Yarnell School Online

Yellowstone Falls 1 of 5

Acrylic Medium on 18x24 horizontal stretched canvas. In this opening session, Jerry discusses the reference material he uses then reviews the composition and explains how to make a rough sketch with soft-vine charcoal. He shows how to use modeling paste to create texture. Now he finishes by underpainting the first layers of distant and middle-ground rock formations, and underpaints the waterfall.

Yellowstone Falls 2 of 5

In episode 2, Jerry continues underpainting the middle- and fore-ground rock formations. Then begins adding distant mist/fog and paints in the distant pine trees along the ridge of middle-ground rock formations. Now he paints in the first layer of highlights on the falls. Then creates the basic form of the rock formations using the chisel-edge synthetic brush. He finishes by rolling in the mist at the base of the waterfall.

Yellowstone Falls 3 of 5

In episode 3, Jerry underpaints the middle foreground rock formations. Also, he creates the white mist and spray at the base of the waterfall. Then he highlights the rock formations to show their form. Now he paints in the pine trees at the top of the rock formations. Then he finishes up by rolling in the bluish, purple mist at the base of the rock formations.

Yellowstone Falls 4 of 5

In this session, Jerry shows how to underpaint the very foreground rock and cliff formations. Then he shows how to add the cap on top of the formations. He also shows how to paint in the pine trees just behind the formations. Now he shows how to do miscellaneous highlights on the caps. Then finishes up by showing how to underpaint the large pine tree trunks on each side of the painting.

Yellowstone Falls 5 of 5

In this final session, Jerry takes his viewers through the process of detailing, highlighting, and adding miscellaneous items. Using the script brush for foreground, Jerry adds a few stark pine trees which is a reminder of the fire which took place in the Park a few years ago. Adds a little bird in the distance. This painting is a simple scene with a monochromatic effect that looks so magnificent!

The Perfect Perch 1 of 4

Acrylic Medium on 18x24 horizontal stretched canvas. In this first episode, Jerry discusses the reference material he will be using to create the composition. Then uses soft vine charcoal to sketch in the basic components of the landscape. Next, he shows how to paint in the sky and clouds. Then he shows how to block in the distant hills and trees. Now he explains the composition and re-sketches the hay bales. Then he finishes by underpainting the background and middle ground meadows.

The Perfect Perch 2 of 4

In this session, Jerry shows his viewers how to finish the sky and cloud formations. Then highlights the back- and foreground meadows. Then the shows how to highlight the background trees. Now he shows how to underpaint the haybales and explains how to properly prospect and give haybales proper dimensional forms. He then finishes by painting in the taller greases in the middle and foreground.

The Perfect Perch 3 of 4

In this episode, Jerry shows his viewers how to add minor details and highlights to the haybales. Then he shows how to apply the next level of highlights to the middle and foreground grasses. He then explains the process involved in painting in the tractor. Next, he paints in the fence posts and then discusses the location and proportion for the hawk on the haybale. He finishes with discussing addition of taller and brighter weeds.

The Perfect Perch 4 of 4

In the final episode of this series, Jerry shows his viewers how to block in the hawk with the #2 chisel-edge brush using quick strokes. Then uses #4 round sable brush to add the hawk’s beak and uses same brush for highlights on bird. Then with script brush Jerry adds more bright weeds to foreground and explains how very important these weeds are to this particular painting in terms of composition. Finally, Jerry shows how add cap highlights to tops of hay bales and then to use scumbling lines to add final touches to the hay bales.

Hawaiis Finest Hour 1 of 5

Acrylic Medium on 18x24 vertical stretched canvas. In this first episode, Jerry discusses the reference material he will be using to compose the composition. Then using soft vine charcoal, he sketches in the main subjects. Now he shows how to underpaint the sky, clouds, distant hills, and main body of water. Now he shows his viewers how to underpaint the island and the beach.

Hawaiis Finest Hour 2 of 5

In this session, Jerry first shows how to make the sunset much brighter. Then shows how to paint in the sunglow and sunrays. Then finishes the clouds and adds the silver linings. Then he shows how to add the shadowed areas of the water.  Now he shows how to paint in the sun highlights of the water. He then finishes by showing how to apply the next layer of value on the sand.

