Painting a Misty River Landscape with Acrylics - Paint with Ryan

[Music] hey there i'm ryan welcome to today's 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 will have the traceable up over on patreon along with the reference photo for color matching with that said this channel is predominantly community funded so if you feel like you're enjoying you're having fun you're learning things do consider checking out the patreon up there we do have a lot of fun stuff on top of the traceables and reference photos like that of access to the polls my collection of ebooks our private facebook group bonus lessons and a lot more so a bunch of fun stuff up there do check it out if you're interested but with that let's jump into it and have some fun [Music] we're going to begin today on a 9 by 12 inch canvas and with a 1 inch flat headed brush then i'm going to dip the bottom third of it into a little bit of water this is going to condense our bristles and allow our paint to stay wet for a longer period of time now i'm going to begin by grabbing quite a lot of our titanium white about one fifth that in our naples yellow and we'll grab the very smallest hint of mars black this is going to be 1 15 ish to our current mixture and it's really just meant to desaturate the pigment a little bit and keep it from being too bright with that i do head in to the horizon of our painting right where the trees meet the sky and i predominantly start working in horizontal strokes however i also move in a bit of an x-shaped pattern that way i not only move the paint from left to right but also move it upwards which is great when working with acrylics because they dry so quickly and it'll allow us to cover significantly more space with ease so from there i do head back to my palette i'm remixing essentially what we initially had however i'm mixing more of it because now i'm confident in the color i know i like it i know i like it on the canvas and so we can be a little bit more liberal and start working upwards now i'm not going to go all the way to the top i do want to change the pigment slightly before we get there but i am going over a lot of it and giving it a second layer because acrylics can be a little bit thin from there yet again back to that palette and this time we're grabbing the smallest tint of our cadmium red medium hue and i'd probably recommend about 1 7 the amount to our current mixture this is going to give us a great transitionary color it's going to make what we have a little bit more pink and that means we have a color that our golden yellow can transition into but also the blue that we intend to incorporate on the other side of the painting if we went in and essentially put our golden yellow on the right hand side we put our muted blue on the left hand side we tried to blend them in the middle we get a green however by instigating this small area of almost a pinkish gold we ensure that the yellow can transition into a color without creating green we also ensure that that blue can transition into a color without creating green now here i'm grabbing some of our ultramarine blue it's about one-fifth the ratio to the rest of our mixture and we're creating something that is about equally subtle to our previous golden application then i'm applying it to the canvas in the top left hand corner and as i move into the yellowish gold i'm being very soft with my brush i don't want any brush strokes and by applying that minimal amount we're going to ensure that things are relatively smooth and that we don't essentially have a hard line between colors now i would also like to note that i'm going and doing multiple layers throughout this process again we are working with acrylics our brush is damp because we want to extend the wet life of our paint but that does mean multiple layers will be necessary so you see me go over a couple of these spots numerous times i'm also now confident with my color so yet again we go back in we mix a larger amount than we did previously and this is a general rule start with something uh that you think is correct but don't mix too much of it and then once you know then you go back in and you mix significantly more because it can be difficult to kind of fix an abundant mix if that makes any sense and here we're just very softly moving over both of our colors i would like to note that the majority of this lesson is going to be done in real time however we're doing a lot of layering some of it is fairly repetitive and i thought you know what rather than making this a 10 hour lesson why don't i you know make it a three ish hour lesson and i just won't show you the same process over and over and over in real time we'll just speed it up a little bit so doing the exact same thing and softening all of it using a very minimal amount of pressure with my brush that way i don't create any brush strokes and we get those nice soft blends but with that we have a very muted sky that way our mid-ground foreground can pop i'm very happy with it on to step number two now we're going to jump into step number two i am using the filbert brush it is about one third of an inch and it's great because it has a softer corners which is ideal for blending with that we are going to hop into the background trees predominantly mixing the middle value so not the brightest or the darkest color we see in it something that is very central we use about an equal mixture of our burnt umber our cadmium red medium hue and our naples yellow this is going to create a nice earthy yet desaturated pigment i felt like it was a little too dark so i added in some titanium white but i used far too much and then i tried to balance it out with some of our mars black but it's still far too bright and we do a little test i realize you know that's a lot closer to our mist than our trees so we'll darken yet again we'll add in some burnt umber we'll add in some mars black and from there it's looking fairly desaturated so i throw in again equal mixture of our naples yellow our cadmium red and this is really a trial and error process getting this pigment to what it needs to be i really want this lesson to show you not only how to do things correctly but why we're doing things and how we adjust when they don't go right the first time so here it's still too bright so we add in again equal mixture of the burnt umber and the mars black then it looks a little too desaturated so i add in more of the yellow and the red and this mixture right here i think is the closest yet so we go in we do a bit of a test i like it but it's not saturated enough so i add in some of our additional red we go in for another test and this is by far the closest that we've had but again i think it could be a little bit better and i don't think the yellow that we have is going to give us the opportunity to make it as vibrant as we need to for that orange so i grab some of our lemon yellow you could also use a primary yellow but it's a much more saturated yellow than the naples and this is going to allow our orange to be more saturated than what it was previously so i mix all of that in and then we go in for the test as you can see with every step it's getting better it's getting closer to what we actually want it to be here we are brightening it up slightly especially as we move towards the tops of the trees and it's worth noting that your mix isn't always going to be perfect in its first rendition you're going to have to ask yourself is it too bright is it too dark is it too saturated is it not saturated enough and then we slowly make these changes to find the proper color and recognize that sometimes you get it on the first try sometimes it'll take 80. and that's okay it's all part of the painting process but the more you paint the more you'll kind of have these ideas in the back of your head the more it'll become second nature the quicker it'll become and eventually you'll be able to match just about every color pretty perfectly so with that here we are heading into the canvas i am painting over the larger trees in the middle ground and i'm just blocking in this base again it's not the brightest backing color it's not the darkest and when i get towards my edges you can see that i'm rotating my brush very slightly that way we get the implication of these protruding clusters of leaves it's just going to add an extra element of detail but it's not going to make it too detailed often in the background you want things to have some level of detail so they resemble the subject but the i can't recognize subjects that well from a great distance so we are purposefully going to make these trees a little bit less detailed than what we do in the middle ground and foreground though at this current point we're really just working in a base layer and that means applying a flat application of a singular color once it's dry we can go back in add some shadows add some highlights really build on it make it three-dimensional but before we go ahead and do that we want to make sure that we do have a thick base layer that way everything looks well applied it looks professional generally you can tell someone is just getting started and painting is relatively new to it when the paint applications are relatively thin and you can kind of see the canvas through a lot of the finished impressions so just make sure that you do a fairly good application you're not scraping paint away from one area to apply it to another and that you're going back numerous times often i like to apply all of my base layers and then i'll let it dry i'll go in ahead to a second base layer and then move from there but here as you can see we are just trying to get rid of all of those little brush strokes that way it's well applied and with that on the step number three now we're going to dive into the shadows in the background trees and we're going to do so with that filbert brush i'm grabbing an equal mixture of both of our yellows as well as our burnt umber and our cadmium red medium hue then we're going to brighten it up desaturate it by adding some titanium white and then we'll darken it back down by interjecting some mars black however i don't feel like i have enough with the very first attempt so we go back and grab a little bit more from there i'm switching it to a half inch flat-headed brush and this one has fairly stiff bristles which makes it great for tapping effects and rendering a myriad of implications we do this in a lot of our trees but here i'm just going in and grabbing that pigment from the palette and lightly tapping on the canvas i'm also rotating my brush in between each tap that way each marking is a little bit different than the one next to it and i'm slowly building all of this up though it's worth noting that i do begin in the bottom area and i work my way up because hypothetically the top will be much more lit and therefore there won't be as many openings where you'll see those shadows it'll kind of be consumed by a level of light so i just let that paint kind of dissipate as we move up towards the top though i do go back in to the middle and bottom areas a number of times really building it up though again this is really just meant to be the openings the areas where you see the shadows through the trees and we are going to go in with some details and make it look a whole lot more pretty in a minute so don't worry too too much about making this look messy it's almost meant to at this point and we really are just trying to build different clusters of shadows throughout this but with that it's time for the next step so now we're going to head back into that background with the filbert brush and render the brightest mixture that we have yet so i'm actually going to avoid using the naples yellow for this mixture right here and we'll do a little test i realized that you know what it's a little too saturated it's not bright enough we add in about double the amount of titanium white that we initially tried and that right there is definitely closer however i wanted to be a bit more earthy so i add in some of our burnt umber not too much you can see that i'm taking off the excess on the palette there it is going to darken what we have but i think it'll get it a little bit closer and you can see with these tests it's definitely moving in the right direction however i do decide to add in a little bit of the nape was yellow i don't want it to be too saturated but i do want it to be more yellow and so the combination of them definitely worked out from there i do decide to mix a secondary color for highlights now this is meant to be a little bit darker than the mixture we just created but also lighter than what we used for the background blocking so this is essentially the highlight that we're going to use in the bottom portions of the foliage because hypothetically again the light is at the top it's going to render very bright highlights and then those highlights are going to dissipate as we move down so i'm actually testing this more so in the middle and then i'm going to switch over to a fan brush for the very first time this one is a softer fan brush so when it's wet or when it has some pigment on it the bristles do tend to clump together a little bit but that is okay because it'll make the leaves look slightly bigger and we're still able to render just a wide amount of them very very quickly and effortlessly so here i'm just going in with that tapping effect i'm rotating my brush fairly regularly because if you don't you'll probably end up with lines of applications and that's not what we want so i'm not applying the entirety of the brush every time i'm angling the brush i'm just trying to randomize all of these strokes and i'm allowing it to dissipate as you move farther down which is something that visually makes sense because the light is going to dissipate as you move farther down that subject with that i do go back in and we apply this a number of times at the top thickening certain areas but also just filling in quite a lot as well and then as you move farther and farther down we'll create larger openings because the highlights that you see in the middle area and at the bottom are really just very far protruding pieces and the majority of it isn't going to catch that highlight now yet again we're doing a lot and it's taking quite some time so i'm going to speed up a little bit of this footage but now i'm going to go back and remix the slightly darker highlighted pigment because it did dry while i was in the process in applying that first mixture so i'm mixing it on top of the previous one that way i can just ensure that we end up with that same color using everything that we did the first time and i'm mixing with the fiber brush rather than the fan brush because it's much more simple and it won't condense the bristles to a great extent but from there i go back in at about that halfway point with the fan brush start tapping in all of those applications and i'm going to do this below our initial applications but i'm also going to move it up and mix it into the initial ones as well that way it's cohesive that way we don't kind of have a hard line in our foliage and that way it has a bit of a natural transition ingredient despite the fact that it's not actually all blending together and it's through this combination that we'll end up with something really nice i'm also going to add a little bit of titanium white to our brighter mixture that way i can build on top yet again this isn't something that i initially intended to incorporate but the more i sat with the painting the more i felt like it could use just slightly brighter highlights and i'm also going to use it to kind of craft the edges of some larger clusters as well just build up some dimension and with that i think that it's starting to look really really nice for the background we are going to do some glazing we are going to touch it up it is going to expand but at this point i think all of our techniques and colors are amalgamating in a nice way and with that again it's time for the next step now for our next step we are going to grab our filbert brush and we'll start mixing to render that very bright light coming just from beyond the trees now i'm going to begin with quite a lot of our titanium white and then about half that with our nape was yellow we do want this initial mixture to be quite bright and you can see that i'm actually testing it over on the sun rays themselves now i do feel like it could be a little bit more orange so i grab the smallest amount of our cadmium red medium hue and we go in to test that i think it looks so much better so much more natural it's important to recognize that this light is moving over an orange subject and so you will see a little bit of red in that mixture so once i have what i want there i start to do a second mixture and this is going to be for the light that is closer to the sun essentially surrounding it it's going to be a little bit more yellow it's going to be a bit more saturated as well so instead of the naples yellow i go and use the lemon yellow or the cadmium yellow medium hue or the primary yellow again any of those will do but we want to use it instead of the naples yellow because it will just be a bit more saturated so i'm testing this right around that edge of our sun and i do like where this is going i think it's looking quite nice and so we're going to head over to the canvas now i'm going to continue applying with the fiber brush because it does have that fairly soft edge it can create some nice blends i'm essentially just trying to map out the bottom of the sun right now and just ensure that we have it in the right spot i'm not just jumping in and you know very loosely placing it i am putting some thought into it i'm doing some little test movements and ensuring that we have the general shape and size that we want it's a lot easier to make the sun larger than it is to make it smaller so again start small and then kind of build out from there but with that here you can see i'm going back to my palette because that mix it did start to kind of dry in the process we are working with acrylics i get a lot of questions as how i keep my paint wet for these longer periods of time and often i don't i just go back in and i remix it until i uh you know get as much as i need so with that i start to apply the rays of light here closest to the sun and then i move down relieving pressure as i make that stroke so that it dissipates and becomes less and less opaque