Yarnell School Online (YSO) & A La Carte Lessons

Below you can search or browse through all of the Jerry Yarnell videos in HD to watch and learn at your own pace, any time - any place. Many of the video lessons were created only for YSO and can be found nowhere else.

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Painting

Detail

The Rose

Date Released: 08/28/2013

Difficulty:  Beginner - Intermediate

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The Rose 1 of 2

Jerry starts with a grayed under painted canvas that is cured for at least an hour.  After studying several roses, he begins by modeling in a dark background that must dry for at least an hour.  Next, the rose is sketched in using a white charcoal pencil, and then crimson is used to shape the rose using a chisel edge brush.  Then – using the same brush – the green leaves are added.  Starting at the center of the flower, the petals are then pulled in with quick decisive strokes, building a road map for the petals and shape of the rose.  The session is completed by refining the petals using alternating light and dark mixtures.

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Date Released On:04/20/2020

The Rose 2 of 2

The program starts by adding the next value changes with an intermediate red tone. This is all about layering, as Jerry continues to add color and highlights refining the shape of each petal. The chisel edged brush is important to master this technique. Accents are continually added to the outside edge of each petal. A final wash is then added to the entire rose to blend and add more color to the flower. The session ends by painting green leaves below the rose to provide both composition and complimentary colors to add balance to the painting.

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Date Released On:04/20/2020

Mama’s Pride

Date Released: 08/28/2013

Difficulty:  Beginner - Intermediate

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Mama’s Pride 1 of 2

In this opening segment Jerry starts with a grayed in canvas and applies an even coat of gesso. Next the red horizon and blue sky is created by adding light pigment to the gesso and blending to create the cool atmosphere required for this painting. Snow is next added to the foreground using a chisel edged glazing technique.

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Date Released On:04/20/2020

Mama’s Pride 2 of 2

Having completed the background painting Jerry begins the highlighting process starting with the orange detail on the head. Next the body hairs are applied using the dry brush blending technique to the body by highlighting on the right side and following the contour of the body to create softness and roundness with each stroke. Next the baby is blocked in and detailed highlights are added with the understanding that the final step of adding the falling snow and wintry wind eliminates the need for great detail that might be normally be required. The painting is completed by adding the final snow and shadow highlights completing the wintry effect.

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Date Released On:04/20/2020

Kim

Date Released: 08/28/2013

Difficulty:  Beginner

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Kim 1 of 3

This painting is the first step in teaching figures and portrait work. The smooth linen canvas used for portrait work is first prepared using a mottled gray background. Jerry starts with a rough sketch of the model using the negative space technique to develop the figure. Jerry shows how to mix the basic flesh tone and then applies the base color to the face, neck and legs. Next, the garments are painted, starting from the inside space, i.e., the blouse - again using broad loose strokes. Specific attention is given to the shadow areas to add shape to the clothes. Remember to use long strokes to show the effect of gravity on the skirt, jacket and hair. The figure and her face can be shaped by refining the surrounding objects.

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Date Released On:04/20/2020

Kim 2 of 3

Having completed the basic under painting, Jerry can now start to shape the figure. This is done by adding the next layer of highlighting as well as using loose strokes to form shadow areas. Jerry continues to work throughout the painting adding highlights and shadows where appropriate. Having completed the basics, the background is mottled which is another step in the process to help refine and shape the figure. Please note complimentary colors are used in this process. The session is completed by repeating the layering and shaping of the hair and garments, adding highlights and shadows to continually refine the figure.

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Date Released On:04/20/2020

Kim 3 of 3

In this final session, Jerry provides further instructions on the refining process to complete this painting. Shadows are applied to the face, and then highlights are dry brushed to add features to the face. At this point, white is added to the eyes. The refining process is done by applying several layers to build to the level of detail desired. Stay fresh and switch between the face, legs, blouse and skirt. Keep it loose and continually add more distinctive highlights and layers to compete the painting.

