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Introduction to Watercolor

Date Released: 01/30/2015

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Jerry explains the different types of papers and surfaces to paint on and miscellaneous tips for setting up your palette and painting area plus tools for basic watercolor technique, concepts, and beginning washes.

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Date Released On:04/20/2020

Lesson 2 of 3 (1502)

In episode 2, Jerry continues explaining various tools and techniques and also continues showing how to apply various washes to crate basic landscape objects like distant trees grass, plus scraping techniques to create rocks and other objects like water and reflections. Jerry begins the first basic study painting.

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Date Released On:04/20/2020

Lesson 3 of 3 (1503)

Jerry begins the process of starting a new, more-advanced painting Mallard Duck on watercolor board using the hake brush to create a beautiful soft sky with transparent glazes and phase one of the dead tree and pond.

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Date Released On:05/13/2020

Painting W/Watercolors – Greeting/Christmas Card (1514)

Date Released: 01/30/2015

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Steps to Nowhere

Date Released: 01/01/2015

Difficulty: Intermediate

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Steps to Nowhere 1 of 5

In the first of five(5) episodes of "Steps To Nowhere" complete painting lesson, Jerry explains the composition of this beautiful painting and shows the various pieces of reference material which will make up Steps to Nowhere. Using a 16x20 vertical stretched canvas and acrylic medium. Starts with pre-sketch and then begins scumbling with his #10 bristle brush. The painting is an impressionistic, loose technique: creating a suggestion versus the close-up details. Next step is creation of soft distant trees shapes to push trees in background (depth). Jerry uses script brush to lightly add collection of trees in background. To add contrast, Jerry uses #4 or #6 bristle along w/a grayish green to create cedar trees. Then with #4 bristle using rolling circles to add the rolling mist.

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Date Released On:04/20/2020

Steps to Nowhere 2 of 5

In the second of five(5) episodes of "Steps To Nowhere" The underpainting process continues throughout this segment. Jerry continues by lightly sketching the intermediate trees next. Using one of the chisel-edge brushes to create a smudgy effect on some of the trees. Switch to #4 bristle or #6 to work on pathway. Next Jerry reviews light source options and decides light will be coming from left to create cast shadows. Uses a #4 chisel-edge brush to add light to stones and steps (caps and risers) being careful not to make steps look “perfect” cautioning viewers that the steps are very old and need to be crooked. Uses #6 bristle to create open part of foreground w/sand, dirt, and scrubs to create mud.

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Date Released On:04/20/2020

Steps to Nowhere 3 of 5

In the third of five(5) episodes of "Steps To Nowhere" Jerry starts with a brief discussion around inserting a sketch into the painting but moves on to using a #6 bristle brush to create soft sand and dirt. Now Jerry uses the toothbrush technique to splatter … thus adding the effect of gravel, pebbles and dirt. This also makes the area appear the sun is hitting the pebbles. Now he builds grasses around this area. Uses the #6 bristle brush to create combination of grasses with the ‘push’ technique. This creates drama. Next Jerry uses the #4 chisel-edge brush to create stacked stones and opportunity for shadows. Similarly uses same technique on the steps...with quick, decisive brush strokes. The remainder of this episode Jerry spends on stonework creating harmony and balance in the painting.

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Date Released On:04/20/2020

Steps to Nowhere 4 of 5

In the fourth of five(5) episodes of "Steps To Nowhere" Jerry starts putting in larger trees and details and tweaking the painting. Uses #6 chisel-edge brush with a dark-color mix to fill in foreground and walls …. using sideways painting technique else you’ll get a hard line. #6 bristle brush to create suggestion of brush then shadows and sunlight. Adds light on stones giving the shape of the rocks dimension.. and light on the pathway and wall. Next Jerry begins work on leaf patterns starting at the top of the painting with the #6 bristle brush using a tapping technique which overlaps brush strokes and creating a lacy, airy look and warmth gradually adding warmer colors. Then Jerry uses the #4 chisel-edge brush to create bark by ‘pulling across’ to create pockets. This technique sets the stage for the next and final episode.

