many people are also engaged in traditional art that said i'd also like to say a massive thank you to everybody up over on patreon for directly supporting this channel in no world would i be able to spend the amount of time i do on these lessons if it wasn't for you you literally make this happen and you provide these lessons for yourselves but also everybody watching over on youtube so big thank you to you for that if you are new to the channel and this is your first video maybe you just wandered in uh the channel is predominantly fan funded up over on patreon and up there you can get things like the traceables and the reference photos for all of these hour long lessons you can get my ebooks including acrylics for beginners which is essentially the essentials everything you need to know about acrylic painting before you jump into your first acrylic painting in it we talk about composition how to use our water what brushes to use really again just all you need to know there are also a bunch of ebooks full of traceables and you can also get access to our exclusive facebook group where we all kind of share our work and help each other out it's a really friendly wonderful community and if you are up on patreon i heavily implore you to check it out with that said though moving on to the next step now the next set of leaves are going to be quite a lot of fun because they're kind of protruding they're extending out and they don't have as much shadow on them so we are going to create a bit of a brighter leaf right here now i'm grabbing quite a bit of my cadmium yellow a little bit of our red but for the most part i do want this to be a yellow orange dominant mix so i'm taking yet again more yellow quite a bit of that titanium white making sure that it's nice and bright the smallest amount of mars black you can see that i'm wiping off the excess and from there i'm going to test this on all of these leaves that are sticking out and i am admittedly a little taken back by how well that worked out in our first mix but now i'm back to the canvas applying all of these little leaves that are dangling off these smaller branches and i'm going to overlap portions of our branches but not all of them this is something that i want to be fairly careful with and again fairly methodical i want clusters but i don't want the entirety of the branch to be covered so we're going to kind of bounce back and forth through this and if you do find that you're getting a little bit repetitive with your application or your clusters just try to jump to a different area it'll generally kind of reset things and then you can move back if again you just feel like you need that variance now i don't have any branches out over in the middle of the canvas but i realized that i definitely wanted foliage there so i started painting in some of these spots that i feel like could definitely benefit from a little bit of orange and you can see how we're kind of moving the branch in the sky around the movements of the background trees right so it's almost like we have an outline of the sky separating both of these and that's something that it's very lucky you know you'd probably have to move around quite a bit to get a picture that really depicts that but it's an artistic liberty we can take that'll be really wonderful in the reference photo these kind of move down and on top of the background trees which i think is very natural but i do think it can look a little bit messy and i don't think it's something that we necessarily have to do in this painting right here so we are actively avoiding that you can see that the bottom leaf essentially goes down and almost touches that bottom line of trees but not quite and i'm essentially just trying to stay in that upward area keeping a lot of that sky showing through and we're also going to start moving some of our leaves from one branch over touching the leaves from the other branch again showing that they're kind of overlapping that they exist in the same space not that they're essentially one on top of the other but something much more dynamic so really trying to play with that but going about it at a rather slow pace that way we ensure that things really do end up exactly how we want them to that said we are still working with just the highlights at this point and so there is still quite a bit to do here i'm i'm looking at it and i'm kind of going back and sharpening some of the edges you're not always going to have the sharpest edges when you are making a myriad of strokes with one little grab of paint right so if you do have some that are a bit toothy looking you can kind of see the tooth of the canvas show through do ensure that you go back over those areas with that i do grab some extra mars black some extra red mix up a bit of a shadow color however it's not as dark as what we've kind of previously established on the right hand side of the painting again these leaves are more so stretched out they don't have a lot of a shadow on them it's not going to be as dark and so we have a bit more room to play and kind of just enjoy this application really the brightness of it so it too almost acts as a transition from the darker foliage that we have on the right over to the brighter foliage that we have more so to the left hand side of the painting and you know kind of below as well now i'm not covering all of my initial orange leaves with that application i do still want some of those bright leaves to show up especially where i feel like the light is definitely going to hit them and now i'm going in with a darker pigment yet again and finding the areas that i think really should be dark so we're creating three different layers of our highlight our mid value and then our darker value i'm being much more sparse with the darts than i was initially and we're layering it in the opposite way to how we just layered the foliage right because with a lot of the foliage and the clusters on the right hand side we started with the darker base layer and then we added the highlights on top where with this we started with the highlights and now we're adding the mid values and then the darker layers on top and that's essentially just because of how the light is going to be hitting these we are essentially looking up we are seeing the bottom of these leaves where the other ones we can kind of see more from a face front value so just different little effects you can do depending upon your perspective how you see the leaves and how the light is going to work through them i know some of this might sound a little nebulous um but i think the longer you paint the more you work through it the more you'll kind of understand it and um yeah just just so many fun little different techniques and it's amazing how switching up the order of how you layer things can change the visual effect because these top leaves really do look like