the farther it is away from the sun i'm also i'd like to note using a bit of water on my brush to help thin our paint and i do want to ensure that the strokes get smaller and smaller as i make the mark so i'm lifting the brush off as we talked about but i'm also applying less and less pressure where i might apply a little bit of pressure initially so the bristles expand in that top area of the sun ray is a little bit thicker and you do get that nice movement here you can see that i'm doing a bit of finger painting something that i think we all picked up when we were very young and i just haven't let go of i think it's a very useful technique in acrylics and it's something you'll see me do in just about all of these pieces but especially when you want a pigment to dissipate over a stretch like what we have here now i'm going up and i'm applying the actual sun i'm trying to get it fairly round but i'm also trying to get a slight blend of this pigment into our previously applied one and then i start to move this highlight down into some of our previously applied rays now it's looking a little messy at this point admittedly but that really is just part of the process and that is a-okay now i do want the more saturated pigment to really surround it yet again so i'm just working that in and i decide to apply it around the entirety of the sun before i do any real blending and i do that simply because if you have a lot of paint on your brush it can be difficult to create those soft blends but by applying all of it letting it start to dry a little bit and then blending it with slightly less pigment on the brush it becomes significantly more simple so here you can see it's starting to look quite nice we have a bit of a glow from that very bright almost titanium white in the middle out to more of that yellow and then it moves into more of an orange we have these gradients and with that yet again we're moving on to the next step for step number six we are yet again using that filbert brush and starting with a little bit of our titanium white then we'll grab about an equal mixture of mars black and then an equal mixture of our ultra marine blue this is going to be for our very distant trees and it's actually the second time in the piece where we've used ultramarine blue the first of course being the top left-hand corner of the sky but upon trying that i realize you know what i want it to be a little bit darker so we add in some of that mars black we go for the next test that definitely looks a lot better however it's still a little bit saturated so i had in the mars black as not only does it darken pigment but it also desaturates it and that was exactly what we wanted so now we are heading back into the canvas and you can see just how thick my applications are that's something that i really wanted to articulate with this shot these base layers really should be as thick as possible and if you feel like there are open areas you can see the canvas through you can see the tooth of the canvas then you're going to want to go back and definitely do another layer up here you can see just how thin these applications are as i drag that pigment as i apply very minimal amounts of pressure the brush does have some water on it which is allowing me to keep the paint wet for longer do these larger blends but it's also again thinning these trees so we'll have to go back over this top area however we were definitely going to do that anyway so that we could install some detail this first base layer like most is really just getting a lot of paint on the canvas in the color that we need again void of depth void of any real detail but the step we need to really get us started so i'm blocking in the bottom portion with a lot of horizontal vertical strokes it doesn't really matter all that much as long as it's consistent and you don't see the majority of those brush strips and then as i get higher up i go in with those very subtle more so linear applications and i try to relieve pressure as i move upwards so that again they taper they get smaller as they move up the base is a lot wider and then you get that implication of a set of trees in the background which again don't have that much detail we will head into them relatively soon and start working in some branches and fun things because we will see some additional little pieces but not too too many now here you can see that we're jumping back in i'd also like to recommend that when you're going about this if you have a lot of paint on your brush work it into the body of the painting then when you have a medium amount that's when you want to do all of the protruding pieces all of the trees up top and then when you have very little then you go back to the body and you do that because you don't want too much paint on your brush when you're rendering the detail but you also don't want almost none because if that's the case when you're going to have issues just kind of getting those smaller applications so you really want a good mixture here i'm just going over doing a second layer and now we're switching over to the liner brush which is just a very very small brush has a nice fine point at the end there especially when it's wet and with that we'll take the same color and just start working in all of these protruding branches on the sides i'm going to try to ensure that they're always different they're always varying i don't essentially want to create a piece that moves out on the left hand side and then do the exact same piece on the right hand side you'll probably want to drop it down a little bit move it up maybe make the next one a bit more long or maybe it has a different angle to it adding diversity here is really what's going to make it interesting and you also want your trees to be varying sizes varying heights so you don't see this perfectly straight line it's in nature it should be natural it should be organic and that's really what we're working to achieve here it's also worth noting if you were finding that your paint is drying on the palette and it probably will i wouldn't recommend doing your blending with the smaller liner brush here at that point you probably want to switch back to the filbert do your mixing grab your paint with a liner and then just kind of continue in that fashion now this was a fairly lengthy process so i'm going to speed up a little bit of this footage we weren't really doing anything technique-wise different than you know the initial steps so you're not missing anything but we are just taking our time ensuring that each of these trees are different that they're in clusters sometimes they're overlapping each other they're also all not perfectly straight up and you can see that some have a bit of a diagonal lean to them i love that i think it makes things look significantly better and here you can see that we're really able to instigate a lot of detail thanks to this brush and i'm just kind of cleaning it up doing those secondary third layers that way it's nice and thick and it does look quite professional again that's really one of the ways you can tell when someone's been painting for quite some time now this next portion here is actually not something i'd recommend doing but i wanted to include it so that you could see what the results were and why i didn't particularly end up loving it it's something that i don't think hurts the piece but i also don't think in the end it helped the piece the idea here is that we're creating protruding trees that are a little bit closer to us and the majority of them so they're sticking out they're catching slightly more light you can see more of their natural innate color that being a green and i'm using sap green by the way for this lesson but i'm essentially painting them all in with the liner brush in the same way we painted in the tops of the previous clusters and i'm trying to vary them so that they're you know at different distances from one another they have different heights going back in adding additional highlights however while it looks fine in the end it's not necessary because we end up putting a lot of mist in the background and we have trees in the middle ground which cover the majority of it and with them i think you kind of run the risk of having it look a little too over complicated in the background while the initial silhouette would have worked great so i wouldn't recommend doing this but i thought i'd show you the process just in case you wanted to now for our next step we're going to start making things a lot more cohesive and combining both halves of our painting because right now things are looking a little disjointed and separated we're going to begin by grabbing equal parts of our mars black cad red naples yellow some titanium white and then we go back in and double up the amount of our mars black this should render essentially the pigment that we use for the darker shadows in the orange trees and that's exactly what we're looking for so once i have that i do switch over to the flat headed half inch brush and i go back in with the tapping effect on the left hand side because again things were looking a little disjointed we want them to be cohesive we essentially had one side that was quite dark and blue we had another side which was more of a mid value and a warmer orange and we need to create a bit of a transition i'm doing that by instigating this darker shadow which you can see i'm predominantly applying it on that left-hand side of the orange we move it over towards the right-hand side we allow it to dissipate that way it gets less opaque and we have this nice transition from a dark value on the left hand side over to a medium value on the right hand side so while the hues remain quite different the values transition quite nicely and that's definitely a big step in making things feel more natural it's also worth noting that when we were applying all of the blue trees in the background i did work some of that blue into the openings in the orange so while we didn't get a perfect blend while we wouldn't want a perfect blend we do have a little bit of a transition from those hues and now that we have the values in there i think that it actually works quite well if you wanted you could go back in and work some of the mid value highlights on top of portions of this but at this point i'm actually really quite happy considering the majority of this middle section will be covered with a mist in a step which we'll do very very shortly so at this point i think all looks well again a little messy but that's acrylics and we'll fix it up quite soon now for the first layer of our mist we are going to switch over to a medium-sized round pointed brush and we're using this because the edge is quite soft and therefore is great for rendering subjects like that of clouds or mist now i'm grabbing quite a bit of titanium white about half that cad red and then half that naples yellow as well we want a fairly muted bright orangey pink for this first layer of mist and upon testing it i realized it's a little too saturated it's a little too dark we interject some titanium white it should fix both of those issues and it does so now we're heading over on into the canvas and we're starting at the base of our tree line because our initial application is going to be quite opaque we are not going to be able to see through it at all and we want the higher areas of mist to be significantly more transparent now to make it that way we need to get the majority of the paint off our brush and now as you can see we're just blending upwards i'm using a circular stroke with my brush to do so and my brush is also a little bit damp which is helping to thin our paint and ensure that we do get some nice blends and mixes i also want it to be relatively inconsistent so some areas will be higher than others and we will build this up over time now the more damp your brush is the easier it'll be to really thin this paint out however recognize that if you use a lot of water you can kind of move paint out of an area and make that area not susceptible to adding further paint until it's fully dry so just do try to be careful with that here you can see that i'm still slowly moving up i'm using as little pressure as i possibly can i'm trying to ensure that some areas are more opaque than others but some are getting taller here specifically in the middle it's getting quite tall and that is intentional as that's really going to be the visually roughest area we have it is that transition between the two it's where we change the values it's why i was a little bit loose with my applications in re-adding those shadows it's because i knew we'd cover up the majority of it but we needed that darker texture in there for the few areas that do show through the mist so at this point i'm quite happy with the technique i think it's going rather well i'm now going to head back to the palette we're grabbing a little bit of that burnt umber some of that really nice titanium white and we're moving this into the center it's going to be less saturated than what we just had and that is ideal because the farther we get from the sun we want it to get less orange we want it to get less pink we want it to get less warm and that burnt umber is going to make a really nice transition area between the more orangey pink fog and the blue fog that will end up happening over on the left hand side because there is going to be fog in the shade it's not going to be getting that warm light and we don't want to essentially have a hard stop in the middle of the painting between the warmer colors and the soon to be applied cooler colors as well so just try to keep that in mind once you get towards that middle section do start working with more of that burnt umber instead here i have very little paint on my brush and so i apply a bit of it up there i'm leaving some openings i'm using my finger to do some blends again big fan of finger painting always have been however if you're going to finger paint make sure that your hands are extremely clean make sure that you've just washed them and dried them you've used soap because the oil is on your hands can essentially be applied to the canvas and then render an area which paint doesn't stick well to so just be very aware of that and if you do finger paint wash your hands in between steps and just make sure that again they are as clean as they can possibly be with that though we are now moving over onto the left hand side you can see that our mixture is getting quite a bit darker we are starting at the base we are working our way up we are working our way to the left and i am still yet again using my finger to soften a lot of these applications it's also worth noting that again we're going to get a lot more blue but for now i think that looks great now we're going to head back into our palette with that same medium-sized round pointed brush we'll grab about an equal mixture of our titanium white and ultramarine blue then i'll try to add a little bit of our burnt umber as well this is going to desaturate it it's going to make it look a little bit more earthy it'll make it a bit more cohesive with the middle section and really do just about everything we want it to so then yet again we go in with the same technique of applying it to the base of our trees we work in those rounded movements i'm predominantly using the edge of the brush and not necessarily the tip of it because the edge is more rounded it's going to give us a softer application and from there i go back i do a second layer here at the base however it's worth noting that i have a lot more water on my brush than i did in the previous iterations and it's making it difficult to build up that moro peak application at the very bottom it'll be a lot easier to blend up and make it semi-transparent but it was definitely a trade and because of that i do think i prefer doing this with slightly less water than i think one would initially assume you need here i am going in with the finger painting however and this is a bit of a timely process so i am going to speed up a bit of this footage but the technique is again exactly the same as what we were previously doing i am working it in to that middle section trying to get as soft and as cohesive of a blend as i possibly can you will hear the term cohesive quite a lot throughout this lesson but it's really something we strive to achieve especially when we're working with two very different hues in the piece we have this very dramatic blue we have the very dramatic orange and somehow we need to find a way to tie it all together that's being done here through value initially with the trees and now again with a lot of the mist as well different colors but blending nicely because they're the same level of brightness for the most part and i'm continuously building up that middle section to cover the texture that we applied previously now this next section is actually quite simple we're going in with the one-inch flat-headed brush grabbing quite a lot of our mars black about one-fifth that in our ultramarine blue and a little bit of titanium white and burnt umber as well but this is essentially going to be the darker base layer the silhouette for the bottom distant tree area here you can also see i'm grabbing some of our cadmium red and it's a real amalgamation of the majority of our colors if you use the red and the blue together generally you end up with something akin to a purple which is a nice blend of really everything we've used this will be in the center of the painting it'll ground all of these colors bring them together however it is meant to be a silhouette and i am going to opt to make my application a bit darker than what was seen in the reference photo because i'm going to brighten it up throughout a number of layering processes so here we have this nice be it very dark cohesive color there that word is again and i'm going to stretch that all the way to the left hand side however on the right i'm actually going to have it kind of do a little bit of a dip and stop and this is going to make the piece look a little bit more natural it's the way it's presented in the reference photo but i also just wanted to ensure that it wasn't too symmetrical to the point where it was boring or to the point where the viewer could look at it and almost instantly feel like okay i understand what's going on onto the next painting on to the next piece right we want all of these subtle little things to keep the viewer engaged