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Date Released On:04/20/2020

Steps to Nowhere 5 of 5

In the final of five(5) episodes of "Steps To Nowhere" Jerry adds final details. #6 bristle brush and dark tone to tap in clock-wise motion to add the airy canopy over the top with leafy effects. Same technique is used to bring the light up in the painting -- for highlighting yellows into base of trees and grasses plus underbrush and saplings. Jerry uses some red to bring eye in toward the steps and to further embed the trees in the natural beauty. Jerry adds weeds in foreground with #4 script brush plus a few saplings at the base of the trees. Now Jerry uses #6 bristle to add brighter colors (orangey-red) to finish off painting plus some green to tap in some yellow-green weed-growth around base and top of steps and wall. Final warm highlights to create soft sunlight and shadows plus with the #4 round sable and using orange and purple Jerry scumbles to put final edges on leaves to make them look more like individual leaves.

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Date Released On:04/20/2020

A Yellowstone Wonder

Date Released: 12/01/2014

Difficulty: Intermediate

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A Yellowstone Wonder 1 of 4

This is the 1st of Four(4) episodes in Jerry Yarnell's "A Yellowstone River", a complete painting lesson. In this wonderful painting Jerry excitedly describes his love for the Yellowstone National Park and the elk as one of the many wonders of that Park. This love of the Wyoming area led Jerry to create today’s A Yellowstone Wonder. A beautiful landscape with an elk in the foreground. Jerry is completing this painting in acrylic on an 18x24 stretched canvas. Getting started Jerry uses a pastel pencil to sketch some of the painting features. Then beginning with the #10 bristle brush starts blocking in the background and underpainting for the grassy area leaving no line so as to create soft edges and good eye flow. Switch to #6 bristle brush to create beginnings of shoreline. For remainder of this episode, Jerry uses his famous scrubbing technique to create area for water.

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Date Released On:04/20/2020

A Yellowstone Wonder 2 of 4

In the 2nd of four(4) Jerry continues building the background and underpainting starting with the #10 bristle brush and layering to build the multiple values and colors. Now the #6 bristle brush to work and smudge along the shoreline which will ultimately become an area of fallen logs. Now Jerry adds hot spots to help make the painting come alive, building brighter lights with every contrast of color added. Jerry sketches a few points on the canvas to get a quick idea of the basic location of the elk’s body. Finally, Jerry uses #6 bristle to build lights for contrast near sketch of elk so the elk will stand out.

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Date Released On:04/20/2020

A Yellowstone Wonder 3 of 4

In 3rd of four(4) episodes, Jerry starts with giving brief tips on drawing the elk and the rule of negative space. Continuing on with underpainting, Jerry uses #6 bristle brush and underpaints the front part of the elk always pulling in or out with your brush to create soft blurry edges. With a little lighter mixture, blocks in the rest of the elk. Switching to the #2 bristle brush, Jerry darkens sections of the elk’s ears; then with the #4 chisel-edge brush uses white for the light areas of the ears.Using #4 round or flat sable, uses black to block in eye, nose, chin. Toggling back to the background, create soft colors with #10 bristle and producing highlights with the skimming technique. Jerry inserts highlights which appear to be fallen logs along the shoreline then uses script brush to make stems on the logs. Highlights details are continued for remainder of episode.

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Date Released On:04/20/2020

A Yellowstone Wonder 4 of 4

In the final of four(4) episodes of "A Yellowstone Wonder" complete painting lesson, Jerry begins detailing the elk. With a #4 chisel-edge brush, works on highlights in the elk’s eye, nose, and other facial areas with some areas forming the suggestion of hair. Shadow areas are a result of the original underpainting and give the image its dimensional form. Then with #6 chisel edge move to highlights on the elk’s body to see its form take more shape. Now with #6 chisel-edge brush, Jerry inserts weeds and illustrates importance of light and shadow. Then with #6 chisel-edge brush, tap color to add a grayish-blue, airy, lacey look coming through the reeds. Jerry switches to his #4 script brush to add tall, light colored weeds and pods … pulling a heavier concentration of weeds around elk. Final highlights include spots on elk’s back, and with that Jerry recommends the viewer add as much or as little detail as he/she prefers and add layering and glazing to bring the color of the elk’s body up one or two levels.

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Date Released On:04/20/2020

Standing Proud

Date Released: 11/01/2014

Difficulty: Intermediate

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Standing Proud 1 of 4

This is the beginning of a beautiful iconic image -- an old covered bridge. This is an acrylic painting created on a 12x24 stretched “gallery wrap” canvas. Jerry shows his sketch of the painting. This episode is primarily the illustration of the under-painting process starting with the sky. Jerry explains what happens when you are using too much water in your paint which he corrects by adding a bit more gesso to thicken up the paint. He uses the feathering and scrubbing processes. He also discusses impressionist techniques which are “simply creating the suggestion” of something and illustrates the technique while blocking in distant trees.

