Acrylic painting on 18×24 stretched canvas. In this opening segment, Jerry discusses the type of canvas and underpainting tint. He then discusses the reference material and how to create a composite composition using photos, sketches, and memory. Now he shows how to paint in the sky and first layers of distant hills to create depth. Then he discusses the value system and finishes by painting in the middle ground, hills, meadows, and buildings.
In this episode, Jerry finishes painting in all areas behind the wall. Then he shows how to underpaint the road with the proper value changes. Now he sketches the outer shape of the wall and arch. Next he shows how to begin underpainting the large areas of the stucco wall. Then he paints in the dimensional shadow of the large and small arches.
In this third segment, Jerry continues painting in the road by adding the ruts, small pebbles, and gravel effect by using a tooth brush. Then he adds the bushes and miscellaneous details on the back side of the arch. Now he begins phase one of applying the texture of the stucco. The he underpaints the stone wall on the left side of the road and finishes by painting in the stone wall at the bottom of the wall.
In this episode, Jerry shows his viewers how to begin detailing the wall and add the stones and other miscellaneous highlights. Then he begins adding the green vines hanging over the edge of the wall. Then he begins adding all foliage in the stone planter and around the edge of the wall.
In the final episode of this series, Jerry takes his viewers through the final process of detailing and highlighting. First adding the flowers on the vines hanging over the wall, the flowers in the stone flowerbed on the left side of the road, and the large yellow flowers in the flower pot. He points out that the flower color is a personal choice and whatever color you choose, begin with a darker version — then add white to that color for highlighting. He finishes by adding final highlights to the wall road and other areas.
Acrylic Painting on12x24 stretched canvas. In this opening segment, Jerry discusses the history of the milky stork and the color scheme. He then discusses the arrangement of the composition and placement of the birds. Then he shows how to use the hake brush to paint in the background using very long vertical strokes. He explains how to properly blend the tones to create a soft blended effect. He finishes by switching to the #10 bristle brush and shows how to mottle the foreground muddy area.
In the session, Jerry shows his viewers how to continue painting in the foreground details of the muddy areas using a variety of brushes and a toothbrush. Then he shows how to underpaint the small stork in the background. Then he shows how to paint in the clumps of grass and taller weeds and twigs. He then finishes by painting in the small highlights along the muddy shoreline.
In this episode Jerry takes his viewers through the process of how to block in the larger birds. First by underpainting the main body masses with a deep charcoal gray. Then underpaints the black areas underneath the base of the wings. Now he blocks in the beaks with a deep burnt orange tone. He finishes by underpainting the legs with the deep black mixture.
In the final episode, Jerry shows his viewers how to begin the process of building layers of soft lighter gray tones to start layering the feather patterns. Gradually increasing the amount of white until reaching the bright white light for highlighting the upper structure of the bodies. He shows how to detail and brighten the beaks, legs, eyes, and miscellaneous feathers.
Acrylic painting, 15×30 Horizontal. In this opening segment, Jerry explains to his viewers the different types of canvases for blending large skyscapes. Then explains the composition and discusses the reference material he will be using. Now he explains which brushes are more effective for blending these types of clouds. Next he shows the color mixtures he will be using. Then finishes by underpainting the horizon colors, the upper-sky colors, and minor cloud formations.
In this segment, Jerry shows how to begin the first phase of blocking in the large mass of clouds. He begins by explaining the use of different bristle brushes, which sizes, which part of the brush to use, and how much pressure to use. Then shows which mixtures work best for this phase. Now he begins painting in the larger masses showing how to build the different layers of cloud formations and create various values of colors.
In episode 3, Jerry begins the process of adding additional cloud formations as well as re-working existing formations to create very interesting pockets of negative space. Now he begins adding the first phases of sunlight and silver linings to define the location of the light source. He finishes by showing how to bring up the horizon color to make a stronger glow.
In this final episode, Jerry shows his viewers how to begin adding the layers of light to form the larger masses of clouds and to finalize all the shapes of each overlapping cloud formation. He now shows how to dry brush in the sunrays and finalizes highlights on the edges of the clouds. He then finishes up by painting in the silhouette of trees in the lower right corner to help balance the composition and create depth.