and by having this not perfectly centered and not perfectly even we do work to achieve that so with that i am now just kind of filling in this larger area this brush is fantastic for it can just cover so much space so so simply and the sharp edges are also great for crafting the very notably sharp edges that we have along the tops and the sides with that i do want little protruding pieces of bushes and grass so i've switched over to the smaller liner brush and we're going to try to randomize this as best we can i noticed in the reference photo it really was all over the place and that's very much what i'm attempting to create here so the grass doesn't move perfectly straight up it's going to the left it's going to the right it's extending to different heights it's moving on at different angles sometimes you can see the openings and fog kind of in between different portions but you do want those openings to vary in size that way it's again not too methodical we want it to be quite organic and that really is the goal here now admittedly we could get lazy with this and just throw all of it on very quickly i do try to take my time especially as you move over to the left hand side specifically because we innately have patterns that we form and it's easy to do the same thing once you've done it for a little while you kind of build up these habits quickly subconsciously so we kind of have to take our time and diversify more so intentionally if that makes any sense so here just trying to be fairly wispy with my brush over on the right that way we do get a lot of these natural movements you can also hold the brush a lot farther back if you feel like things are looking a little too hard or too uniform generally that'll relinquish control but that relinquishing of control will amount to much more interesting and diverse strokes so just something to consider and here i'm going in and just continuing to do this but so far so good and on to the next step now this next section is incredibly fun we're going to use our half inch flat headed brush grab some sap green about an equal amount you have our titanium white and then yet again an equal amount of our mars black now mars black is a much stronger pigment so it tends to overpower the rest though i do decide to grab some extra titanium white to continue desaturating the sap green it's not a hyper saturated green but it's definitely more saturated than what we had in the reference photo and as you can see through testing we're getting a lot closer i do go back in with some additional mars black to get it to be more of the correct value and i think we're definitely getting quite close however it's worth noting that we're going to be painting a lot of these trees with different colors and it's the middle ones which will predominantly be green here i'm going back to the smaller liner brush so that we can render some very sharp fine applications and i'm going to use my pinky finger and rest that on dry areas of the canvas to eliminate shake from my hand that is going to be vital through this process i'd also like to note that i'm now working down the tree however i'm not doing so with one single line you can see that i do take some breaks and that way we kind of instigate the start and stop visuals to it which is nice it kind of makes the tree look more natural like it's growing in one direction then in a different part in its life it's moving in a little bit of a different direction so much more natural than kind of creating one singular line down the center and now i'm going into the top with that brush i'm doing these very tiny little taps occasionally it's a tap and drag but the goal here is to create all of the little impressions that you see on these branches in this foliage and as we move down we start to expand more and more but we do try to ensure that these first applications don't have too much paint i am stretching it out i do have quite a bit of water on my brush and that's very purposeful so that the outskirts of these are a bit more semi-transparent which is going to make them look a lot brighter because you're going to have this bright sky kind of showing through the pigment and then when we get closer to the center of the tree we can apply more actual paint which will make it look a lot darker because it's more opaque because we can see the natural green that we mixed on our palette rather than a mix of it and the very bright background right so again we're trying to go in with a fairly damp brush we want those edges to be a bit more thin so that they are brighter and then we get those more thick opaque applications in the center of the tree which again is always varying and changing now for the most part i think it's worth noting that the foliage is predominantly moving upwards of the branches are still moving upwards when we're at the top of the tree they don't weigh a lot and so you have a lot of these upward trajectories where when you get towards the middle of the tree they kind of level out they move more horizontally than when you get towards the bottom of the tree when the branches really expand when the tree is older and mature then you do have them kind of move back downwards rather than upwards or to the side so there's going to be a very gradual transition throughout the entirety of this rendering process and that's something you want to keep in mind from the beginning however i really liked how that was looking at i was having a lot of fun with it so i decided to go to the tree slightly to the left and start doing the exact same process you can see that that middle section is far from perfect and it is meant to be far from perfect we want something organic we want something natural you can see there that i created those fairly bright edges and now we're going back in with a lot more paint in the center really building that out and if you find that you accidentally make the foliage and the branches around the top of the tree a little bit too large by accident you can always just make that top of the tree taller and therefore you can re-instigate more of that tapering effect right now if you do that you do have to consider all of your other trees and the fact that you've changed the height of one because for the most part you want all of your trees at different heights so that they're a bit more subconsciously interesting so do kind of keep that in the back of your head with that i am continuing our process of working kind of on those edges on that body you can see that there's a lot of tapping with this brush i think when a lot of people initially paint branches especially of this kind they create these longer strokes that kind of wrap upwards where we're really not making many strokes at all for the most part it's a bit of a tap with a slight drag and it's just kind of accumulating its layering to the point where it all connects and therefore forms a cluster and i really do feel that that's the most natural way of going about this it will take longer it's a much more laborious process but it's definitely one which i believe renders significantly more detail and a much more natural look as well now here i'm going in with admittedly slightly too much water on the brush and you can tell that we're getting a very thin mixture which is having a hard time really building up so that is something to look out for and the gauge of if it is too much water too little water is really just something you learn over time through practice something i used to love to do before i was kind of a little more experienced with it was have just a canvas on the side that i could test colors on that i could test applications on and that was great uh it doesn't have to be an expensive canvas though you probably want a similar canvas for the one that you're working with that way the tooth is similar that way it has a similar amount of gesso applied to it and because i know i'm going to get questions about gesso and all of that if your canvas is white it's come pre-gessoed generally non-gessoed canvas is more of a tan color and depending upon how much you're paying for the canvas it will have different layers of gesso if your canvas has a lot of tooth to it a lot of grit when you apply that paint you feel like it's really sinking in then your canvas probably doesn't have much gesso but if you feel like it's going on very smoothly it's like butter then at that point it probably has you know three four five layers of gesso and you can apply more gesso to your canvas and you know really play with that if you'd like to i personally like a canvas that is more so middle ground it doesn't have too much gesso it doesn't have a very minimal amount i like to work in between i feel like it gives me the most option and i know this essentially turned into a step talking about gesso however i painted these for the longest period of time and at a certain point there isn't too too much to add especially when we're just working on that top area now here as we start to get towards the middle of the tree things do start to change we are going to move more horizontally with our applications and they can also get a little bit darker and you almost want them to get darker because now we're going to apply them on top of the background trees which do have some darker areas and you don't want these to stand out you do want the values in this the darker values and this to be darker than the values that you have in those distant trees that way they stand out when they are layered on top and it just makes sense in the background you have all this atmospheric light that's reflecting around that's bouncing that you know does cover the darker hues where the closer we get the less there is of that the more innate coloring you see so you do want to ensure that these trees these applications right here are darker than what you have in the blues and the oranges this is also going to be a bit green and therefore it's going to stand out for that reason here we're in the middle you can see that we are moving away from all of those areas that do just kind of move upwards they're getting a bit more horizontal and they do start to move down you can really see that over on the tree to the right although you are going to occasionally have some branches that do still move up again it's very dependent upon the age of the tree and you can kind of judge that for yourself and have fun with that depending upon what you want to do but here things are getting much more horizontal and i'm starting to overlap the trees i think that's something a lot of people who are newer to art and painting are apprehensive about because you work so hard on one tree and you love it and then oh do i have to disrupt it with the other can i not just put the other beside it do they have to touch do they have to overlap in general they're going to look a whole lot better if they do it's going to create a lot of depth it's going to make the painting feel like it has more three dimension to it so i definitely recommend it and the longer you paint the longer you realize that often sacrificing detail for the painting's sake for the composition for making your primary subject stand out that is almost always going to be a great thing and it seems a little counterintuitive because it's so hard to get that detail in there but just recognize that overlapping subjects isn't necessarily going to be a bad thing now here i start to work in my third smaller tree and i'm still trying to rest my pinky finger on the canvas to again eliminate shake from my hand ensure that i can go in with a very sturdy very purposeful application right a lot of this is purposeful i'm not just throwing paint on the canvas i'm not just kind of loosely applying this there's a lot of methodical choices that are occurring to ensure that the trees are always changing that the left and the right hand side don't look exactly the same that we're getting something actually unique and original and here we're going in with now the fourth of our trees and you can see that i'm really stretching that pinky finger out there because i'm not sure what amount of the trees are still wet and you really don't want to put your hand into the wet paint not only because your hand gets you know paint on it but because you don't want to kind of rip off the paint that we just worked so hard to apply so you can see a bit of a stretch there and if you find that there isn't an area on the canvas that you can place your hand comfortably and that the paint is still wet just go ahead let it dry and then come back five ten minutes later it is acrylics it will dry quickly and you should be able to place that hand really wherever you'd like and ensure that you again have that strong base to apply with now here you can see that this tree is a different height from the other three we are continuously trying to change that i'm going to go back and fill out some of these because at this point they all essentially have the same width and then the same trajectory of expansion so that's something that we do want to look out for i do it a little bit later on in the lesson as we're working through other trees but do consider that some should just naturally be more thick some should just naturally have more windy branches and some should be more condensed and you know closer to the body so a lot of different things you can do with this to make it really neat and original i know that this step is going on for quite some time but it's such a cathartic process it's so enjoyable and i do think there's a lot of nuance to painting trees uh if you're up over on patreon i you can also get my book um on how to draw trees and just kind of understand their general form it's in with the uh acrylics for beginners and with all of the painting prompts books which are just full of traceable so if you're up there at i believe the eight dollar tier you can get all of the ebooks with the trace boys and the reference photos and again the book on drawing trees if that's something you're interested in but again trying to give you as much information as i can here in the lesson and this uh rather long period of time painting what we are but again you can really sing can do it have a lot of fun just make sure that you don't stop thinking about your application continue to diversify make it interesting and make it something really special with every single tree and every application so now that we've had our fun with the green trees in the center we're going to move over to the left and i'll grab quite a bit of our ultra green blue about an even mixture of our sap green then of course we'll need to darken it so it's cohesive with the rest of our trees we'll add in some titanium white and i accidentally add significantly more than i should however it really illustrates the fact that the mixture skewed far more to green than what we actually wanted so i start by darkening it yet again we reintroduce that mars black then i slowly add more and more of our blue until we get something that actually feels quite a bit more cool than what we had in the center with our trees so this is much like our very first mixing process quite a process we're going back and forth we're trying things i apply it to the trees and while it has more blue in it i can tell that it still leans towards grain and that's not what i want so i add more blue i add some titanium white just to see if it is in fact turning blue in the way that i want then we go back to the mars black to the blue it's fairly good and i do want it to be darker than again the trees that we see in the reference photo that way i have the opportunity to brighten them with mist a little bit later on however again i can tell i want slightly more blue and i want it to be a little bit brighter so we test it and it's definitely moving in the right direction you can tell that each change is incredibly subtle but those subtleties do add up in the end from there i go in and i test and this right here is actually what i want so now i'm going to switch back over to the smaller liner brush we of course are starting at the top and then we'll move downwards i did just make sure that i wasn't making this tree as high as any of the others it's really in between the two shorter green trees at this point and i did start to run out of paint as we moved towards the bottom in those scenarios it is important to go back and grab more paint a little bit later on kind of continue that rather than just dragging out what you have and ending up with a very thin application where you're spending a lot of time on these trees so you want to make sure that that base that central area is exactly what you want it to be but with that i am continuing the painting process by heading up to the top of the tree and here you can see that i'm not actually working on the left hand side i'm just predominantly working on that right then i take a break i go back over to the left and it just goes to show you that you don't kind of have to bounce back and forth if you don't want to and if you find that you're accidentally getting too repetitive with what you're doing on the left and right hand side sometimes it can be really beneficial to do one then go back and do the other that way you have some time to kind of separate yourself from whatever tendencies you're creating and you're not just kind of moving in horizontal strokes which is definitely an issue i i think a lot of people who are just getting started tend to make so if you do find that's an issue and that you're doing it kind of subconsciously but you recognize it visually afterwards just do one side first and then move on over to the left hand side i'd also like to kind of point out that here i'm trying to make this tree look quite a bit more full than our past iterations so you're seeing less of the openings you're seeing that the body itself is quite a bit thicker and i like that a lot i also feel like you have that blue in the background you have this blue in the foreground and it's starting to look nice and cool it does feel like it's over in the shadows it's not getting that warm light and we're getting a fairly nice transition because it does have a hint of that sap green still left in it also make sure that while it is blue that it is dark enough that it stands out like you can see here that is important and then when you get towards the bottom you don't need to fully connect the tree to that base you can kind of have these openings and then just