you know we're looking up to them light is moving through some of them but there are some areas that are just too thick they're darker they have shadow where again the ones that are closer to us closer to the ground are more so we're looking directly at them the light is coming it's hitting the side it's hitting the top and that's the effect we're getting so just different things to consider try and play with but overall i really like the transition i did try to mix one into the other by doing a little bit of each in the middle and i think it turned out really really well [Music] so now we're going to move on to our next step which is actually going to be two little things the first being the addition of highlight over on the left hand side in the painting you can see that i'm actually mixing my pigment here with a fan brush which is not advised but definitely doable and you can see that through this process i wanted something that was slightly brighter and slightly more saturated than what we previously applied there to the fallen leaves because i did feel like the right hand side of the painting was really stealing the attention away and i want the eye to be able to move throughout the painting right you can have a primary subject but you also want a secondary subject and different things that are going to keep the viewer engaged and i just felt like with the addition of the larger leaves all of the branches the trees that the right-hand side is just too distracting so how do we aid that we go over to the left-hand side we make it a little bit brighter we make it a little bit more saturated we give it something to compete visually with that left-hand side and i was really happy with the orange that we rendered there however that color does need to spill on over to the other side of the road we are dealing with essentially the same leaves they are essentially getting the same light at least on the edge and so i do throw that over there it means compromising a little bit on how we're balancing the painting in terms of saturation and light but i think it's something that needed to happen and as i moved closer to us i tried to tap with less of the protruding pieces of the fan brush that way it got more and more thin because we really want that again to dissipate and become more of that more shadowy red for the foreground i'm also using a small portion of the fan brush here to just render some very small leaves when stepping back i do realize that that right hand side is still just a little bit too stark for the left-hand side so i draw in some little fence posts and this actually got me really excited i thought that you know what it's another excuse to incorporate some leading lines i think that it'll look really gorgeous the darker values in it will balance the right hand side well and this is something that wasn't in the reference photo at all so again friendly reminder take those artistic liberties have fun with it but i will include it in the traceable for those of you again up over on patreon that said i am starting with very small fence posts so i'm not using the filbert brush that we've been using for a lot of our foreground applications instead i am using that liner brush to work in those details these posts are not perfect this one has a little bit of a lean to it that is purposeful again i want that diversity throughout them i'm also trying to ensure that they get larger as we move closer to us right because perspective we're going to have them progressively get smaller as they move farther away and i'm also trying to ensure that the ones that are closest to us have the greatest contrast so this has a bit more mars black than the previous posts i'm also starting to render them with the smallest application possible so something very minimal very thin and then i slowly expand it to the left or to the right depending upon which i feel needs a little bit more weight right i'm also taking a little bit of that mars black and throwing it on the right hand side of our other posts that way we have a bit of depth i'm creating a bit of a lighter gray throwing that on the left hand side of our posts that way it looks like that light is coming in it's brightening up that left area just a little bit and then it kind of shifts into shadow as you move closer to the road here you can see i'm mixing up a bit more of a highlight with that liner brush and i'm going to tap this highlight onto the edge of this post it's very subtle at this point but i'm going in with a lot of a tapping effect and trying to get it to look a bit rough because this is wood it's out in nature it's not meant to be perfect and i want something that has just a bit more character than a perfectly straight line and this is generally how i'd recommend going about highlighting wood regardless of if it's a post or a tree trunk generally going in with that tapping effect getting those inconsistencies having some areas be more highlighted or dark is really important so that is something to uh kind of keep in the back of your head obviously it's not it's not incredibly prominent right here but it's just enough to give it some depth from that i am still using that liner brush some mars black a little bit of titanium white right and we're creating just the wire that's going to connect these again i'm trying to avoid anything hyper straight and i'm trying to give it all these nice little movements as i move closer to us i am applying slightly more pressure that way we get that wider application as we should because it's you know going to appear larger now in the background we need to be as careful and subtle as we can be we are going to have some areas that are slightly more thick just because we do have to move the brush on certain angles things like that are going to happen but for the most part we want it to be a lot smaller as we move into the distance here and that means probably incorporating significantly more water on our brush that will make some of these applications a bit more transparent but that's not really an issue especially in the distance and if you do want to thicken it again just let it dry go in with another very watery application and that should make everything and just fine here i'm adding in some very subtle little details little points to that wire and again just little character pieces right not something big not something distracting but something that just ties it slightly more to reality and makes it a bit more visually captivating even if it's more so in a subtle way right not every detail has to jump out and be incredibly impressive or notable we can have a subtlety like this [Music] now i'm going to take my liner brush and we're going to head back into the road so this is a technique and an application that i wanted to do earlier but i didn't know how far i could take it because i didn't know how much