Hawaiis Finest Hour 3 of 5

In this episode, Jerry shows his viewers how to add the sunlight on the sand. Then he shows his viewers how to compose the group of palm trees on the left side of the painting. Then shows how to block the trunks in using the #2 chisel brush. He then gives a technical explanation of how reflections work and then paints them on with the #4 chisel-edge brush. He finishes up by painting in the large palm tree trunk on the right side.

Hawaiis Finest Hour 4 of 5

In this episode, Jerry spends a lot of time explaining how important a toothbrush can be in creating very fine sand, gravel, and dirt. Then shows the proper way to use the toothbrush to splatter the beach and create the suggestion of broken sea shells. Then he shows how to paint in the grass hut/bungalow. He then shows how to use the #4 chisel-edge brush to paint in the top of the palm trees. He then finishes by showing how to paint the larger sea shells on the beach.

Hawaiis Finest Hour 5 of 5

In this final session, Jerry shows his viewers the process of applying thin glazes along the beach to create a more wet effect on the sand. Then he shows how to finish the underbrush at the base of the palm trees. Now using the #4 chisel-edge brush, shows how to paint the canopy of palm leaves of the large palm tree on the right side. Then shows how to put final highlights on the water, paint in the sail boat, and finish painting in final details with the script brush.

A Watchful Eye 1 of 4

Acrylic Medium on 18x24 vertical stretched canvas. In this opening session, Jerry talks with his viewers about the reference material he will be using of the moon, owl, and color scheme. Then he discusses the composition.  Now he shows how to use modeling paste to texture the moon. Then he shows how to mix and apply the background color around the moon. He then finishes by showing how to mix the color for the moon and underpaint it with a mottling technique.

A Watchful Eye 2 of 4

A Watchful Eye 3 of 4

In episode 3, Jerry begins by showing his viewers how to create the multiple layers of pine trees by slightly changing the values of the dark mixture to create depth. He then shows how to continue to brighten the moon. He finishes by discussing the composition of the large dead horizontal tree limb, and location and proportion of the owl. Then explains what finishing touches he will be using in next week’s final episode.

A Watchful Eye 4 of 4

In this episode, Jerry first reviews where to place the owl. Then uses #2 chisel edge brush to block in limb across moon area being sure to get proper proportion. Then gets silhouette in place. Then scumbles in areas around these shapes to make them look more dimensional and get softer, lighter values in place. Then shows how to add lighting on edge of moon (a bit of a silver lining). Next with script brush Jerry adds additional limbs to the one supporting the owl. Then adds more pine-tree work with some of the dark mixture used earlier. Lastly Jerry shows how to insert a few floating clouds again using a scumbling technique and the #4 bristle brush.

A Restful Harbor 1 of 4

In this opening session Jerry explains to his viewers the purpose for painting the canvas in advance a bluish gray, green tone and shows the formula. Now he shows how to paint in the distant village and add the lights glowing in the distance. Then he shows how to paint the darker ripples on the water on each side of the pier. He then finishes by showing how to block in the boat docks at the end of the pier.

A Restful Harbor 2 of 4

In this episode, Jerry shows his viewers how to continue blocking in the various shapes and forms of the docks at the end of the pier. Then shows how to paint in the masts and miscellaneous ropes, flag, and other objects. He then shows how to use proper perspective to block in the pier. Then he shows how to paint in the rowboat, reflection, and miscellaneous lights. He finishes up with illustrating how to paint in the pier.

A Restful Harbor 3 of 4

In this session, Jerry shows his viewers how to use proper perspective to insert the railings and posts. Then begins highlighting and detailing the pier to give it the appearance of wetness. Then shows how to detail and highlight the rowboat. Then he shows how to paint in the posts and rails and continue highlighting pier and miscellaneous areas of the dock.

A Restful Harbor 4 of 4

In the final episode of this series, Jerry shows his viewers how to add final highlights to the glowing lights, dock, and pier. Then proceeds how to paint in the three distant figures at the end of the pier. Now he shows where to place the seagulls along the piers railing and shows how to paint them. Then he finishes up the painting by adding additional details to the dock area, boat masts, and American flag.