have smaller areas of branches bushes smaller trees all of that protruding from the ground connecting but also leaving openings and spaces for those beautiful colors of mist and fog that we created especially throughout that transition area we do want to see that there is a movement from more of that orangey pink on the right hand side over into more of that sepia in the middle and then on the left with that on the next step now we get to have some fun yet again with our warm hues so we'll take that half inch flat-headed brush and grab an even mixture of our saturated yellow our desaturated yellow and our red as well from there we do need to darken this quite a bit so i go and i grab a hint of our mars black mars black of course very strong as a pigment it very quickly makes the rest of it quite a bit darker and it does change it to a green that's something that yellow and black tend to do together when mixed so we need to interject quite a lot of red to ensure that it remains an orange while we make it darker and that as you can see looks significantly better on the reference photo it's definitely back in the camp of being warm however it's not quite right so i do mix in a slightly more mars black we give that a test for that that right there looks great so now i'm switching back over to the smaller liner brush what we've been using to craft all of our trees i am yet again starting at the top and here as i thin it out as we move it down you can see just how much warmer it is it does have that nice orange hue and with that it's going to create a really nice transition between our trees however don't you worry we're not essentially just going to have orange trees beside green trees we are going to create transitionary areas and steps in the very near future so with that i'm going in with the techniques we now know and love at this point you should feel fairly confident with them and these are the trees which are arguably the most important the brightest they're going to catch the most attention and we wanted to save them for last so that we had quite a bit of practice we worked on the trees which weren't going to be as noticeable or prominent initially though admittedly the green ones in the middle are a little hard to miss but this one right here is what we really want to be incredibly special so now we're pulling off all the stops we're trying to ensure that it's continuously diverse that the sides aren't the same that the tips of the branches are significantly more transparent than the body and we're really having a fun time just kind of building all of it up and we do want the body to be quite a bit darker especially on the left hand side of it because the right hand side is going to be a little bit more illuminated the back of the tree is realistically what we're seeing and is realistically what's going to be darker however the right hand backside is going to be a little bit brighter right i hope that makes sense but here we're just heading back in and continuing to work on that left side that way you know while we have a lot of paint we can kind of get that off and ensure that it is a little bit darker as i run out of paint i moved over to the right hand side and now we're just doing little taps and touch-ups to the edges but from there i definitely don't have enough paint to continue so we head back to the palette and again i would like to reiterate it for those of you who maybe missed the earlier part of the lesson my palette does dry and it does dry quite frequently i just go back and i remix the paint which i honestly look at as a benefit it gives us a lot of additional practice in mixing our pigments and therefore it makes us stronger in creating paintings the next time we want to create something with a similar color palette we retain it better and we also have a lot more confidence in mixing it because you've done it just so many times i remember when i personally started painting i who would apply a color and i would love it i i would adore it and i'd be terrified of remixing it and reapplying because i wouldn't want to mess it up however that mindset isn't going to move you far in painting it's going to stagnate you and while you may love it recognize that the lesson you learned from the painting from that subject even if you mess it up is going to be so much more valuable than having that painting look great in the end because it'll mean that every other painting you do after it will have an opportunity to look even better and you just continue to progress as an artist so don't be afraid to remix colors to reapply these pigments and to just be brave in the painting process it will make you a much stronger painter over time so just something to consider and something that admittedly took me a couple more years than it should have to learn and really accept so with that i am now working on three of our other trees and i just wanted to make sure that i had the spacing quite interesting so i did the lines first and now i'm going to go in and fill all of them out of course starting at the top overlapping them so that they are interesting i have a different amount of space between each tree each tree is a different height obviously the more trees you apply the more difficult it becomes to make all of your trees varying heights however you can start to repeat as long as said repetition isn't done in the same area and that you don't kind of create the same patterns that you did on the left hand side over on the right hand side so again just little things to kind of keep in the back of your head as you're working on these and i am speeding up quite a bit of this footage here because we've been painting trees for quite some time at this point and i think you probably have a good feel for the general movements and how all of it should be rendered right so here just heading down to the bottom lots of that little tapping motion and you can really see the tree next to the mist which is wonderful it stands out it's stark and that's because they're just such varied values here we're now going to head up to the top right hand side of the green trees with a fairly damp brush that the way the pigment is relatively transparent and then i'm just tapping on the orange to the tips of all of these protruding areas i'm even creating some brand new protruding areas and filling out this tree right here again i noted that i wanted to fill out them a little bit earlier that way they didn't all look so pristine and thin i i want them to look a bit more natural and interesting so i am now filling it out but i'm doing so with a different color that way we have a transition from the orange over into the green and it isn't just orange trees break green trees break blue trees it's a combination and they flow into each other there's a natural gradient it isn't a soft blended gradient it's more of this textural gradient and i think that's something that's so important to learn when you're painting that gradients come in you know your soft blends but they also come in pattern and patterned gradients can be so so useful for realism in painting with that i am continuing to apply it predominantly to the right hand side of the center tree however i do occasionally jump to the left-hand side especially on the protruding branches of the areas that are fairly far out i don't want too much there but i do want a little bit and we're able to have quite a bit of fun i'm also building out the center of the tree with some darker warmer values and hues as well and i'm taking it slow i'm not really rushing and i'm not doing too much at once because i do want to really ensure that i'm not overboard with it as it's a lot easier to add than it is to take away i'd also recommend in this process taking five or six steps back every couple of minutes just to ensure that it's working well as a cohesive piece it's very easy to kind of dial into very specific details and hyper focus on them and make them look great make their detail look great and then step back and realize that it just it doesn't fit with everything else so do try to take those steps back and just make sure that it all fits together in a really appealing way but with that i think this looks wonderful and we're on to the next step now we just focused on making things cohesive and we're really going to double down on that idea here so we're going to remix the darker green that we used for the middle trees and we have quite a bit of that sap green quite a bit of our mars black little bit of the ultramarine blue we're also going to incorporate some titanium white to of course desaturate it because we don't want it to be too too rich especially for the base layer especially for an area that isn't receiving too much light so again just interjecting some of that titanium white not necessarily to make it brighter but to take away the saturation because when you do mix that white and that black you do end up with a bit more of a gray mix so here we go in we do a little bit of a test and i do have the initial color on my palette that i can kind of mix to however i'm also quite keen on so using the photo now once i have this i start to go in to the middle of the tree that's closest to the green ones but is orange so it's going to give us a bit of a transitionary area i'm going to work predominantly in the center of it we'll slowly work our way up i'm not covering the entirety of the tree i'm not covering the entirety of the center but i'm definitely doing enough that it feels like there's a transition it's still at heart innately a green tree however the edges are being illuminated by this very warm light and therefore we have this transition we have now a green center to our first orange tree and the green tree that is just to the left of it has the more orange along the outside so it's quite neat we have an interesting dynamic going on between the two it's a different technique and therefore it's not too repetitive but they also make sense within the context of the painting and how they're personally reacting to light if that makes any sense we're also now going to start adding a bit more of that green to the left hand side of the branches with the smallest hint occasionally on the right hand side but for the most part we do want this over on the left and it's just going to continue to articulate the fact that the sun is creating this light over on the right-hand side it's bouncing it over to the left-hand side of or onto the right-hand side of the trees and we're just getting that light that wraps its way around creates that depth creates that dimension and renders something quite interesting so now with that i'm just going back in to the base of the next tree and we're going to continue to incorporate less and less of this as we move over to the right hand side we really don't want it to become overbearing we don't want to lose all of those beautiful oranges that we've created and so here you can see that it's less of a structural application through the center of the tree and more so a pattern that's going on throughout and if you feel like you've done too much you can also go back in with a bit of your orange and just work on top or blend with it and actually create miniature little gradients so it's a process of trial and error you add some green you add some orange you add some green you add some orange until you end up with something that you personally really really like and for the most part as i move over towards the right hand side with the greens i'm predominantly applying it to the base of the tree because that's where you're going to get the most shadows it's where the foliage is the most condensed it's where there's going to have more fully casting shadows on other foliage right when it's up towards the top it's a bit more sparse and you don't have that going on to the same extent so as we move over the majority of the greens are going to the base and you know as we kind of move the orange over into the green trees on the left hand side it goes to the top because again that's the brightest point now i did mix a slightly brighter variant or rather darker variant of our green and i'm applying that to the base it's very similar to the value that we have in the bottom silhouetted piece and that way it really blends and sinks well into that but we also don't have these hard stops at the bottom of an orange into an almost black of a green into an almost black of a blue into an almost black we're just being much more mindful of kind of piecing it all together and having this area in the bottom which does connect all of it so going back in just darkening lots of these bases building up that depth often the more layers you apply here the more realistic the more depth it has so just ensuring that it's nice and complex though if you make something too dark don't worry again you can go back and add your oranges and we are still yet to add our highlights which is something that's going to happen in the very next map so now that we've spent quite some time working with our darker applications we're going to head back over to the lighter ones and work on the brightest point in all of the branches that's going to be on the farthest most protruding points and we're going to do so initially with quite a lot of both of our yellows a little bit of our cadmium red though we do want it to remain more so a yellow and we're also using the smaller stand of a mars black as well just so it doesn't become too saturated or too too bright with that i go in and i test it along the edge because again that's where we want it and i realize you know what it just needs to be a whole lot brighter so i work in quite a bit of our titanium white which will of course desaturate things i then go back to the red and the yellow to get that saturation back but retain a bit of a brighter mix and this is definitely a nice color to continue working with now we're applying it to the right hand side of our trees that are closest to the sun and we're going to slowly build this up to the point where it's something that really pops we are applying it through that same tapping motion that we were doing previously and it's worth noting that we don't only have to apply it over the previously applied branches and protruding pieces of foliage we can actually create new ones that are just a little bit farther out and probably retain a little bit of a brighter mixture simply because we won't be layering on top of very dark ends right we did add quite a bit of mars black in the last step and now we are working to really create a strong contrast in the middle ground generally the more of a contrast the more it's going to pop the more it's going to catch the viewer's attention this is going to be a very important subject in our piece and so by having the quite dark backings to the trees right next to the quite bright tips to the trees it's going to accentuate each of them bring them both out and make this area as a whole significantly more interesting we mentioned earlier but the more layers you apply to these sorts of things generally the more realistic the better it's going to look and now we have you know our initial application but then we have the darker applications of the lighter applications or really wrapping the light around our subject and again creating something three-dimensional so i really like how this is going thus far if you kind of accidentally overdo it don't worry about it you can always go back and just layer over that with a darker orange like what we used in the very first layer or with the very dark orange or even like a greeny orange like what we used fairly recently but now i'm starting to move more so towards the middle of the painting and i'm going to apply less of it the closer i get to the left hand side because it really should dissipate you can tell that the hues in the trees themselves are changing because the light just isn't able to move its way over there and we want to ensure that these highlights are essentially being spared for the most important areas with that i am going back to the palette now i have quite a lot of our cadmium red medium hue smaller amount of both of our yellows we'll grab some of that titanium white smallest hint of our mars black right there and this is the color that we used for the distant trees and i'm actually just going to move this downwards and dissipate the applications that we created with the trees in the middle ground this way we can really bring out that opening we can diversify our applications yet again and it does go to show that in the process of creating your trees again in the middle ground if you overdo it it's okay we can walk it back we can change it we can make it better and that's exactly what i'm doing here it's not something that everybody's going to have to do but i wanted to include it to show you that if you don't love a particular area because you feel like you just added too much tree especially in the bottom it is okay we can go back and here i'm just going in with a slightly different variant of that pigment with a top that way i get the same texture that i had initially with that backing application and you can also go back in and add the mist or whatever else you feel will be in that area specifically but just recognize that you aren't kind of stuck with the tree with the darker areas or the brighter areas as you go because you really can just make these adjustments and make it really exactly what you want here i'm also just filling out those edges with a slightly brighter variant of that dark pigment that kind of comprises their back just so we have a bit more of a transition and i really like how this is going so with that we are going to move now on to the next step [Music] now for our next step we're going to begin working on the reflections and our water below so i'm starting with quite a bit of ultramarine blue about an equal amount of our titanium white then a little bit of mars black as well i'll test it in the distant trees and i'm looking for something slightly darker which we do find so then i begin to apply this down right at the base of our silhouetted base of land for our trees and i'm working predominantly in horizontal strokes however i want to show you that you can also work in vertical strokes just like this if you want a different type of reflection more of a still water our water is moving and it's moving more so to the left and the right so we want to ensure that it's going to have