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Date Released On:04/20/2020

Tuscan Serenade

Date Released: 08/28/2013

Difficulty:  Intermediate

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Tuscan Serenade 1 of 2

In this session, Jerry stays with the Tuscan theme, capturing the soft earth tones from that region.  The piece is first blocked in starting with the sky and then adding layers of depth leading to the foreground using the value system.  The painting will feature a beautiful field of poppies in the foreground.  After completing the value layers, Cyprus trees are added as strategic eye stoppers.  The session is completed by having Jerry sketch and block in the villa as the center of interest.

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Date Released On:04/20/2020

Tuscan Serenade 2 of 2

Focusing on the poppy field, Jerry adds three layers of flowers in the foreground.  Each layer gets more detailed and has larger and more distinctively shaped flowers.  The poppies in the front of the painting have definitive shapes and are created using broad, loose strokes with a chiseled edge brush.  Variations of color are added to the poppy fields, and hotspots are added in the middle ground.  The last step is to add the final highlights to the flowers and the villa to create shape and interest.  Cast shadows are also added to provide drama and authenticity to the painting.  Final details such as birds and trees can be added as needed to provide life to the painting.

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Date Released On:04/20/2020

Resting Wren

Date Released: 08/27/2013

Difficulty:  Beginner - Intermediate

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Resting Wren 1 of 2

In this opening segment Jerry blocks in the entire painting creating the backdrop for the wren. Starting with a tinted canvas, Jerry blocks in the sky using a vivid turquoise that will make the Wren pop. The foreground grasses are painted in loosely and much attention is given to paint a fence post and wooden rails as the center of interest on which the bird will perch.  The final step is to provide more detail on the foreground weeds, providing both contrast and overlap to help create depth in the painting.

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Date Released On:04/20/2020

Resting Wren 2 of 2

Having completed the background of this painting, Jerry next sketches the bird resting on the stump. Using a #4 bristle brush, he then blocks in the bird using inward strokes to create the loose shape and background for the feathers. While the body of the bird is drying, Jerry next adds light colored weeds for contrast to the front of the painting and adds detail with white and orange flowers to provide complimentary colors to the green weeds. Switching to the round Sable, Jerry teaches his feathering stroke as he applies the first level of light colored feathers to the breast, head and wings – using the appropriate strokes. Next, switching to a dark color, Jerry can complete the eye, beak and dark sections of the feathered areas under the wings. The wren is now ready for final highlights, using pure white and again light feathered strokes. Switching back to the dark color, Jerry can reemphasize the shadow areas on the bird as well as putting in the details of the legs, feet and focusing on the all-important eye area. Final highlights are then added to the tail section - and minor touches to produce a real feathery effect in order to complete the painting.

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Date Released On:04/20/2020

Step By Beautiful Step

Date Released: 08/27/2013

Difficulty:  Intermediate

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Step By Beautiful Step 1 of 3

This very popular painting has a unique array of perspective, value, colors, foreshortening issues that make it very challenging; however, if you follow the steps, Jerry makes it look easy.  The first step is to tint the canvas gray and use a white charcoal pencil to sketch in the steps.  The painting starts by first applying the dark areas in the windows and the door behind the steps.  Next, the side walls are blocked in with a lighter gray and then – using gradually darker tones – the face of the actual steps are blocked in.  The formation of the front pilaster is shaped using a chisel-edged brush as well as blocking in the top of the steps, starting with thin white slivers at the top and widening the steps to the bottom.  Details can then be added to the door area – both the threshold and the side walls – to indicate brick work or a stucco texture.  Use a lot of small brush steps to make the steps and the building look old and worn.  Do not be afraid to use color in this process.