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Date Released On:04/20/2020

Standing Proud 2 of 4

In the 2nd of four episodes in Standing Proud series, Jerry continues some underpainting of the structures of the painting, bridge support, archway, and building itself plus other miscellaneous objects before highlighting begins.

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Date Released On:04/20/2020

Standing Proud 3 of 4

In the 3rd of four episodes in “Standing Proud” series, Jerry begins the process of intermediate details, highlights, the beginning of the color scheme, and strengthening the value system.

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Date Released On:04/20/2020

Standing Proud 4 of 4

In the final of four episodes in “Standing Proud” series, Jerry begins adding the final details on the Standing Proud bridge which is from Jerry’s Pennsylvania reference material. The bridge is another fine example of impressionism because the bridge-details create illusions but do not require a lot of effort by the artist. Jerry illustrates how the limbs help draw the viewer back to the main focal point and center of interest plus add a nice contrast to the painting. Details on shingles, road, rocks, gates, are added to refine, create more contrast, and finalize the highlights and hot spots. Touches of color are added as accent flowers along the rocks.

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Date Released On:04/20/2020

Prairie Magic

Date Released: 10/01/2014

Difficulty: Beginner - Intermediate

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Prairie Magic 1 of 4

This is the 1st of 4 episodes in water miscible oil painting project "Prairie Magic" in the 1300 series. This painting is a 12 x 24 stretched canvas and Jerry starts this painting with a blue gray underpainting and he begins the layering and building of the bands of colors in the rain clouds the fill the sky. He uses the 1 ½” brush to beautifully, softly blend the bands of grays to create the sheets of rain across the prairie sky. Stormy skies with oils is to create the mixing formulas and color changes directly on the canvas and not on the palette. This will add to the drama and intensity of the stormy skies.

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Date Released On:04/20/2020

Prairie Magic 2 of 4

This is the 2nd of 4 episodes in water miscible oil painting project "Prairie Magic" in the 1300 series. The intricacy of the parts of the Oklahoma thunderstorm in the sky of this painting. Jerry continues to work wet into wet to gradually build the darker areas of the clouds. Jerry refines all the edges with highlights working across with a dark gray color. Jerry demonstrates how to create the intermediate gray and the feathering the bands with x-strokes on the clouds in the sky. The extraordinary drama of this painting is accentuated with a touch of purple in the dark clouds and yellow in the bright highlight.

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Date Released On:04/20/2020

Prairie Magic 3 of 4

This is the 3rd of 4 episodes in water miscible oil painting project "Prairie Magic" in the 1300 series. Creating a vignette of this painting by blending the corners will keep the eye flowing and not run off the page or worse yet just stop. Jerry creates a soft blend in the corners with the large brush the same as softening the edges of the rain clouds. He demonstrates a really exciting technique of pulling the rain over the prairie grass by skimming gently and feathering all the edges. Each object that is added to the prairie scene becomes more and more obvious but he stresses how each item needs to be softened to fit into the composition.

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Date Released On:04/20/2020

Prairie Magic 4 of 4

This is the final of 4 episodes in water miscible oil painting project "Prairie Magic" in the 1300 series. As a conclusion to a wonderful series on the benefits and excitement of water miscible oils, Jerry finishes this painting by adding a two story house on the lone prairie. The house shapes up with shades of gray and small amounts of detail that bring life to this dramatic painting and tie it all together with lights in the window, cracks in the wood and smoking chimney.

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Date Released On:04/20/2020

Rocky Mountain Refuge

Date Released: 09/01/2014

Difficulty: Beginner - Intermediate

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Rocky Mountain Refuge 1 of 5

This is the beginning video of a series consisting of five (5) parts Jerry Yarnell has prepared for water miscible oils by painting on a 12 x 16 canvas board. In this painting Jerry continues with his discussion of water miscible oils and elaborates on a technique he uses frequently, which is the painting of water miscible oils over acrylics. Jerry clarifies and unravels the mysteries of the water miscible oils. And how the painting of oil on TOP of acrylic is considered to be a Multi Media painting. He begins this painting with an acrylic he had started in the past on a 20 x 28 canvas and demonstrates how to clean the acrylic painting with a clean lint free rag. Then he uses the smallest minute amount of water miscible linseed oil to lightly wipe and prep the painting.