Acrylic painting on15x30 stretched canvas. In this episode, Jerry discusses the reference material he will be using. Then describes the type of canvas and tint he will be using. Then he takes the soft vine charcoal and makes a very rough sketch of the main components of the composition. Now he shows how to paint the semi-stormy sky and explains the significance of the color scheme and color mixes he will be using. He finishes by painting in the first layers of distant mountains and adding first minor highlights.
In the second episode, Jerry continues underpainting the mountains. Then he shows his viewers how to make the highlights on the mountains brighter and he begins adding the pine trees at the base of the mountains – continuing up into the crevices of the rock formations. Next Jerry shows how to underpaint the water. Now he shows how to underpaint the meadow and then finishes up by showing how to begin highlighting the meadow.
In the third episode, Jerry shows his viewers how to finish highlighting the meadows. Then shows how to finish highlighting the water. Now Jerry shows where to paint in the large pine trees on each side of the painting – as these become eye-stoppers. Now Jerry finishes this episode with a rough charcoal sketch of the buffalo and discussion of their placement and proportions.
In the final episode in this series, Jerry explains to his viewers the correct process of underpainting the buffalo with darker tones using quick, broad-brush strokes Then he shows how to begin adding the form highlights to create dimension and finishes by showing how to detail and add accent highlights. He completes this episode showing how to seat the buffalo with the grass and cast shadows.
Acrylic Painting on18x24 stretched canvas. In this opening segment, Jerry explains the history of the old house and discusses the reference material he will be using. Then he takes the soft vine charcoal and makes a very rough sketch of the house and basic composition. Then he shows how to paint in the sky and miscellaneous trees behind the house to help create depth. He finishes by explaining the process of underpainting the roof and shadows of the house.
In the session, Jerry shows his viewers how to use various sizes of the synthetic chisel-edge brushes to finish underpainting the light and shadow areas of the old house. Then he shows how to paint in the windows and doors. Then he begins showing how to clean up the house and begin painting in the shingles of the roof. Then he finishes by showing how to paint in the cast shadow under the overhangs and porch.
In this episode Jerry shows his viewers how to begin the detailing and highlighting process of the walls and windows. Then he shows how to add the highlights to the edges of the roof, posts, and other areas of the house. Then he takes his script brush and begins adding cracks and miscellaneous details to the wood. He then finishes by explaining how to begin adding the bushes and vines around and on the house.
In this episode Jerry shows his viewers how to begin blocking in all of the foliage in front of the house and foreground. Then he shows how to add the vines hanging down from the roof edges. Then he shows how to detail the windows and other areas of the house like the chimney, window panes, etc. He finishes by showing how to highlight the foliage and add the first flowers.
In the final episode, Jerry shows his viewers the last few details and highlights using the script brush for the tall foreground weeds and the small sable brushes to dab on pure color for the final flowers at the base of the house and for applying the brighter highlights on the house and pathway.
Acrylic painting, 16×20 Horizontal. In this opening segment, Jerry discusses his reference material and how he goes about designing the composition. He then takes his soft vine charcoal and makes a rough sketch of the basic elements of the painting including the horse’s head. Then begins to paint the sky, clouds, and distant trees. He finishes by underpainting the ground area around the horse. The he explains what he will be doing in next week’s episode.
In this segment, Jerry shows how to finish detailing and highlighting the ground area around the horse and any unfinished background Now he explains the process for underpainting the horse’s body. He shows the proper mixtures for underpainting a reddish, colored animal. He then explains which brushes work best for underpainting and finishes this segment by underpainting the darker areas of the body and head.
In episode 3, Jerry explains different types of techniques for detailing the horse and how different brushes create different effects. Now he shows how to mix the proper colors for detailing the horse and which brushes work best for this particular application. He then finishes this segment by explaining what he will be doing in the next episode to finalize detailing the horse and painting in the fence.
In this final episode, Jerry shows his viewers how to finalize details and highlights on the horse. Then he begins illustrating how to underpaint the wooden fence and posts. He then shows how to create the old weathered wood effect using different brushes and various techniques. He finishes by adding miscellaneous details and highlights on the horse, fence and background area.
Acrylic Medium on 16×20 stretched canvas. In this opening segment, Jerry explains to his viewers the process of creating atmosphere in a painting. Then he shows how to apply a mottled background using the hake brush. Then he shows how to apply phase one of the rain using a toothbrush and a spray bottle. He finishes by using the #6 bristle brush to apply the glowing lights of the distant city and reflections. He then explains how to use the soft vine charcoal to make a rough sketch of the old man.