the right brush strokes for its movement and with that in mind i am going with a fairly prominent horizontal stroke and you can see that you know i'm changing all of the initial vertical strokes back to being horizontal i'm also going in with quite a lot of paint it's very noticeable here when there isn't enough paint you can see the canvas showing through it's a bit of a brighter spot and we will have to do a couple of layers just to ensure that it is nice and thick but with that i do bring this out towards the middle of the canvas and at this point we need to start changing things up because if you look at the trees above it they're moving towards the green and so we need to interject that into the mix and reflection so here we now have that sap green just thrown in and we'll start to apply that in the middle the paint to the left hand side of it will still be wet so we can do a nice blend into that and you can see me really just going in with a soft stroke trying to take the pressure off the brush as you move towards the left try to lift the brush off the canvas to get more of that soft application and i'm also trying to stretch it fairly far that way i don't end up having essentially blots of color in the same way we blended and brought over the color in our trees we want to do that as well down here in the reflection and again it's worth noting that all of your reflection should be a little bit darker than the subjects they're reflecting so with that i go over and mix a bit of a darker orange you can see that i'm testing that in a lot of the background just a couple different areas i felt like okay we found it now we need to make it darker because it is the reflection i start to throw that down over on the right hand side and here we go for that blend now it's a little saturated for what it should be i think or rather for my taste what it should be it's entirely subjective it's your painting you can make it look however you like these lessons are meant to aid you not kind of handcuff you to one idea or the other so do feel free to deviate whenever you see fit but with that i now mix up a brighter variant of what we were just working with a little bit more of our titanium white and as you can see it's very very thick with our applications and that is important and despite that well we will have to go back in and do even more layering but here i'm starting to blend it over into the green and even over a little bit into the blue i decide not to do too too many brush strokes or leave too many in that does create the implication of moving water and you can incorporate them if you want but just recognize that there's a lot of artistic freedom there and it's very much dependent on how much movement you want in your water how much detail you want in your water if you want a lot then maybe press a little harder with the brush if you want very little then you know you go in with those very soft applications but here i'm just continuing to move that paint over and now that we're getting into this opening in the water we're not really getting much of a shadow from the actual trees here on the middle ground we can create something quite a bit warmer and now you can see that beautiful reddish orange kind of work its way in it's still a fairly dark as you can see compared at least to the other values in that area like that of the mist but we are going to go back we're going to brighten it up we're going to build on it this is very much like blocking in a base layer and generally the blogging of a baseliner doesn't even have a gradient so this is admittedly a bit more of a complicated variant of it but at this point we are fairly deep into the lesson you probably have some good practice and are doing just great so with that i am now back at the palette and i am slowly making things a little bit warmer making things a little bit brighter i really like how that color turned out so i say okay you know what let's mix quite a bit more of it again following the general philosophy of starting by applying and mixing minimal amounts and then once you like it you commit to more rather than mixing a massive amount and having to change a massive amount each time you give yourself the opportunity to test to practice to learn and then to execute with the proper mixture so here again back to the palette back to making things brighter yet again and at a point you may accidentally add too much you may make this just too full of pigment at the point where you're not really changing the color it's just getting muddy if that's the case i do recommend you know probably just letting it dry and then coming back to it in a little bit just it really can help and you can blend wet into dry by just incorporating extra water on your brush so don't be afraid of that either you can also go back and reapply the greens and the blues as that is going to be something that i'm doing as you can see right here simply because that initial layer wasn't going to be thick enough to do everything that we wanted to and by going back and reapplying we have the opportunity to increase the amount of strokes we have to lessen the amount of strokes we have we just have a lot of freedom and here i did end up making everything a little bit darker a little bit less saturated and then i start to build up that right hand side again further adding to the layers in the painting and really building it out i also decided that i wanted a bit more of a natural blue towards the bottom right hand side or rather left hand side and i i like that a lot i think that it turned out quite nice though the water is still far from finished and we will see uh in the next layer that it'll look a little bit more full and it'll also look so much better once we start adding the mist and everything in the fork now i really do want to start working on the mist however before we do that we need to finish up the middle ground and ensure that everything's ready for us to layer on top of it so what i'm going to do right now is mix up a nice bright orange very similar if not the same to the highlight color that we had on the edge of our orange trees and we're going to remix that so that we can start creating a little bit of the highlights and the grass and the bushes that are closest yet again to the sun so i'm going in and i'm testing with that filbert brush again that's what i like to mix with for the most part and from there i do switch to the liner brush because it's what really accomplishes all of the details so here on the far right hand side of our land mass i'm going in with those longer vertical strokes but i'm also creating some smaller strokes for you know with different types of moss that might be growing for different rocks for grass that's kind of a little bit different and it's important to keep all of these different factors in mind you do want it varying that is something we've talked about a lot especially in relation to the trees so as we move back here we just let that paint dissipate and we try to find the openings of our trees i'll also move some out into the water that way it's kind of coming up from that area could be neat if we can see some of it through the mist but with that on to the next step now that our details are implemented and dry we're going to switch over to the medium-sized round-headed brush and start working on our mist i am going to grab quite a lot of our naples yellow little bit of our cad red a little bit of our more saturated yellow and then i double the amount of paint we have with a titanium white now upon testing it i realized that i wanted to be a little bit more desaturated and maybe a little darker so we add in the smallest amount possible of our mars black again it's just so strong you do want to be careful and then i also want it to be a little bit more on the pinkish orange side so we work in some extra red now my mixture here is more yellow i think i prefer that at the time so i say you know what let's go in let's give it a go and i start to apply it as you can see at the base of our landmass i want to really cover up that hard line that we rendered earlier and so i start by applying that paint over on the right hand side we slowly move over we let it dissipate and i do want it to be fairly opaque in this area if we have a little bit of that grass showing through that isn't a bad thing though and here you can see now that i've used a lot of that paint i can start to blend up in those rounded strokes that we were using previously and this is quite close to the color that we have on the sun however i am definitely going to change it and i would recommend you go in with something that is a bit more on the pinkish orange side with that i do want to again cover up all of those hard lines so we're going back in and just slowly building on that you can still kind of see it there are definitely more layers required but just something to keep in the back of your head and now that again i don't have too much paint on my brush i'm starting to blend it out in the downward direction over on the left hand side as well and now i'm going to also start blending it up my brush is predominantly working in these rounded motions as you can see and i do occasionally run out of paint however that's not a bad thing it gives us an opportunity to really build up that thicker middle section that really is going to separate the water from the land and then once i use the majority of that paint we work in that swirling motion we move on upwards and you will occasionally see some hard lines between the initial application and what you move upwards simply because it's dried slightly more than you want don't worry about that as you can see i just go back in and i cover it up and i i slowly build on these layers it really is a fun process one that you can definitely lose quite a bit of time to but i think that the more we do the better it looks so i really like the layering process in this we are getting those nice feathered edges on the top and bottom there's still a lot of work to be done but that's the general idea of how we go about doing so now i do want the mist to extend outwards as well so i'm going to start moving that into the bottom section and i do end up redoing rather just adding another layer to the bottom where i incorporate some more prominent horizontal strokes just to show a little bit more movement in the water so all of this is applied again and actually blended a little bit wet into wet but you can do wet in a dry as you can see here now we're going to head back into our palette grab quite a lot of our red our nape was yellow or titanium white really build up something brighter than what we had before and also it's more on the red side than the yellow side which i really do end up liking after a little bit of time now here we will go back in with a hint more of each yellow of the red just build that saturation to be something that can pop slightly more than what we previously had in our mixture and if you really want quite a bit of saturation you aim for that primary yellow again that cadmium yellow that lemon yellow whatever that is just not the naples at this point and now i'm going back into the middle area of our fog with a slightly warmer mixture at this point all of the previous applications have probably dried so when you go back in and do this you have an opportunity to really get rid of those hard edges that are showing beneath this is now presumably the third ish layer and that's often enough to get done what you want there provided it isn't too watery but here going back in using that finger just doing a bit of cleanup and i do like how this is going thus far it's a little messy it's going to get a lot better but i do think it's a good representation again of what our base layers essentially can look like so here i'm going in with a bit more of a wet brush and you can see that it really thins the paint out we get it to be incredibly transparent and then when i use my finger we can make this very soft transition up it lightens the darker values that we had in the base of the tree and i really love that soft look with the mist now that we have our mist applied and dried we're going to head back into the palette with the medium-sized round pointed brush we'll grab a fair amount of our cad yellow our cad red a little bit of our nape was yellow and we'll render a fairly saturated orange however i do want it to be a little bit brighter so we also interject some titanium white recognizing that it will desaturate our pigment just a hint from there i grab a lot of water add that to our brush and as you can see while we apply it to the canvas it acts as a glaze it doesn't really change the values it doesn't really take away the details we're essentially just painting with color on top of our previously completed painting and it's a really great technique if you want to add some extra colors to enhance the atmosphere to change the painting i'm also using these vertical strokes on the right hand side of some of the prominent trees just to give it again that extra splash of warmth and this is something that i go back and forth with for quite some time however i do end up overdoing it just a little bit and then i just kind of strip that paint off with a mixture of clean brushes and my hands as well until i get the perfect balance of what i want in that glaze however while that glaze is still wet we have an opportunity for a really nice clean blend with our mist so i go ahead and i remix the general color that we were using initially for our mist however this time it's going to be a bit more orange because i want this mist to be a bit farther back and as we get closer to us it'll get a bit brighter and you know more titanium white heavy so here going back in creating more mist it's a bit of a more thick pigment we don't have that much water in it but we do have quite a bit of water on the canvas so we were able to get those nice blends and then we go back to the palette we mixed this brighter variant which is a lot closer to our initial mist pigment and i blend that up into everything we've been previously working on here you can see working in those round strokes and now i'm not working the mist wet into dry like we did with the first layer we're going wet into wet because this area is so wet and we actually get a much more smooth blend not that there was anything wrong with the first one i think the first one is actually quite nice however it's good to know that you can simply add some water with a little bit of hue to your previously applied subject let it dry a little bit but not fully and then go in with something like your mist to get a very very soft application however through the process of applying that glaze i felt like we lost a little bit of the highlight from the sun so here i'm just going back in and recreating those rays that are just peeking through the trees in the background and i really love this this is something that we've been building throughout the painting i think that this area just looks better and better especially in the back and it's really been quite a series of layering it really just kind of started to come together a little bit so here continuing to use my finger be careful with that though if you're working on the light rays and your base of the glaze isn't done drying yet because then you might accidentally rip off that paint there's a lot of timing and nuance through this that you'll really start to understand the more you paint the more you practice these techniques but again i just let it dry for a little bit however if it's a little bit damp it's also easier to blend those light rays in so again you have a couple of different options and it's really just about finding what works for you what you are most comfortable with and now i'm heading down to the base of our mist yet again this time with an even brighter application remember we wanted the mist to be a bit more orange in the background like that of the trees you have more of that warm light on and then we move closer to us it becomes a little bit more natural so with that i'm still going up i'm doing those blends working in those rounded strokes you can see how there's kind of a cradled effect there's this movement that kind of wraps around the sun with the mist which is purely coincidence of course in nature but something we're doing to kind of aid the composition in the painting and now i'm going over grabbing some of our ultramarine blue that titanium white a little bit of mars black and we'll start working on the mist over in the areas that don't receive any real sunlight i'm also going to very softly blend it on top of our previous orange that we had as well that way we have that nice transition very similar to what we did with the mist in the background however there again we did use a burnt sienna which you're more than welcome to use here as well if you feel like you need it however that transitionary area was just so small that i didn't feel like it was necessary and i feel like we actually did quite a good job without it so again it's an asset if you would like to use it but it's also just not necessary entirely now i'm also blending this as you can see over there my brush is quite watery at this point again debatably a good thing in the process of creating myths together is very transparent applications but sometimes it's difficult to just get that paint to stick to the canvas if it's too too watery or to even get a very smooth uh transition because when it's very wet you generally do see the brush strokes you're looking for the perfect middle ground between damp and wet at that point right so again just kind of something that comes with time but i do think that this is going quite well and i like how subtle it is at this point remember take those steps back from the painting and ensure that everything's working together nice and cohesively and you're not just kind of getting too stuck in the detail now we're going to continue having some fun by mixing the reflection of the sky over on the left hand side i'm going to grab quite a bit of titanium white a little bit of our ultramarine blue some mars black as well and we're going for a bit more of a grayish blue i can tell almost immediately that that is a far too dark and that we should probably make it a little bit more saturated admittedly the reference photo has a bit more of the sepia color in this reflection than i'd like and i decided to go with something