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Date Released On:04/20/2020

Step By Beautiful Step 2 of 3

In this part, Jerry explores the ups and downs of this painting. Since there is no horizon line, all the various angles are first checked to make sure that they are correct and in alignment until they fit. By painting in the pots at the top and bottom of the steps, we create the space in which the floral vegetation can be blocked in between the pots. Use loose strokes to create pockets and suggestions of a dark, leafy area. Vegetation can be added to the side wall and window and door as well. The next step is to suggest the shadows that will be cast onto the steps by the flowers, using a purple-gray mixture. Using the No. 4 bristle brush and a light green mixture, detailed leaves can be added to highlight the flower and vegetation areas. The next step is to add the shadows to the side of the steps as well as to define the baseline of the wall. The pots can then be highlighted, and you can choose the color of the flowers that can be added using impressionistic strokes. Purple is always a good color to help tie the painting together.

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Date Released On:04/20/2020

Step By Beautiful Step 3 of 3

In this part, Jerry focuses on the final highlighting to finish the painting. He starts by adding various colors to the flower arrangements, including yellow, pink and orange.  Next, highlights are added to the top of the steps and to the walls to suggest reflective light and also to add interest.  A thin mixture of white gesso can be sprayed on the steps to provide another level of texture.  Cracks can be added to the wall and other surfaces to give them an aging and worn appearance.  Using soft gray and a chisel-edge brush, Jerry adds a board leaning against the building.  Highlights on the flowers are repeated with thicker paint to make them pop.  Do not overwork the details.

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Date Released On:04/20/2020

Southwest Serenade

Date Released: 08/27/2013

Difficulty:  Beginner - Intermediate

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Southwest Serenade 1 of 2

This Southwest painting of the Red Rock Canyons featuring close-up rock formations is a snow scene that uses a warm color scheme. Jerry starts with a tinted gray canvas and begins by blocking in the sky with a turquoise blue and transitioning into an orange glow on the horizon. Both the sky and the sunset colors are reflected into the river in the foreground. Next, the layering begins of the distant mountains, using the Hake brush. The closer rock formations are then blocked in using a No. 10 bristle brush with a very dark mixture. Reflections are then added into the water using dry brush blending. The snow is added to the embankment, drifting it up to the rock foundations, creating small pockets. Highlights are then added to the rocks to create the formations, and bushes and distant trees are added as part of the homework assignment.

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Date Released On:04/20/2020

Southwest Serenade 2 of 2

In this segment, additional highlights are added to the rocks and snow. The snow highlights are carried into the water’s edge to create interest and suggest rock foundations along the embankment. Snow is also added to the rock formations at the base. A light orange mixture is used with a No. 6 bristle brush, highlighting the little clumps of bushes. Using the No. 4 Sable brush, Jerry then adds the silver lining to the rocks using a thick orange and white mixture. Final details can then be added to the painting, which will add interest by proper use of negative space. When adding the small branches in the foreground, be sure to use light to dark contrast. As a final detail, birds are added in the sky.

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Date Released On:04/20/2020

The Light House

Date Released: 08/27/2013

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The Light House 1 of 2

A simple painting that teaches you the process of fine art technique. In this opening segment, it is all about blocking in the entire canvas.  The background does not look like much, but it is essential to getting the value system correct.  Starting with the Hake brush, Jerry gently blends in the sky, starting at the top and ending with a touch of red glow at the horizon to create atmosphere.  The sky color is then reflected into the water, and the ocean is blocked in by using turquoise, and it gradually becomes darker moving into the foreground.  Switching to the No. 10 bristle brush, Jerry then blocks in the cliffs, using heavy texturing.  This is also a good time to spot in the shoreline rocks that will serve as eye stoppers at the bottom as well as to create interest.  Using the No. 4 bristle brush, Jerry completes this segment by adding initial highlights to the ocean and creating the lights and darks for the wave motion.  At this transition point it is necessary to choose a lighthouse you desire and to block it into the cliff.