detail was going to be in the rest of the painting but now that i know that we have quite a bit we can really have some fun so with that i start by mixing up a fairly dark blue something similar to what we've had in the road before but again a little bit darker and i'm going to find a lot of the openings in the road areas that don't have leaves and i'm going to tap in these little areas that kind of sink into the ground right generally with these older roads they're not perfect you have some areas that protrude you have some areas that sink in and this is essentially going to be a lot of that texture a lot of those shadows where the light just isn't getting to so it's going to be a nice visual because it's going to complement the amount of detail and the applications for the actual leaves but it'll be blue so it'll give us that complementary color in a brand new detail which i really love from there i do make our application a little bit brighter as i do start to move up more so towards the middle of the road and we're going to progressively change the color as we move through the road this time we are going with something with a bit more titanium white and we're creating a bit of a highlight so this is for the protruding areas right this is for all of the areas that kind of stick up a little bit they catch the extra light and we're going to want to incorporate both techniques of the darker applications on the lighter applications throughout the entirety of the road but i wanted to show you each of them individually in their own areas first so that it was quite notable that they are separate applications with separate intents right they both have a purpose and that purpose is different one of which being the more raised area of road one of which being the more sunken in area of road and as we get towards the middle top area you can see that this highlight really just isn't showing up all that much because we are in an area where it just perfectly matches so that's a good indicator that it's time to start switching things up and having some more fun so i grabbed some additional titanium white some of our ultramarine blue we mixed that up here i'm not too concerned about making a perfect mixture in this scenario because realistically we can have quite a bit of variance and diversity and values throughout the road and these highlights slash shadows here we do have something a little bit brighter it does stand out quite nicely in this middle area and now we are going to speed up the process a little bit because it does take some time when you're covering almost the entirety of these larger openings with this incredibly small brush and a lot of very meticulous applications but again this is another portion of the painting that is just so so much fun so rewarding wonderful to see this area come together with so much detail and really balance everything else [Music] now we just spent quite a bit of time working on the details on the road and it's time to do so in our foliage on the reference photo you can see that we have a very bright set of leaves up in the top left-hand corner and for the majority of the leaves they actually were brighter on the reference photo i did opt to go for something a bit more high contrast in the foreground and i'm very happy with that decision but so you know another friendly reminder you can take artistic liberties that said i am taking the liner brush here and i'm crafting a bunch of really tiny leaves this time without any branches because again when you are at a bit of a distance sometimes those little stems are small to the point where you just can't see them but also we are going to add in actual branches and stems in just a minute once i have this area essentially as full as i want it to be i know that i don't want it to be as full as the reference photo but i know that i definitely want more there because that top left hand corner just visually can't compete with what we have over on the right hand side so a lot of the final steps of this painting do come down to compositional balancing to you know balancing the light and really just ensuring that the viewer's eye can move throughout the piece very naturally that's really why we're doing what we're doing right here but we're going into it with the same technique that we did with all of the draping foliage before we are starting with that highlight then we'll move to more of a mid value and then we can move to a dark value after that but because these are very high we have the light streaming down through them that's really the best way to go about painting this particular type of leaf right so here i am heading back to the palette still using that liner brush creating something a little bit darker and in this scenario you probably want to start applying this to the back right hand side of each of these individual leaves right because the left hand side and the top is essentially going to be receiving the most light so we're consistently kind of playing with where our highlights are depending upon where our subjects are in relation to light and that's uh just one more good thing to reinforce with that i do want to start layering some leaves on top of one another and you can't really portray that well when you're working with the same hues and values here because we've changed the value it's very notable it's very noticeable when one color when one pigment when one type of leaf is on top of another so that's really what i'm attempting to do here we're not really covering a lot of additional space in the sky but we are creating more depth in the leaves that are there and of course the more leaves that are layered on top of one another the less weight that can pass through and the darker that they need to be so as you continue to do that you may progressively want to add slightly more mars black to your mixture and they're probably slightly more red because you don't want things to end up too green unless you do want things to end up green because again you are more than welcome to add green trees as well to your fall scenes and further diversifying that color i actually have a fall scene that i really want to do that has some beautiful subtle greens in it so perhaps you'll see that on the channel in the next couple of weeks and we will really explore that idea as well but even here you know take the artistic liberties that you'd like and have fun with it that noted here i am going in with a very small branch and really a series of them i'm connecting it to the back of our smaller leaves we are trying really hard to work in between some of them but also go on top of others there is thought behind each of these and there is an incredibly subtle application the brush is quite damp at this point so that i can get these incredibly subtle markings i'm trying to get these very sharp little bends in a lot of these branches