that is quite a bit more blue however it is still very close to what we actually see in the sky however it's a little bit darker as it should be because again reflections for the most part are darker than the subjects they represent so here i find a pigment that i really like i go in with quite a thick application i try not to move out the paint that i have too too much because the more you do that the more you do thin it and you can see that i'm trying to create these relatively sharp lines that move out into our previous reflections and i'm also trying to move in cut around and this is a great technique to kind of combine multiple values and hues in water sources like this so it makes it look like our reflection is just kind of moving with the water and it's quite natural you can also do some soft blends if you want to it'll really reinforce the fact that it is a singular subject just with different reflections however it really isn't necessary and again it's up to you and your aesthetic preferences but with that i also start to move this more so into the middle section i can see that there's a separation in the trees above so i try to incorporate that as well into the reflection though it isn't perfect because the water is moving and that is intentional so now for our next step we are going to continue working with the filbert brush we're going to continue working in the reflections and i'm starting by grabbing quite a lot of our titanium white just a hint of our cadmium red then i head over to our brighter yellow and i use about double that in comparison to the red that we were working with from there i test that over in the brighter reflection of the sky i think that that actually looks really really nice however it's not the only pigment that i want to mix here so i start to move that pigment over on the palette i grab a small amount of our sap green about an equal mixture of our mars black about double that in our ultramarine blue and now i try to transition our color over to the blue that we have slightly to the left of the reflection of the sky you can see that i'm trying it in a couple of different places just to see if it fits as there is a little bit of variance and i realize that it's a little bit too green and it's also maybe a little bit too dark so we start by interjecting some extra titanium white that doesn't do it i head over to the blue to kind of correct the hue a little bit more and i decided to try that in the middle as well as that is a more purely blue area i realized that it is far too bright especially there so we add back in the mars black and that gets us quite close it's a little bit less saturated but that's something i do want at this point so now i'm heading in to that area on the canvas and i'm trying to go for again these sharp little cuts into the previously applied pigment so that way you kind of have that movement in the water but i'm also okay if we get a little bit of a softer gradient which again is why we're using the filbert brush because we do want a blend from one pigment to the next so it's kind of one of those scenarios where it's win-win and you're going to get a nice effect regardless of what you do as long as your application is quite clean it's just going to imply more or less movement we are moving closer to the foreground so hypothetically you're probably going to see less movement and so going with something that's a little bit softer isn't necessarily a bad idea however with that i am now moving over to that right hand side and the pigment has just about dried on our palette so i'm going back remixing that brighter pigment which i was very happy with in the initial stages and here we're just mixing beside so we can ensure that we get the right color and i think we do i i really like that a little bit later on we do go back and brighten it up give it a little bit more of a bloom effect but for now i think this is great and i love that we were able to mix it so quickly because it means we were able to mix in the blue which we applied very quickly ensuring that we get a soft blend and we don't kind of have to paint with a wet into dry technique which is entirely viable which can work but generally it is just a little bit easier working wet into wet so at this point again cutting into the orangey brown that we've rendered trying to get some of those sharper lines but also softening things a little bit more here in the foreground where it gets closer to us though a little bit of that softening effect is going to make it look like it has a bit of a glow to it and that can be quite nice now of course we are working with acrylics we'll have to do a couple of layers with all of these colors and i'm starting to work in a bit of a transitionary lighter blue because the sky does have that gradient to it now i'm playing with a little bit more saturation in the foreground because we are moving away from the background and all of that atmospheric light now we're going to jump back into our palette with the filbert brush we're going to grab quite a lot of our mars black about the even mixture with an ultramarine blue and then we'll grab just a hint with our titanium white right now we are really looking to render the darkest pigment yet this is going to be significantly darker than the trees that we have in the background and we're going to use this as you can see for our true foreground the area which is closest to us then i'm going to move a little bit of that mixture off to the side grab some additional titanium white the smallest hint of our sap green and i'm going to test this right in between our true foreground and our last applications in the painting up in the reflections this is going to be more of a transitionary color and i realize that it needs to be a little bit brighter so we interject some additional titanium white in there we go to check and that right there to me looks pretty perfect so now i'm jumping back into the canvas and i'm going to begin applying this essentially right where we left off and i want to cut along that edge create those sharper markings at least initially we can always go back and blend but it's quite difficult to get that blended gradient of wetting to dry when you have a lot of paint on your brush and so i'm also going to use this opportunity while we do have a lot of paint on our brush and on our palette to cut around a lot of these rocks and really just start to fill in this area it's rather quite large we are going to need a lot of paint so we might as well do it now while we have a lot on our palette rather than kind of worrying about the minute details and blends of the edges while that paint dries on our palette right so i'm doing a little bit once my brush starts to run out of paint here you can see i'm doing a bit of a soft blend upwards i'm not using much pressure it's a wet into dry blend so you're getting a little bit of that tooth in the canvas but through additional layers later on we will be able to clean that up and what we're doing right now is really still just building that base layer we are doing blends we're creating gradients we're being mindful of our application style but we're also recognizing that the entirety of this will be painted over in additional layers and that's okay now i do move over to the right hand side as you can see i made my brush a little bit more watery so i can kind of make those applications a bit sharper then i mix a slightly darker variant of the greenish orange gray that we have over on the right hand side it's kind of a difficult color to explain but i create a transitionary color between that and our blue and we just kind of blend back and forth this really doesn't have to be perfect because i do mix the initial color as well and work that in and then we just do a bit more of a blend we just want something to make it not be a hard stop essentially however we can also just use the sharper lines to really make it look great so there are a couple ways of going about it none of them are necessarily wrong it again depends on how you want the movement of your water to be so just look for a transition between those two whether it be soft or sharp and that same general rule applies over here on the left hand side i can see that my hands a little bit in the way apologies i do try to avoid that and if you used to watch these videos three or four years ago you'll notice that there was a quite a bit of an improvement though admittedly occasionally when i really get into that painting process i can kind of forget and just go ahead and do that painting now here you can see that we are building that up however now that we have the majority of it applied i'm going to head down to the very bottom we're going in with that darker mixture that we initially mixed i'm still going to cut around those rocks and i'd like to note we've been using the filbert brush for a lot in this painting we used it for a lot of soft blends because the corners are rounded that's fantastic but the very top of it is quite sharp so we can use that to cut around rocks as you're seeing here in this process all of my rocks are essentially different sizes different shapes they kind of have different heights to them and i do really try to diversify that i worked quite a bit off the reference photo to ensure that i wasn't kind of subconsciously going back and relying on the same movements and stylings for each rock and i also did take some artistic liberties as we generally tend to with that i now need more of the initial blue that i was working with because i need to start blending and creating a transition between them and i realized that my first mixture there was far too bright so i darken it up i realize it's not saturated enough so i add in some extra blue and it really is a trial and error process going back and forth however i'm really glad that we did initially mix it because it gave me an idea of where to start and i feel like i was able to find this pigment significantly more quickly and as you can see it is acting as a fairly nice transition however i i feel like i've been talking for five minutes straight but however i have a lot to say i really would like to stress that this is still the first layer it is the base layer i'm going to go over this again and i would implore you to do the same generally while this despite the fact that we are doing a gradient we are going to want to clean it up as it's still a little bit transparent you can still see the canvas through different portions and your painting just will look a whole lot better with additional layers so right now i'm going back i'm trying to solidify those blends make sure they are where i want them to be and you can see that because of water i've actually ripped a little bit of paint off of the canvas now that area does need additional applications and it just goes to show that especially when you're doing all this blending additional layers are quite important and here i'm going back up to that transition spot i'm making the foreground area a little bit brighter for the time being however i'd also like to note i'm going to be adding small rocks throughout the entirety of this area so we're going to cover almost all of it with an additional subject even so if there's a particular area that even through multiple applications that you don't particularly love recognize that it is okay we're going to go back in we are going to have an opportunity to cover them up not only fix them but cover them up and this is a very malleable area in that you have a lot of room to take artistic liberties and throw rocks really wherever you want to so that's something i go ahead and do i just you know add in those additional layers here i'm just doing more of a touch-up segment essentially uh brightening the water that we have over on the right hand side still very gray not that saturated and that's how i wanted it to be that way didn't compete too much with the top portion i'm also now going ahead and brightening up some of the blues over on the left hand side i felt like you know what i did too much so now i'm going back in and i'm adding that darker pigment but now we have the darker and lighter blues so i have an opportunity to blend all of them together wet into wet so that's nice and this is really just a an area that i'd recommend spending some time and going back doing a lot of different layers and doing little tweaks as you do figuring out how you like it here is uh my little hamster her name is timbit she came into the art room today because her larger habitat was being cleaned so she just spent some time with her dad and i thought i'd share a clip because she's absolutely adorable and i love her so now we're going to switch over to a smaller flat-headed brush this one is about a third of an inch and with that we're going to head back into the palette grab quite a bit of our mars black about half that in ultramarine blue about an equal mixture of titanium white to the ultramarine blue and then we'll test this at the base of our rocks as you can see right there i end up quite liking that so now i go ahead and start a second mixture which is going to be a little bit brighter so very similar process to how we crafted the bottom of the water area in the foreground here i'm testing this on rocks that are a bit farther out rather than close to us and i like how they turned out so now i'm going to head back into the canvas i'm using this brush i'm going to use the very sharp edges to work around the edges of the rocks and that's actually why we chose this brush it has just a very finite detail detail-oriented purpose and with that i am as you can see going within the lines that i've drawn on the canvas i drew those in using kante spelled t c-o-n-t-e you can get it on amazon you can get it at most of your local art stores your hobby shops etc and it's essentially like sharp uh fine colored chalk which is great because it allows you to allocate different colors to different subjects and why it's really great you can use it to draw on paint and then once all of your paint is dry like that of these rocks you can actually take it off very simply by just using a little wash of water and your brush so you essentially get rid of all of the drawing that you didn't end up covering up and you can see through my painting that i'm actually not covering the entirety of the drawing i'm not worrying about it i'm making the rocks exactly as big as i want them to be rather than kind of having to extend them out and make them larger to continuously fit within the initial drawing if that makes any sense so this is something that i definitely recommend using we'll uh do a little demonstration of how i get it off the canvas a little bit later in the episode but here i do spend you know 20-ish minutes just kind of painting in all of these little rocks and then i head back to my palette to remix the darker color because it did dry while we were waiting that's why we didn't mix a lot of it but again we had that practice we now know what we want to mix and how to get there so again just a good preliminary kind of piece of the painting process figuring it out beforehand but now that we are a lot closer to us again we're going to see more of the innate coloring of subjects we're going to have a bit of a sharper contrast so i'm now working on these larger rocks and these rocks aren't actually larger than the ones that are ahead of them but perspective is making them look larger and that's another way of creating depth it isn't always just wrapping light around subjects sometimes you can create depth by just showing subjects at different areas of the painting some closer some farther and then relating their size difference so with that i'm now moving over into this rock on the right hand side and i want to do a bit of a blend from the darker pigment up into the brighter pigment i'm using a very wet brush at this point that way i don't have exceedingly thick pigment i can go in and get a softer blend and it's something that i do work really hard to make look nice at this point we're in the foreground we want it to look professional we can see a lot more detail in here and if you make it too dark you can always go back remix that initial lighter pigment and blend that in as i did right there with that more centralized rock so here just continuing to play with it we're heading over to the left hand side again doing some close-ups just so you can see the real detail work here and again not not really worrying about that kante with that i'm now going to switch over to our one inch flat headed brush grab some incredibly clean water i am not using anything that has previously had paint in it my brush is perfectly clean and the canvas is now entirely dry so now that all of our rocks are dry i can just move over the canvas with this wet brush and you slowly see all of that conte just go away so it's really really fantastic you have to love when it's this easy you'll see that everything's looking a little bit darker it's not actually darker it's just how acrylic paint looks when it's wet right so it's not hindering the image we're taking off the drawing and with that onto the next step so now that we have the base layer of our rocks done we want to go in and render a lot of this texture that you can see especially on these red rocks more in the center so i'm going to begin by grabbing quite a bit of our cad red about an equal mixture of our titanium white about half that in mars black and we'll start mixing up something that's red but also fairly muted if you look on the reference photo it isn't really a vibrant red you just kind of get the hints of it and so that's what we're looking for at least here in the early stages we are going to heavily diversify it but right now i like that color i'm switching over to another small flat headed brush the one on the left you can see that it's much more disheveled it has a lot harder of a bristle and we're doing that because we want to go in yet again with a tapping motion so very similar to what we did with the trees a long long time ago when we were creating those shadows and the texture here we are adding some texture to our rock we're going in we're just creating these taps and this is something that's going to look a little messy for quite some time we're going to need to go back and really define the edges of our rock to make it look natural we're going to need to go in and add some shadows to the rock we're going to