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Date Released On:04/20/2020

The Light House 2 of 2

Starting with the lighthouse, Jerry uses the No. 4 round sable to detail and highlight the structure.  The brightness of the lighthouse sets the balance of the value system for the remainder of the painting.  Switching to the No. 4 bristle brush, Jerry then highlights the cliffs accordingly, giving the rocks their shape and formation.  The shoreline rocks can also be highlighted at this point.  Repeating this process with a No. 4 sable brush, final highlights to the rocks provide added definition.  Next, gesso is sprayed on the shoreline using a toothbrush to provide the splash/spray and mist effect.  Switching back to the bristle brush, the next level of movement can be added to the water.  Finally, the sable brush with pure white is used to provide the final highlights and caps to the waves.  Continuing with the sable brush, pine trees can be added to the shore cliff to provide added interest and shape with the use of good negative space.  Final touches are then applied with the script brush adding seagulls to give a coastal atmosphere to the painting.  A simple painting that has many lessons in process and a result that is fun for your viewers. They will be impressed.

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Date Released On:04/20/2020

Turquoise River

Date Released: 08/27/2013

Difficulty:  Intermediate

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Turquoise River 1 of 4

In this opening segment, Jerry starts this popular painting by creating the backdrop using seven values of depth by layering with an impressionistic style. First using the Hake brush for the sky and then switching to a No. 10 bristle brush using vertical strokes to lay in the mountains, pine trees and rocks and focusing on transition blending to form soft edges.  In the foreground, he drops the reflection of the dark foreground trees into the river area and then completes this session by adding definitive rocks throughout the landscape and river edge.

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Date Released On:04/20/2020

Turquoise River 2 of 4

Having blocked in the background, this session really starts to develop the painting. Intensifying the rocks and defining the shoreline and highlighting the trees are part of this process.  Next, Jerry – using the No. 10 bristle brush – creates the background glow to soften the painting, using the dry brush blending technique and intensifying the rays of light flowing into the foreground.  This session concludes by blocking in the Turquoise River using short, horizontal banana strokes to create the water movement, by adding white to the turquoise to create the pop.  In the last part of this session, we intensify the glow emanating from the back of the painting.

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Date Released On:04/20/2020

Turquoise River 3 of 4

In this session, Jerry starts with the initial highlights on the river, using the No. 4 bristle brush for feather blending, keeping the strokes horizontal and adjusting the value system while working forward.  Next, the river rocks are blocked in as well as the island peninsula using the No. 10 bristle brush.  Switching to the background area, Jerry uses the chisel-edge synthetic brush to define and highlight the trees and rocks in the background.  Using the same brush, the foreground island trees are painted in with refined shapes while using negative space to create interesting shapes.

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Date Released On:04/20/2020

Turquoise River 4 of 4

This last session is all about final highlighting.  Starting with the shoreline debris and using a thin glaze with a chisel-edge brush, Jerry scumbles along to create the logs and limbs along the shoreline.  Switching to the No. 4 bristle brush, Jerry highlights the rocks to take them up a notch.  Next, Jerry highlights the foreground pines with a nice light and bright touch.  The river is the focus of the painting, and slivers of highlights are added with a very light touch, creating a sunlit glow in the water using elliptical shapes.  Next, Jerry uses the No. 4 round sable and pure white to add the final highlights to the water, creating masses by using a series of dots.  Do it right, and the painting will pop.  The final details are up to you to complete the painting with a personal touch.

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Date Released On:04/20/2020

European Flower Box

Date Released: 08/27/2013

Difficulty:  Intermediate

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European Flower Box 1 of 2

This painting embraces the Tuscany trend in painting and will feature a flowered window box.  Jerry starts with mottled sienna underpainting and sketches the subject window and flower box which will be the center of interest.  Using a black mixture, Jerry first blocks in the windows and then blends in a stucco façade around the windows.  The rest of this segment demonstrates how to construct the window frame, the window panes and curtains.  Use of the contrast rule to build depth and dimension is taught and a dark green area is added at the base of the window and flower box as background for the flowers.  

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Date Released On:04/20/2020

European Flower Box 2 of 2

In this session, Jerry focuses on cleaning up the window area and details on the wall. Adding shadows around the windows and suggesting brick work will add interest to the painting. The flowers are next added using layers of color with loose scumbling strokes. Flowerpots are added to the window sill for more detail. Final accent highlights are then applied to complete the painting, as well as adding cast shadows below the window box.

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Date Released On:04/20/2020