In this session, Jerry continues the process of adding glowing lights. Then begins painting in the suggestion of distant buildings, light poles, and tree branches. He then shows how to brighten the glow in the background and around the figure. Then he shows how to begin painting in the water puddles. Then shows how to use a toothbrush to add texture to the road. Then he finishes by showing how to block in the shadow area of the umbrella.
In this episode, Jerry shows how to underpaint the old man’s figure and umbrella. Then shows how to block in the face and other miscellaneous areas of the coat. Then he explains how to begin adding some of the minor details, wrinkles, and shadows in the coat, face, umbrella, and beard. He then begins showing how to finish the puddles and miscellaneous details in the foreground. He finishes by showing how to blur the edges of the old man’s coat with the back lights to prepare for next week’s rain application.
2813 The Umbrella Man, Part 4 In the final segment of this series, Jerry shows his viewers how to paint in the final details of the old man’s face, beard, coat, umbrella, and beard. Then he shows how to begin painting in the angle of the rain, rain drops, and drips of rain coming off the umbrella. He finishes by adding the silver linings on the coat and umbrella.
In this opening episode, Jerry explains to his viewers the differences between a canvas board and stretched canvas and why he chooses one over the other. Then he discusses the subject matter and composition. Then he explains how to sketch in the perspected buildings. He then shows how to begin underpainting the buildings using various techniques to suggest brick, stone, or stucco.
In this segment, Jerry shows his viewers how to underpaint the rest of the painting like the pathway, pots, windows, etc. Then he begins showing how to start cleaning up the shapes of the buildings and begin the first phase of painting the stones. Then he shows how to begin painting the clay roof tiles. Next, he shows how to start adding the stucco affect to the buildings. He finishes by discussing what he will be doing in the next episode.
In this episode, Jerry begins by using the toothbrush to splatter the effect of gravel on the pathway. Then he explains how to underpaint all of the pots in various tones and colors. He now shows how to paint in all the cast shadows from the pots and buildings. He now finishes by showing how to underpaint all the foliage in the pots and explains what he will be doing in the next session.
In this episode, Jerry begins by showing the first phases of painting in the flowers. Then shows how to highlight the pots, leaves, and steps. Then he shows how to get pots seated with additional leaves loosely scattered around. He now finishes up by spending time on the roof, wall and windows adding stucco cracks and detailing the roof tiles.
In this final segment, Jerry starts with continued work on flowers, adding more colored flowers and dimensional highlights. Next Jerry adds window panes giving the building a more completed look. Now he adds details to the blue door ensuring it looks old, wooden. He shows how to use a dry-brush technique to add a weathered look to the door. Next, he adds an old wooden, chucky fence which becomes an eye-stopper in the painting. He adds limbs to area behind building with the #4 script brush. He illustrates transition blending near the roof line as part of highlighting plus shows additional dry-brush technique which helps with value changes. Now adds final leaves and flowers plus a few areas of highlights to create areas of sunlight.
In this opening session, Jerry explains his canvas preparation. Then he explains how to use your own memory to design a complete composition from scratch without using any photographs to copy from. He now explains in great detail how to arrange all the components of the composition using the technical elements of composition. He then uses soft vine charcoal to make a final rough sketch. He finishes this episode by blocking in phase one of the sunset/stormy sky.
In episode 2, Jerry continues working on the sky. Then he begins painting in the first distant layers of background hills, bushes, etc. Now he shows how to underpaint the middle background, middle ground, and foreground areas of the prairie. He next shows how to begin highlighting and detailing some of these areas by adding rock, pebbles, brush, etc. He finishes this episode by using his iPhone to review the original sketch and begins re-sketching some of those items.
In this episode, Jerry begins the process of underpainting the windmill base, water tank and miscellaneous objects. Next, he shows how to begin highlighting and detailing those objects to give them three-dimensional form. Now he shows how to paint in the windmill blades and tail. He finishes this episode by continuing to add miscellaneous details.
In this final session, Jerry continues the process of highlighting and detailing the windmill, water tank, and fence. Then shows how to add the grasses and miscellaneous details. The he shows how to underpaint the water in the tank. Now he blocks in the cows drinking water. He then finishes up the painting by using the script brush to add weeds, barbed-wire, birds, and dead bushes. Then paints the final highlights on the cows and water.