need to do a lot however this is where it begins we try to get different taps each time you can see that i'm occasionally rotating my brush in the air i'm not creating a drag at all it really is just placing that brush on the palette grabbing a very minimal amount of paint you don't want a lot because if you have a lot it'll condense your bristles and then you go in with that tap it's also worth noting you probably don't want to dampen this brush before you begin a lot of them we do slightly that way we can extend the wet life of our paint we can blend better but we're not looking to blend here and we don't need to extend the wet life of our paint so i'm just going in with that tap allowing our bristles to stay as randomized as they naturally are and again this is best achieved with a brush that has harder bristles the softer the bristles the more it'll naturally condense and with a flat-headed brush such as this one you'd probably end up with a myriad of little rectangles right it would really look like the head of the brush where with what we're doing right now we can avoid that so i'm also not applying this to all of our rocks i'm being much more choosy i'm trying to ensure that it's again more randomized that way i can incorporate other rocks of varying colors as well so with that here we're heading back to our palette you can see that i'm grabbing that mars black quite a lot of our cad red a little bit of that titanium white and now we have something that is brighter that is more saturated than before not greatly but a little bit and i'm going to test that on our reference photo you can see that it it's arguably more saturated than anything we have but i do want to build that contrast in my painting so i switch back over to the smaller liner brush and we start heading in to work on some details now this isn't going to finish off the rocks but it's going to start solidifying them and making them look like true subjects i'm going to apply this highlight through a series of taps and drags to predominantly the right hand side of all of these red rocks and then i work my way down and i work my way inwards a little bit the light as we know is coming from the right hand side of the painting which means it's going to shine on the left hand side of all of these rocks so that's essentially what i'm doing and i'm creating these highlights throughout the rock skipping little areas so that it's notable that there are some protruding pieces that stick out and catch more light and there are some areas that kind of sink into the rock these crevices that just don't receive that same level of light so i'm just trying to be very mindful of it and i'm also not doing this quickly you can see that we're taking our time we're thinking about what we're doing and it really is something that with the right amount of time and effort can look gorgeous so that's what i'm essentially working on here this rock is a lot more flat than the previous two that we worked on so you can see i was working much more in true horizontal lines rather than ones with a diagonal pattern and now we'll get really nice and up close so you can see the detail and all of that texture we work in again starting on that right hand side we start to move inwards a little bit creating all of those little pieces that stick out catch that light and it really does look quite nice quite quickly so so far so good i think that it's working well and from there again a lot to do so i will speed up a little bit of this footage but i'm still just bouncing around and i'm not going to go in with the absolute brightest values the absolute most saturated hues just yet because i want to do all of the other rocks first and then see how i can balance it so we'll go in with a little bit of a highlight but do leave room to make it brighter or more saturated in later applications because we probably are going to want to do that and maybe even with other colors now for our next step we're going to head back to the palette grab quite a bit of our titanium white about an equal mixture of our mars black and this should render a relatively dark gray now i'm going to grab some of our naples yellow give it a bit more warmth to it and i'll start testing that on the side of our rock this is also going to brighten our pigment and i really ended up liking how that looked so now i start mixing a second color over here looking for something a little bit brighter that way we have some variance and option as we're rendering our next applications as we do want to add more texture to these rocks in a variety of hues so now i'm working on a bit more of a red mixture you can see that the value is quite similar to the previous iterations and i like that i do want it to be maybe a little bit more yellow so we work that in and now i have quite a bit of options so i'm heading in with the other smaller flat headed brush because again it's the one that renders the texture it does have those sharp bristles it's worth noting that you will have to go in and actually clean it once you are done working with it which means you will have to make it wet however you'll need to use it again so just make sure that it has time to dry or that you dry it with a painting cloth or something of that nature before you jump back in you can also kind of peel back your bristles to get something that's a little bit more disheveled however you don't really want to go overboard because you want to keep these applications within the confines of your actual rocks right so here i'm just kind of jumping around with this more greenish look and i like that red and green complementary colors they make each other stand out that is good in our foreground and it also kind of looks a little bit like a moss which i like a lot i love being able to interject just a little bit of that greenery on rocks generally i think that it adds an extra texture and extra dimension and it's rendered in a very similar way to how we did the rocks previously so we've had a little bit of practice and at this point again i'm not applying it to all of them immediately just kind of jumping around trying to diversify not really do two that are next to each other unless i want to incorporate small little clusters and different things of that nature and again it's a bit of a lengthy process so i do end up speeding up a little bit of the footage now i also did just notice that we passed the two hour mark in the painting lesson this is a bit of a long one i remember when the series used to be called hour long lessons and i believe they're also still added in a playlist called hour long lessons on the channel but i wanted to say thank you to everybody who is still here who is still watching the lesson going through the process learning through the whole journey of it i really love making these i love to know that there are people out there who are learning from them who are getting better who are improving and who are going to make things that they also love from these and i know that if you're watching to this point you're probably one of those people who is really invested in the lesson in learning and doing as well as you can and just making the best piece possible so i want to say congratulations to you for you know being part of that dedicated community who does put the time in i hope that you are having a great time with your painting or that you're very excited to go out and start working on it that you're inspired i really really love working on these and this one in particular has just been such a pleasure i also wanted to take a minute and say a big thank you as we do in every episode to the patrons who do support this channel directly who make lessons like this happen i say it in every episode i wish i could say it more frequently but i i couldn't do this if it wasn't for you i mean the amount of time that goes into these into planning the steps into editing the reference photos into changing the colors into amalgamating things it takes a lot and in no world would i have that time would i be able to do what i do and make these if it wasn't for you and your direct support this channel is predominantly community funded you are that community and you make these happen so again i say it every week and i never want it to just sound like i'm saying it i need you to know that i mean it um because i do and and it's incredible that you provide me with these opportunities to make these lessons and i hope that you truly do feel like you're learning something that you're enjoying the process that you're relaxing that you're getting excited about your painting journey as well so again thank you for being here thank you for making this happen i i know i can kind of start fumbling on my words whenever i talk about this but it really just is because i'm i'm so grateful for you and what you do so thank you um i i guess to anybody who may be new to the channel perhaps this is your first video here we are predominantly community funded you can support the channel up over on patreon there is a link in the description up there you can get the tracer boards to help you with the drawing process you can get the reference photos to help you with the color matching process you can get access to all five of my ebooks including that of acrylics for beginners in it we essentially talked about the essentials everything you need to know about acrylic painting before you jump into your first acrylic painting we talk about glazing composition what brushes to use how to work with water really just it's an introduction i also have a bunch of ebooks full of traceables we have a private facebook group where we all kind of share artwork and you get to see what other people are doing with the lessons and we also have a pose up there so you can vote on future lessons and have a say we also do some bonus lessons recently did a lion up there so if you're interested in any of that check it out but with that we're heading in to the next step and again big big thank you to everyone who does support the channel up on patreon can't say it enough these videos wouldn't happen without you now for our next step we are going to head back into the palette with the smaller flat-headed brush that has a bit more of the softer bristles because we want this one for blending we are essentially creating a blue which is going to be lighter than the darkest value in our rocks but not by much we want a bluish texture for the shadows in a lot of these rocks and for some of the rocks which just do have a bit more of a cooler hue to them so here you can see i'm testing on a wide variety of rocks not because i'm looking for the perfect blue but because i'm trying to find the correct value and from there i do head in to this rock over here in the middle we are now introducing essentially our third color to the mix and it's very subtle so i can also throw it on the backs of our red rocks of our green rocks it's going to start making them feel a bit more cohesive it's going to tie them together we really didn't want a large selection of rocks that were all done in different colors and in no way kind of worked together right so we need different ways of tying them together one way is through the shadows they're all going to share this same darker hue and we're also going to do that with highlights in a later step but this is the first step and we can also again incorporate this hue into some of the rocks that we just didn't complete yet these are predominantly going to be over on the left hand side because that is farther away from the light and therefore if the rock is more of a gray maybe you see a bit more of the blue just because of those reflections and it doesn't have that warm light on it to the same extent as everything else so here we're just going ahead and working this into the backs of the rocks the areas that are opposite to the side of the light doing quite a few little applications and then we head back into our palette as you can see this time i'm grabbing quite a bit of titanium white equal mixture of our ultramarine blue we'll grab not even half that of mars black i do want this next application to be quite a bit brighter than the last one and you can see that it's really close to the mid values in a lot of these rocks that we have in our reference photo so i continue to play with it just make slight alterations i really like this i think we have a pretty much perfect match and from there i do switch over to that liner brush the same one that we used to craft the edges on both the red and the green rocks and we're doing a very similar process here on the blue ones so i begin by working on the edge which again is closest to that light we start to work our way inwards sometimes if i want the rock to look more tall and to have more bumps in it i work with more diagonal and angled lines that kind of move up and down that's going to give it a lot of different interesting dimension but if i want the rock to look like it's more so flat like it's kind of laying down then at that point you work much more with horizontal strokes and little bumps with that kind of technical nature though you can also combine them and create rocks that are an amalgamation of movements and it's through this variety of applications that you're really going to render a lot of interesting different subjects which do stand out from one another and don't end up looking like a copy and paste right because we have a lot of rocks here it can be a little difficult to continuously find ways of making them look original but working with your brush strokes horizontally or diagonally sometimes vertically is a great way of achieving that variance that is just so so important in the lesson now here you can see that we are continuing to jump around we're getting a lot of nice texture in the foreground a lot of nice detail we didn't want too too much detail in the mid ground in the background because we didn't want it to become over complicated here in the foreground we can see that detail it makes sense it's pragmatic and i think that it's turning out really quite well so here's a bit of a distant shot so you can see where we're at we still have a lot to do but so far so good and i really like it now this next step is going to really help make the piece cohesive and we're going to start by grabbing both of our yellows equal mixtures as well as our red and make a nice bright orange then we'll continue to brighten it up and thicken it with a little bit of our titanium white and then we'll desaturate it just a hint by interjecting the smallest smallest hint of mars black like 1 20th is maybe the ratio there so with that i go back to the liner brush i ground my hand with my pinky finger and i start to work along the edge that again is closest to the light i'm starting here with a rock which is actually close to that light as the rocks that are closest to it that are you know a bit farther back are going to have the most amount of light on them and then it's going to dissipate as we move closer to us and over to the left-hand side of the painting so this is a great place to start that way we don't kind of start in the middle and then overdo it and force ourselves to add a lot of light over on that right hand side so here we're starting in the safest possible area a lot of these applications are similar to that tap and drag effect that we've been using previously however i am admittedly doing slightly more of a drag than i previously was amalgamating these edges i do want areas that are still going to be a bit more textured a bit more loose have the openings but this is an opportunity to make these areas have a little bit of a warm glow to them and often that slightly diffused look ends up looking a little bit more full if that makes any sense it's not as separated it's not as textured though again we wanted those separated textured areas so that in the areas we didn't apply this we would still have something that looked natural and captivating so here we're getting to around that middle area of the canvas i'm trying to lessen it slightly and it's worth noting that i think all of our rocks are starting to fit together we have blue rocks green rocks red rocks and now they all share a little bit of blue they also all share a little bit of this orange this gold here i'm now going back in with a slightly brighter variant of that pigment and this is done more so with that tap so we have that general stroke around the edge which kind of unifies the rock and the rock edge the light that is shining off of it but we also now have just a hint of texture it's incredibly subtle that's what i want it to be and we're really taking our time here we're not just kind of throwing a paint on the canvas we're thinking about our applications how we want it to be applied and this is where it really really starts to come together and feel really cohesive i noted at the start of the lesson that's a word that you're going to hear a lot throughout it and it's just like it's always important but it's really really important when you're working with such a wide variety of heavily varying colors right we're working with blue red and green we're working with actual complementary colors colors that are on opposite sides of the color wheel often it's difficult to find the proper blends between the two and make different subjects subtle fit in and that is what we are managing to do here because of the interjection of the blue and this yellowish orange though i would recommend actually starting with maybe a little bit more of an orange for the first layer of this application right here and then build on top of it a little bit more of a yellow and then a whitish yellow often when you are creating subjects that have light on them that's your typical plan of action you start with more of an orange you go to a yellow you go to a whitish yellow because yellow on top of a darker pigment like that of a mars black or a blue could look a little green uh despite the fact that they're not technically blending they are optically blending you can still see one color through the other and if you have more of an orange it's a lot more of a safe base color that you can then build on top of so just something to consider if you find that your yellow is looking a little green make it more red heavy and then go back in an additional layer once that's dried with more of the yellow that you actually want and you'll probably get that yellow that you actually want in that