Backwater Swamps 1 of 4

Acrylic Medium on 18x24 horizontal stretched canvas. In the opening episode, Jerry discusses with his viewers the reference material he will be using to create the swamp scene. Then shows how to use each photo to create a good eye-flowing composition.  Then takes the soft-vine charcoal and shows how to sketch in the horizontal line. Now he takes the 2” hake brush and underpaints the background with long vertical strokes. Then underpaints the water using same technique. He finishes by blocking in a few background tree trunks and reflections.

Backwater Swamps 2 of 4

In this episode, Jerry continues painting in background trees and reflections. Then he brightens the yellow glow in the background. Now he shows how to use the 1.5” hake brush to paint in all of the larger trees and then proceeds to show how to use the #4 chisel-edge brush to paint in most of the larger tree limbs and small stumps. He finishes by showing how to paint in the reflections of the larger trees.

Backwater Swamps 3 of 4

In this episode, Jerry takes his viewers through the process of using the #6 chisel-edge brush to paint in the hanging moss. Then shows how to take a chisel-edge brush and paint in the root system of all of the larger trees. Now he shows how to use the #4 chisel-edge brush to paint in the ellipses of water ripples around the base of the large trees. He finishes by explaining how you can use your artistic license to finish up.

Backwater Swamps 4 of 4

In the final session, Jerry shows his viewers how to underpaint the cabin nestled in the swamp. Then shows how to detail and highlight the cabin. Then he shows how to finish up the highlights and details on the trees, water, and hanging moss. Now he finishes the painting by adding the taller foreground weeds and sunrays filtering through the tree trunks.

Basket of Plenty 1 of 5

Acrylic Medium on 12x24 horizontal stretched canvas. In this first episode, Jerry takes his viewers through the process of understanding how to compose a still life painting using multiple research photos. Then proceeds to show how to underpaint the background grasses using the 2-inch hake brush. Then uses the #6 chisel-edge brush to paint in middle-tone individual weeds. He finishes by showing how to underpaint the inside of the basket and the outer sides of the basket.

Basket of Plenty 2 of 5

In episode 2, Jerry shows his viewers how to paint intermediate highlights on the basket. Then discusses how to begin laying out the composition of the vegetables and how to follow proper color procedures to make sure the painting has good color balance of harmony and complements. He now finishes up by showing how to underpaint each vegetable using the proper tones. Then challenges his viewers to have their composition of vegetables sketched in place before the next show.

Basket of Plenty 3 of 5

In episode 3, Jerry shows his viewers how to continue to highlight the basket then discusses more about how to arrange the vegetables to create a good composition. Then he shows how to block in the onion, pear, and other vegetables and shows how to highlight them to create contrast and form. He then shows how to add broken spots and cracks to the basket and then finishes by showing how to paint on the bands.

Basket of Plenty 4 of 5

In this episode, Jerry first shows how to dry brush a soft glow of sunlight in the upper left corner and dry brush in some soft sunrays. Then he shows how to add some miscellaneous grasses to seat the vegetables and basket. Now he continues to show how to detail and highlight the vegetables. Then finishes by adding additional details and highlights to the basket and gives suggestions for preparing for final episode.

Basket of Plenty 5 of 5

In this final episode, Jerry shows his viewers how to apply final highlights and details to the vegetables and basket. He then shows how to brighten the sunglow. Then shows his viewers how to paint in the small, miscellaneous wildflowers to balance the composition. He finishes by adding taller weeds with the #4 script brush. Then gives advice how to use artistic license to finish up.

A Frosty Tradition 1 of 5

In this first episode Jerry explains why the canvas is pre-tinted with a mauve-ish/blue-gray tint. Then shows how to mix and apply it. The he explains the composition and uses soft vine charcoal to make a rough sketch of the land contours and basic objects. Now he shows how to paint a late evening sunset. Now he finishes by painting in the first layer of distant trees.

A Frosty Tradition 2 of 5

In this first episode, Jerry re-sketches the farm house. Now he begins applying the second layer of snow highlights and shows how to highlight the pathway. Now he blocks in the farm house and pine trees that surround it. He now shows how to highlight the farm house and add miscellaneous details. Then he paints in the large pine tree on the left side to balance the composition.

