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

A Perfect Pair

Date Released: 08/01/2016

Difficulty: Intermediate

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A Perfect Pair 1 of 4

Acrylic on 16x20 stretched canvas. In this first episode, Jerry explains to his viewers the purpose of a smoother surface for painting close-up feathers; then proceeds to show the process of using the 2-inch hake brush to create a gradated, mottled background to suggest the effect of faded or distant pine boughs. Then shows how to use the #4 chisel-edge brush to make more intermediate detailed pine branches. Now he finishes by blocking in the cardinals.

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Date Released On:04/20/2020

A Perfect Pair 2 of 4

In this episode, Jerry shows his viewers how to use the #4 and #6 chisel-edge brushes to paint in the intermediate pine needles and explains the depth of field process to help create depth. Also discusses the different shades of greens to create the highlights and various overlapping pine needles. He finishes showing how to paint phase one of the red highlights on the male cardinal.

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Date Released On:04/20/2020

A Perfect Pair 3 of 4

In this session, Jerry begins painting in brighter highlights on the pine needles and shows his viewers how to add new pine needles around the cardinals to help make them look nestled into the overlapping needles. Then Jerry shows his viewers how to add brighter highlights on the male and female cardinals. Now he finishes this segment by painting on the first layers of snow on the pine boughs.

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Date Released On:04/20/2020

A Perfect Pair 4 of 4

In the last episode of this series, Jerry paints in the brighter highlights on the snow drifts. Then adds final highlights and details to the male and female cardinals. Now he adds additional finishing touches to the pine needles as well as adds more needles to create more overlap to better seat the cardinals. Then Jerry shows a view unique way of creating falling snow by wetting the canvas and using a toothbrush to splatter on the falling snowflakes.

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Date Released On:04/20/2020

STUDY SERIES: PERSPECTIVE ( AND POINT)

Date Released: 06/28/2016

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STUDY SERIES: PERSPECTIVE ( AND POINT) 1 of 1

This is a comprehensive study on 1- and 2-point perspective. An absolute prerequisite if you intend to add man-made objects like buildings, fences, etc., to your landscape paintings. A solid understanding of Perspective is a must for any intermediate-to-advanced students to increase their abilities and fine-art skills in creating more unique and technically correct art pieces. This study is for beginners too!! … So any of you who are just starting out – this study will be invaluable for establishing a foundation of correct perspective techniques with which to build your art career upon.

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Date Released On:04/20/2020

Tribal Existence

Date Released: 06/01/2016

Difficulty: Intermediate

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Tribal Existence 1 of 4

Acrylic on 18x24 stretched canvas. In the first episode, Jerry explains to his viewers how to layout a proper composition of a vertical formatted canvas. Then takes the soft-vine charcoal and makes a rough sketch of the basic components of the objects and land masses. Then shows how to paint a late evening sunset and begin the underpainting of the distant trees and water. Vimeo Id: 164762493 (this will be also use for preview.

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Date Released On:04/20/2020

Tribal Existence 2 of 4

In the second episode, Jerry shows his viewers how to underpaint the teepees and begin the first phases of intermediate details of the teepees. Also shows how to apply phase one of the highlights on the snow. Then explains and shows how to paint in the intermediate trees. Jerry also gives some historical information about the construction and purpose of the teepee design.

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Date Released On:04/20/2020

Tribal Existence 3 of 4

In the third episode Jerry shows how to apply the brighter highlights on the snow to help seat the teepees and trees. Then Jerry shows a very interesting technique for creating the frozen ice chunks on the edge of the snow banks. Then Jerry takes his viewers through the process of detailing the teepees and other objects around the teepees and explains their purpose.

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Date Released On:04/20/2020

Tribal Existence 4 of 4

In this final episode Jerry shows his viewers how to add the clumps of grass, taller weeds, miscellaneous tree limbs, final highlights on the snow drifts, weeds, and miscellaneous objects. Then he makes the reflection of the sun in the water a little brighter. Now he finishes up by explaining to his viewers how they can use their artistic license to add miscellaneous objects, highlights, and details to finish the painting to fit their own artistic personality.

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Date Released On:04/20/2020

Rocky Mountain High

Date Released: 04/21/2016

Difficulty: Intermediate - Advanced

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Rocky Mountain High 1 of 5

Acrylic Medium on 18x24 stretched canvas. In this episode Jerry explains to his viewers how to use his reference material to create the composition. Then using soft-vine charcoal, sketches in the basic components of the landscape, land masses, mountains, etc. Now he shows how to block in the sky, mountains, and foreground water.

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Date Released On:04/20/2020

Rocky Mountain High 2 of 5

In episode 2, Jerry shows the reference material he uses for highlighting/detailing the mountain. Then shows how to paint in the clouds. Now he shows how to paint in mist in the middle and foreground’s grassy meadows. Jerry finishes up this session by showing how to block in the first layer of distant pine trees.