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Date Released On:04/20/2020

Rocky Mountain Refuge 2 of 5

In the 2nd of 5 episodes in "Rocky Mountain Refuge" study painting series, Jerry uses a beautiful rocky mountain acrylic painting with an outstanding composition for a mixed media painting. Jerry slowly and methodically works through the mysteries of water miscible oils. The problems of composition and design have been resolved in acrylic. When you use the water miscible oils over the top of acrylics you are enjoying the fun of the details while working on the background and middle ground of the painting.

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Date Released On:04/20/2020

Rocky Mountain Refuge 3 of 5

In the 3rd of 5 episodes in "Rocky Mountain Refuge" study painting series, Jerry continues working on the mixed media painting by applying water miscible oils over acrylics. This layering process allows for the resolution of the composition and values while providing the advantage of moving to the fun of the details on the project. Jerry discuss the comparisons of oil to acrylic painting as well as how acrylics can be used as the underpainting of an oil painting. He concludes this episode with the ‘pat push’ method of creating a grassy meadow.

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Date Released On:04/20/2020

Rocky Mountain Refuge 4 of 5

This is the 4th of 5 episodes in "Rocky Mountain Refuge" study painting series. The advantages of using acrylic under an oil painting is that you can actually save time by working out the compositional issues, the colors, values and create richer texture with water miscible oils over acrylic. In exchange for the advantages, water miscible oils require more initial prep time in mixing water miscible linseed oil to the paint to create a buttery creamy mixture. Jerry continues working on the pool of water from the bottom up to develop the richness of color, all the while allowing the acrylic underpainting to show through. He finishes up this episode by adding reflections of rocks, trees and grass in the pool with short broken strokes.

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Date Released On:04/20/2020

Rocky Mountain Refuge 5 of 5

In the final of 5 episodes in "Rocky Mountain Refuge" study painting series, Jerry brings up the highlights slowly with multiple layers on each of the objects. He deepens the cast shadows and completes the painting with the final details. By this time practically all of the acrylic underpainting is covered. The cabin is drawn and blocked in with the three gray tones. Jerry demonstrates how to remove a charcoal sketch from an oil painting; with an eye to the technical aspects of how to correctly finish this painting, with interest, Jerry adds the traditional purple flowers. Thus, the beautiful multimedia water miscible oil painting is complete.

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Date Released On:04/20/2020

Two of a Kind

Date Released: 08/01/2014

Difficulty: Beginner

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Two of a Kind 1 of 4

This is the beginning video of a series Jerry Yarnell has prepared for water miscible oils by painting on a 12 x 16 canvas board. In this collection Jerry offers all the tips/tricks and special knowledge for all of his students that enjoy oil painting. In each episode Jerry elaborates how to use water miscible oils, the difference between traditional oils and water miscible oils. He answers the controversial questions of painting and mixing with such a delightful medium. In this episode Jerry concentrates on the proper painting of the background.

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Date Released On:04/20/2020

Two of a Kind 2 of 4

In episode 2, Jerry continues to discuss the value of water miscible oils and how they compare to traditional oils. He uses a wet on wet technique to block in the basic shapes and the creation of the appearance of wood grain for the table. Jerry presents an amazing demonstration on the proper mixing and blending of greens while using the water miscible oil palette.

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Date Released On:04/20/2020

Two of a Kind 3 of 4

In episode 3, Jerry completes the green mixture and blending of the first pepper and begins the blocking in of the red pepper. Jerry discusses the use of various reds and the importance of using a limited palette and learning the idiosyncrasies of each color mix. He is still using a wet on wet technique while adding the cast shadows of the vegetables on the table while using a soft feather blending.

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Date Released On:04/20/2020

Two of a Kind 4 of 4

In the final episode, Jerry begins adding the final details on the peppers while refining and adding the minute fine details. The addition of the soft highlights, hot spots will complete this beautiful still life of two peppers.

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Date Released On:04/20/2020

Night Sail

Date Released: 06/01/2014

Difficulty: Intermediate

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Night Sail Episode 1 of 5

In the 1st of 5 lessons in this series, Jerry begins on a charcoal, almost dove gray under painted canvas. In phase one of this painting he uses a Hake brush and starting 2/3 of the way down the canvas he mixes yellow, purple and white to create a beautiful sky. He builds the base slowing while working from dark to light slowing creating the emergence of a night sky and clouds. He begins creating the clouds with a wonderful and exciting technique of an application of a dark color on the canvas this blending a white into the clouds, all the while softly blending the observing the contrast as well as the negative space.