as well that way they look unique i notice a lot of beginners do tend to make a lot of the branches very soft very round and having those random jagged movements is really going to go a long way in realism and just making them much more engaging here i'm almost faltering in that they're starting to look fairly similar so do try to make sure that you are continuously creating different little offshoots and that they're not all kind of the same size this is something i go back and fix but at this point i do think it's an issue and we do need more diversity throughout the protruding branches that are very notable at this point right so here's a little fix with this one [Music] so now we're heading into the final steps of our painting and this is really exciting i love the touch-up stage and i do have one more technique that i want to show you in a little bit but what we're going to start with here is mixing up a bit of a darker orange i'm throwing some additional leaves up to the top left-hand corner to balance some of the darker values that we have over on the right hand side and i'm also going to use this over in the fence posts as well to darken those this is great because it's going to make those two areas of the painting very cohesive it's going to continuously balance the darts in the painting on both the left and right hand side and very happy with those two little updates with that we are now mixing a bit of a brighter orange for some larger leaves here in the foreground we did a lot of leaves in the foreground with the smaller liner brush we also used the fan brush but what we did not do was use the filbert brush for a lot of these details and i wanted to go in with this because it's going to provide us with the opportunity to create something that looks a little bit different add some additional diversity and i'm going to show you what we're doing up close in just a second but i wanted to know that when you're doing the touch-ups i heavily implore you to do so from a bit of a distance that way you can see how everything's working together when you're up close it's so easy to add more detail to change things to you know make a certain area look gorgeous but also make it not look like it fits with the rest of the painting so for the majority of these touch-ups i'd recommend painting with a little bit of a distance that said we are going to do a close-up shot here for you so you can see how i'm working on these individual leaves i mentioned earlier that you could do things like maple leaves and you know things with interesting shapes and that's exactly what i'm doing here you can have different types of leaves you know they can blow in from trees from different areas and here i'm looking for areas that might have too much shadow shadow that doesn't really make sense perhaps there aren't enough leaves to properly facilitate the logic of said shadows and so i'm moving in i'm kind of filling in those areas that might be a little bit too dark for too large of an area and i'm also just adding additional colors throughout this on the left hand side the right hand side continuously balancing it but also adding additional interest through slightly changed colors i'm also doing little taps in the middle of the road to give us some added detail and again make it cohesive with the foreground as well that's really what a lot of touch-ups is it's making things cohesive and balancing everything out with that though i yet again am back to the smaller liner brush and i'm just applying some added details in the background these areas are a little bit too small for the filbert and i wanted to jump back in with this that said we are now very much towards the end of the painting so i wanted to give you a little bit of a code word i try to do this in most of the lessons a little something you can type in the comments that'll be a bit of a badge of honor it's something that i will recognize it's something that everybody else who gets here will recognize and not many people get to the end of these videos i actually have the analytics and i think seven percent of people who start watching these videos actually make it to the end so if you are one of the dedicated few who has made it here who is truly invested in learning and in creating this piece a good for you for being so invested i'm sure that you are going to render something really wonderful but if you did make it this far you can use a code word in the description what code word is that i think we're going to go with crisp like a crisp fall a day right you don't have to use it in that context you could just type that word you could incorporate it in a sentence but it will act as a little badge of honor all know that you made it this far everybody else you did and i always find it really fun to see who does kind of make it to this point so use that word if you would like to thank you for being here though i had so much fun rendering this i love that you know we could do this together and i hope that you are incredibly excited and motivated to go out and create your own rendition i think that fall is an absolutely gorgeous scene and i'm so happy with how this one turned out also i'd like to say a big thank you to everybody again up over on patreon i know i know i said it i i tried to say it two or three times in each lesson honestly just because you guys made such a huge impact on the channel this channel would not be here without you and it's because of you that we're able to do what we do so thank you for supporting the channel do go ahead and download the traceable to help with the drawing process the reference photo to help with the color matching the ebooks if you haven't already and join the facebook group if you haven't done that either but with that again just thank you for making this happen and i will see you soon with a brand new painting lesson i recently put a poll up over on patreon with a bunch of different options you guys voted on this one it won by quite a big margin but i'm pretty excited about the other two as well so we'll probably have some additional fall landscapes in the very near future with that i'm not going to ramble but thank you for being here thank you for supporting the channel i hope you have an absolutely wonderful weekend

Channel: Stay Creative Painting with Ryan O'Rourke

Views: 162,099

Rating: 4.9625874 out of 5

Keywords: how to paint, acrylic, lesson, tutorial, paint with ryan, stay creative painting, easy, road, fall, forest, autumn, lane, calm, relaxing, woods, fall trees, leaves, autumn leaves, light rays, fence, acrylic painting, realism, realistic, draw, sketch, painting landscape for beginners, how to, artwork, landscape, step by step, learn to paint, painting tutorial, fall leaves, bob ross, fall landscape, autumn landscape

Id: vpsoweNEG0k

Length: 113min 46sec (6826 seconds)

Published: Sun Oct 11 2020