scenario with that here you can see that i'm mixing up more of our blue i'm using the smaller flat-headed brush and now i'm just going to start trying a little bit of a wash on some of the backs of these rocks so i'm using almost all water in this mixture there is very little paint it's similar to what we did in the backing trees but it's another way of making these all look nice and cohesive it's going to very naturally blend the blue on top of the reds the greens everything else and it's not something you have to do but it is an extra step you can take if you feel like things feel a little disjointed though recognize if you go over any of the highlighted areas or even the mid values you might want to go back in and reinstate them through an additional application here i'm going back to my finger painting though i do think the process really helped and i do like that a lot now for the next step we really start to add a lot of magic into the painting and we do that with the rocks which are sitting right below the water in the foreground now i'm beginning by mixing a bit of a brighter mixture of our bluish gray i can see that a lot of those rocks underneath are a bluish gray and i almost immediately realized that needs to be a whole lot darker so i start to interject some extra mars black this next application actually looks quite nice and i do decide to kind of make it a little bit more gray a little bit less blue so we interject some extra titanium white mars black and that to me looks pretty perfect so now i go ahead and grab some of our cad red and i mix a slightly more warm variant it's not something that's hyper prominent but i do want a variance in our rocks and these two will be nice colors to begin with so i'm going in with the smaller flat headed brush the one that does again have more of a soft bristle that way they do condense we render these very sharp edges we don't kind of have protruding bristles and i'm just working in all of these tiny little rocks now i wanted them to be quite blue i wanted them to be a bit darker a bit more desaturated because they are again under the water we're not going to see there and the coloring it's being altered it's all being it's being made quite similar right because of the subject which is on top of it and here i do want all of these rocks to be different sizes i want them to be different shapes as i get a little bit farther away from us i am making the rocks actually larger and a lot of the technique here is making the top of the rock quite a bit sharper than the bottom and you can even blend the bottom out completely to the point where it isn't sharp at all that will make it look like the light on the rock is completely dissipating by the time it gets to the bottom of the floor essentially and then it meets all of these other smaller little rocks that we have throughout and i love using the brush that we're currently using because it's small but it can carry a decent amount of paint so i can render a decent amount of rocks and it does have those nice sharp edges which all of our rocks have anyway so it's very naturally a fantastic brush for what we're doing here i remix a little bit of the reddish gray that we initially had and this is going to be worked in between a lot of those previously applied applications you can have it overlapping sometimes as well the same general rules apply in that you definitely want the top of the application to be quite sharp if the bottom isn't that's fine but it also can be sharp for the smaller ones now i'm also working the red throughout a wide variety of areas you can see that it's in the foreground but it also moves out to more of the middle ground and it almost isn't noticeable in the middle ground because the value gets so similar and that's exactly what you want you want much more contrast in the foreground where it's closest to us you want a lot of variance between those pigments and then as you move farther away the water catches more light and you can't see through it to that same extent and then those rocks just kind of dissipate visually into the background it gets more and more subtle and that's exactly what we're going for here i go in for a third color and i do want to continuously change it minorly it doesn't need to be a saturated color and it really actually shouldn't be you want it to stay fairly muted and as long as it does stay muted you can really play with whatever colors you want however i opt to go with ones that we've already incorporated in the painting so that it feels nice and cohesive right now here i am just kind of adding a little bit of this more greenish pigment to the tops of some of our rocks this could be like an underwater moss though i'm not going in with that same tapping effect because i do want this to be a bit more soft looking i don't want to over complicate it too much and we really won't see that much sharp detail with the water moving and kind of distorting our view of it a little bit too right so we need to think about the context of where the subject is and how other subjects around it will affect it in this case these rocks are underwater so they're going to be a little bit darker they're going to be a bit more desaturated they're also just not going to have the same level of detail and texture that everything else had and that isn't a bad thing if they had that it would probably look again just too over complicated too much but instead we're going to have multiple layers of depth we're going to have a wide variety of subtle colors and it'll work really really well together here i'm trying on yet another color as we move towards the back and moving into larger and larger rocks and i really like how this is starting to turn out we're getting quite close admittedly this application right here is too dark for that area a little bit later on i go back and i i fix that but for the most part we're sticking more so to that middle portion and we really don't want our rocks to ever really be darker than the applications uh we want them to be a bit brighter so once you get to that very bright point in the water you probably want to stop and just have it fully dissipate at that point here we're also just using the corner of our brush to add slight highlights to the tops of some of these rocks we're not making it particularly bright but we are brightening it to the point where there is light moving around our subject and making it three-dimensional so that's important and i really like how that's looking as well it's it's starting to get to the point where these subjects are making sense things are fitting together so often with acrylics and i hear this all the time i experience this all the time for the first eighty-five percent you're looking at that canvas and you're saying huh i hope i can pull this off i hope that in the end it starts to look really good because often because of the layering process because of how we go back and amalgamate subjects and make them all work together we uh just need to uh we need to persistently go at it because it's that final 10 to 15 where it all comes together and it starts to look great and i think we're we're getting quite close to that with that i am going in with the brush now i'm getting a bit of a brighter variant here and i do want to now start working our rocks down into the water a little bit you can see that i'm following the edges of our rocks and i'm going in with a bit of a tap i'm going in with a bit of a drag trying to continue that texture slightly but this way you can see those larger rocks that are sitting above the water actually move down under the water again creating that extra element of depth and we can do this with a more finite brush with slightly more of a highlight but we want to start with something that's a little bit softer like what we have here a little bit less refined than the liner brush that way we have a bit more surface area covered and it just is going to look more natural a little bit later on so this again is part of that process where we're in that initial 50 of the application and it's going to look great but right now we're just kind of laying that base so that it has the opportunity to look great a little bit later on and i'm really moving throughout quite a lot of rocks in that process i want to ensure that almost all of the prominent ones do look like they can move down and under that water and i i really really do like that you can also see there quite quickly i used my pinky finger for a bit of a blend and that is just a persistent tool in our toolbox throughout this lesson so jumping around making sure i don't do too much in any one area and really just starting to like how this looks especially especially in the foreground um but with that i think it's worth noting that eventually we do need to switch our brush and here i do that it is now the liner brush and i have a slightly brighter color again it's more of that green that we were working with it's very muted and i'm just applying this incredibly subtle highlight to the tops of a lot of these rocks going with something that works well with the rocks that's above and applying it to the tops of the majority of the rocks on the bottom is going to tie them all together here i'm now moving those rocks that are above the water down into the water you can see some of their detail descend into that and we just lose texture as we go down and that's exactly how it's meant to be so this is where i think this part of the subject really starts to shine really starts to look great we began it we put that bass player in with the smaller flat headed brush but it's really that application right there that brings it all together and here i'm just doing a little bit of a brighter blend with that liner brush generally you don't want to do your blends on your palette with the liner brush because it's just difficult to mix paint with you can't really pick up a lot of paint and so it's fairly time consuming but i did feel like we didn't need too too much paint so i was okay with it and now i'm going in yet again to those rocks bringing those highlights down under the water allowing it to dissipate relieving our pressure and doing some soft blends as well so these applications shouldn't be in the end as bright as what you have on the sides of your rocks above water but they should be brighter than anything else that you have below the water right so this is a brighter value than all of the smaller rocks or even the larger rocks that sit below the water and that's because we can see the light literally change from above to below and it's all about getting that gradual effect for the most part i'm just applying it to the edges predominantly the edges on the right because that's where the light's going to come down but i also add a little bit on the left hand side you'll notice that it isn't as bright on that i kind of do it once the paints begin to dissipate and we create something a bit more subtle but here going into that foreground doing multiple layers building it up and jumping around quite a bit so that i don't accidentally do it too much in one area or you know kind of run the risk of falling into a pattern which looks like you can kind of decipher it very quickly and then move on because you're not all that interested in figuring it out anymore as a viewer right subconsciously and that's one of the reasons we want to continuously diversify all of our subjects it makes it look organic it makes it look natural and it makes the viewer interested for a longer period of time now jumping into our final step here i'm going to be grabbing the medium-sized round pointed brush and i'm doing this because i want to go back in to the mist and really accentuate that now that we know what our foreground and mid ground looks like you can kind of see a bit of a hard edge on the bottom of our mist we don't want that we also now know we can go in with something even brighter so here i'm working from a bit more of a distance this time because we don't want to kind of hyper focus in on one area we want to ensure that everything we do works cohesively and right now i am just simply mixing a slightly brighter variant of what we have on the canvas in terms of our mist i'm going to begin applying it and i realize you know what i want it to be a little bit more pink a little bit more warm so we just throw some extra cadmium red into that and i begin really in the heart of that mist in the brightest spot and then i start to blend up upwards and then i also go over to the left hand side using my pinky finger to work in a circular motion and create a bit more of that soft look for our mist again something we really really want now i'm also going to start moving it here into the foreground as you can see not not dramatically i don't want it to go out too far but i definitely do want to start extending it and make that bottom area a bit more lively so here we start applying it with a relatively watery application again not too much water because you don't want to kind of strip the paint off but we are going in with a little bit and i do is softening that with my finger however we still have a bit of that hard edge and that means that we'll have to go in a couple of times to get this just the way we want it now of course there's a lot of personal preference in here it really is up to you how much mist you want maybe you want a very minimal amount maybe you want far more than what i have please feel welcome to take those artistic liberties to make it your own to have fun with it you don't have to do exactly what i'm doing the point of these lessons isn't to kind of handcuff you into painting one very specific certain painting it's to teach you how you can paint it but also to give you a bunch of other ideas and lessons that you can take with you into other pieces and also perhaps interject pieces of yourself into this as well so just keep that in the mind uh while we work on these finishing touches here because it at this point is very much as much your piece as it is mine so with that i am just trying a bunch of different pigments some a little bit more yellow some a little bit more orange until i find really what i want and i do opt for quite a bit of a mix though it's not as orange as what we have in the background i'm able to go back and with a relatively a damp brush working those circular strokes make that mist more and more prominent something i really like the look of you can see how it's kind of wrapping up almost around that tree area and then pointing up towards the sun that's a little technique that's a little trick that i love when you can kind of direct the eye with mist and just create a very ambiguous abstract form with it that again can kind of act as a leading line and draw the eye to where you want it to be so we are going back continuing to brighten this up i'm grabbing some extra cadmium red and here we'll just jump back in i initially went in with a little bit more yellow and i found that because we were working on that bottom darker reflection it looked a little more green than i liked and that's kind of why we are now interjecting the red and just making it something that feels a bit more interesting a bit more warm a bit more cohesive right so with that i also now kind of considering where some of the openings in the trees are and i'm creating these slight highlights in those spots so you can see i'm just kind of marking where that movement is and then there's a bit of a darker area in the mist for the actual tree and its shadow again in relation to where that light is so you can kind of see almost like a streak of mist and there aren't any hard edges to it but it's something that's adding an extra element of interest to our subject it's adding some extra depth to it it's creating this idea of the shadow and it's showing the importance of the light so there's quite a lot that it's doing as a very subtle addition to the painting and i just did that by adding extra highlight to the areas where there aren't going to be shadows and again i just i really liked how that turned out i'm also now just kind of moving some of that mist forward but with that that is essentially what my painting ends up looking like but it really was such a pleasure working on this i really love how it ended here in the lesson and i hope that you feel like you learned a lot i hope you feel excited to go out and work on your own version i hope that if you're watching this and you are working on your own version that you're finding a lot of success and that you're proud of yourself and that you feel like you're learning things i i i love getting to this point where everything comes together it all starts to make sense we get to add these beautiful editions that make it a whole again cohesive painting so again thank you thank you for joining me of course uh we always do a little keyword a little code word you can incorporate in the comments to let me know that you made it this far in the lesson this time we're going to go with timbit the name of my adorable little hamster you can use it in relation to maybe timbits from tim hortons very canadian thing um but yeah really up to you and again big thank you for being here big thank you to everybody who is supporting the channel directly up over on patreon again if you'd like help with the drawing process with the color matching process with any of that if you'd like access to our facebook group i'll access to all of my ebooks you can get that up over on patreon along with things like polls and bonus lessons so link to that in the description but as per usual big thank you for being here big thank you for being a part of the painting journey i love what we've created and i can't wait to see you in another one so take care stay safe as always stay creative

Channel: Stay Creative Painting with Ryan O'Rourke

Views: 50,636

Rating: 4.9451756 out of 5

Keywords: how to paint, acrylic, lesson, tutorial, paint with ryan, stay creative painting, mist, river, reflection, sunrise, sunset, landscape, relaxing, glow, light rays, water, acrylic painting, realism, realistic, draw, sketch, how to paint realism, painting realism, how to, artwork, step by step, painting tutorial, trees, shallow water, fog, forest, painting, acrylic painting landscape, acrylic painting tutorial, spring painting tutorial, spring painting, spring landscape painting

Id: fw3iKI0QXAY

Length: 157min 30sec (9450 seconds)

Published: Sat Feb 13 2021