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Date Released On:04/20/2020

Night Sail Episode 2 of 5

In the 2nd of 5 lessons in this series, Jerry begins with the discussion of a tip regarding the sanding of a canvas and why it is something every artist should consider it important. Then he begins with a dry brush blending technique to finish up the sky and the creation of rain clouds in the horizon. A lightning bolt, an unexpected moon and the glow of the lightning are all added to the dramatic storm cloud sky. The swells of the ocean waves and the tossed about sail boat are all blocked in with their values.

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Date Released On:04/20/2020

Night Sail Episode 3 of 5

In the 3rd of 5 lessons in this series, Jerry demonstrates how to paint the water so that it appears to have movement; he demonstrates using a variety colors and glazes to bring the water to life with the addition of white caps, spray and even swells. All of this is done with an eye on the negative space and the connectivity of lightly skimmed lines on the water.

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Date Released On:04/20/2020

Night Sail Episode 4 of 5

In the 4th of 5 lessons in this series, Jerry blocks in the shape of the boat and sail. He discusses the proper technique for painting white by using a gray underpainting, and he demonstrates the technique while using a chisel brush. After blocking in the white, he mixes Alizarin Crimson and Dioxazine Purple to create the underpainting for the red portion of the sails. Carefully creating the light and dark values of the white and the red portions of the sail. He then blocks in the cabin and adds glazes to the water and shows the importance of adding light to the water (even at night) and how to properly connect it through the use of negative space.

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Date Released On:04/20/2020

Night Sail Episode 5 of 5

In the final of 5 lessons in this series, Jerry finishes up the boat sails and the body of the boat in this episode. He uses a #4 bristle brush with white glazes on the sail making sure to leave the brush strokes so that the sail appears to be blowing in the wind. He then uses Cadmium Red to finish out the portion of the sail. Any final details on the boat and the water are completed before the final step which is splattering. Jerry demonstrates how to take a toothbrush, mix gesso white and splatter the spray of the water in and around the boat, the white caps and how to remove the over spray.

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Date Released On:04/20/2020

Biloxi Shrimpers

Date Released: 05/01/2014

Difficulty: Intermediate

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Biloxi Shrimpers 1 of 4

In the 1st of 4 lessons in this series, Jerry discusses the differences between a gallery wrap and the traditional canvas as he begins the composition of a boat dock with a shrimp boat, reflections in the water and a pelican on the piering. The first step is to begin the background on a gray canvas with red and alizarin crimson to create a warm base. Then he blends in turquoise deep and ultramarine blue to create a hazy early morning effect. Jerry continues with the turquoise deep and ultramarine blue combination and using small ‘banana strokes’ paints the underpainting for the water. The final step for this episode is the painting of the first level of grays for the distant look of objects, all the while being cognizant of his negative space.

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Date Released On:04/20/2020

Biloxi Shrimpers 2 of 4

In the 2nd of 4 lessons in this series, Jerry continues to discuss the gallery wrap and using the pegs in the frame to tighten a canvas as he continues to under paint the grays of the dock and the boat. He utilizes the contrast rule and discusses the value created with the use of turquoise blue and ultramarine deep to successfully achieve the next level of value in the piers and dock. The next step Jerry demonstrates is the movement of water by using different values all the while keeping a close eye on his negative spaces.

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Date Released On:04/20/2020

Biloxi Shrimpers 3 of 4

In the 3rd of 4 lessons in this series, Jerry adding the intermediate details of the boat trim, barrels on the dock, miscellaneous items stacked around the boat house and the additional highlighting of the water. He begins placing more emphasis on the center of interest, the dimensional form of the boat. He blocks it in stages with the #4 bristle brush and a dry brush blending. To finish out this episode, Jerry will sketch in the reflections with a conte pencil and begin to develop the values in the layering process to achieve the value and level of detail in the boat and the water.

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Date Released On:04/20/2020

Biloxi Shrimpers 4 of 4

In the final of 4 lessons in this series, Jerry begins adding the final details in the boat, blocking in and adding shape to the pelican, plus, he demonstrates how to make a correction to the design/composition of a painting by altering the length of the boat. He switches to the Dynasty brushes for the chiseled edge and to create the shrimpers nets on the boat. The final step in this painting is the demonstration of Jerry’s technique for creating a weathered post with thick paint and then the development of wood grain.

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Date Released On:04/20/2020

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