A Frosty Tradition 3 of 5

In this episode, Jerry begins by painting final highlights and details on the farm house. Then he begins adding the third layer of highlights on the snow drifts. Now he shows how to add the shadows of the snow on the pine trees and cast shadows on snow. Then he under-paints the clumps of grasses. Jerry finishes this session with a detailed explanation of how to sketch in the old mailbox, cream can, and snowman.

A Frosty Tradition 4 of 5

In this session, Jerry shows his viewers how to properly under-paint the snowman using a scumbling/mottled technique. Then shows how to under-paint the mailbox post and cream can using the chisel-edge brushes. Then he shows how to drift-up the snow around the snowman to seat it. Then he finishes up by blocking in the straw hat and adds some intermediate details to the mailbox, cream can, and post.

A Frosty Tradition 5 of 5

In the final episode of this series, Jerry takes his viewers through the process of painting in the final details and highlights. He shows how to paint the features on the snowman’s face, buttons, scarf, and adds the branches for his hands. Then Jerry details the mailbox by adding the red flag. Now he dabs a little bit of fallen snow on different parts of the mailbox. Then he finishes by adding tall weeds and dead bushes with the #4 script brush. Then he puts a little more snow highlights on the pathway.

AColorfulGateway 1 of 4

Acrylic Medium on 16x20 vertical stretched canvas. In the first episode, Jerry explains the purpose for using a gallery wrapped canvas. Then he discusses his reference material and how to use it to lay out the composition. Now Jerry shows how to use the #12 bristle brush to mottle in the suggested background of bushes/leaves. Then he shows how to under-paint the pathway and brick foundation. He finishes by explaining how to properly sketch in the picket fence using basic perspective techniques.

AColorfulGateway 2 of 4

In this episode, Jerry begins by adding another lighter value of scumbled leaves in the background. Then he shows how to under-paint the picket fence. Then shows how to create an elliptical affect of the stones on the pathway and then how to under-paint them. Next Jerry shows how to under-paint the bricks and paint in the large flower pot. He finishes by smudging in cast shadows and explaining things to come in the next episode.

AColorfulGateway 3 of 4

In this episode, Jerry begins by showing his viewers how to begin the intermediate values of background flowers and leaves. Then he continues with the process of adding miscellaneous intermediate highlights and details on the stone pathway, brick wall, and miscellaneous leaves and foreground grasses. Now he blocks in the foreground terracotta pots and adds the foliage in the pots. He finishes by explaining all of the details and things that will be added in the final session.

AColorfulGateway 4 of 4

In the final session Jerry begins by explaining the details he will be adding. Then he proceeds to show how to finish the fence pickets and horizontal cross-braces. Then he begins adding highlights on stone pathway and pots. Now he shows various ways to make different types of flowers and how to make them very bright by using thicker opaque paint. He finishes with the #4 script brush by adding tall weeds and limbs in the background.

Chesapeake Bay Visitors 1 of 4

Acrylic Medium on 15x30 horizontal stretched canvas. In this first episode Jerry explains the ecological significance of the Chesapeake Bay being the largest estuary in the United States. Then he proceeds by showing how to paint the sky and block in the water. Then he shows how to block in the first value of very distant grasses. Then he finishes by discussing how to compose the grasses in the middle and foreground.

Chesapeake Bay Visitors 2 of 4

In episode 2, Jerry shows his viewers how to add a hazy fog in the background. Then he shows how to block in all of the vertical grassy areas using the #6 or #10 synthetic chisel-edge brush. Then shows how to add the reflections and finishes by showing how to add the shoreline highlights and soften the reflections with a horizontal glazing technique.

Chesapeake Bay Visitors 3 of 4

In episode 3, Jerry shows his viewers how to continue glazing the water to give it a more transparent affect. Then he explains adding the warm, soft sienna tones to the grasses -- giving the painting more color harmony. He finishes this episode by painting in some of the intermediate weeds and explains the compositional arrangement of the Canadian Geese to create good eye-flow.

Chesapeake Bay Visitors 4 of 4

In this final session, Jerry recaps the importance of creating good compositional eye-flow of the Canadian Geese. Then he shows how to properly under-paint the geese in the proper values and hues using the small sable and synthetic chisel-edge brushes. Now Jerry shows how to add the taller weeds using the chisel-edge brushes and the script brush. Then Jerry finishes up by detailing the geese and explaining how you can use your artistic license to finish up by adding your own unique touches.