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Date Released On:04/20/2020

Rocky Mountain High 3 of 5

In episode 3, Jerry shows his viewers how to compose and block in the rock and boulder formations. Then proceeds to paint in the next two values of pine trees one on the right side of the cabin; then paints in the larger pine trees on the left side of the meadow. Now Jerry shows how to highlight the back meadows. Next he shows how to paint in the large cliff rock in the lower left corner; then finishes this episode by painting phase one of the highlights on the boulders.

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Date Released On:04/20/2020

Rocky Mountain High 4 of 5

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Date Released On:04/20/2020

Rocky Mountain High 5 of 5

In the final episode Jerry shows his viewers how to begin the process of applying all of the final highlights and details – adding bright spots/highlights on grassy meadows, wild flowers, and other miscellaneous highlights on rocks, water, and other objects. Then finishes up showing how to use the #4 script brush for adding weeds and miscellaneous details.

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Date Released On:04/20/2020

African Cat Nap

Date Released: 03/23/2016

Difficulty: Intermediate

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African Cat Nap 1 of 5

Acrylic Medium, 18x24 Gallery Wrap Canvas. Continuing on with our focus on African wildlife, Jerry begins with an overview of his reference material that he has selected to create a composite. Jerry sketched in the outline of the lions in this painting in advance. First he begins with the underpainting with #12 bristle brush by using the “scumbling” technique blocking in background area around his sketch of the lions. Jerry discusses his preference for sketching with a skinny stick of soft-vine charcoal when doing animals. Now with #4 bristle brush Jerry begins a rough blocking-in of areas of the lion’s eye and head but then moves again to background area. Then with #4 chisel-edge brush Jerry begins inserting a bit of brush in the background. Jerry asks students to get their backgrounds in before episode #2.

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Date Released On:04/20/2020

African Cat Nap 2 of 5

In this episode, Jerry continues blocking in the second phase of background. With #4 chisel-edge brush Jerry begins blocking in part of the female lion’s body. Then with #4 round sable continues blocking in areas of her nose and mouth. Then alternates back to #4 chisel-edge brush to add chin and some highlights to her body -- which forms look of hair. Now with #4 bristle brush, Jerry does more blocking in of male’s face and body. With #4 chisel-edge brush, Jerry adds light-colored grass which adds depth to the painting and makes the lion’s body stand out more. Next he adds more highlights and details to the lion’s body.

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Date Released On:04/20/2020

African Cat Nap 3 of 5

In the third episode, Jerry’s focus will be the intermediate details and highlights. With #4 chisel-edge brush begins pulling in the shadows. Jerry illustrates the ‘hot spot’ on left side of lion’s mane – gently skimming the surface and adding yet more accuracy to the lion’s form including use of a cast shadow. Jerry illustrates how to separate the male and female lions’ backs by showing how sun hits them. Then with #4 bristle brush and use of earth tones, Jerry scumbles in tones for sand, dirt, grass, and then with #10 bristle brush begins initial work on the log in the foreground. Then with #10 chisel-edge brush Jerry taps to show the roughness of the wood on the log. Next with #4 chisel-edge brush and a dark paint mix, he creates broken spots on the log which now becomes a hollow log. Jerry now begins shaping work on lion working on form to add dimension.

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Date Released On:04/20/2020

African Cat Nap 4 of 5

In the fourth episode, Jerry focuses on more details to begin finishing the wildlife and grasses. You’ll start to see this painting really come together and look more ‘alive’ as Jerry illustrates various techniques including use of brush pressure, negative space hot spots, skimming (to create fur), shaping, dry-brush blending, silver -lining, eye-stoppers, contrast, cast shadows, and more. He also provides a great explanation of the advantages of using a “dirty palette.”

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Date Released On:04/20/2020

African Cat Nap 5 of 5

In the last episode of this series, Jerry will be doing final details which will include some of the fuzziness of hair, whiskers, and fur plus final details of grasses, twigs, and work in the foreground and background. He first hones in on making taller weeds with his #4 sable script liner which makes a bit of an eye-stopper and a vignette for the animals. He adds brighter highlights to the log with the #4 chisel-edge brush. Then he turns to finishing process with a #4 round sable and adds silver lining to animals. Enjoy the many final accents as you watch Jerry bring the “African Catnap” to its finale!

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Date Released On:04/20/2020

Big Ears

Date Released: 02/17/2016

Difficulty: Intermediate

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Big Ears 1 of 4

Acrylic Medium, 16x20 Gallery Wrap Canvas. This is a painting of a young male Kudu Buck of the antelope family. With #12 bristle brush to create a mottled background, Jerry starts by just “throwing on” a variety of colors on the canvas. Now Jerry uses #10 chisel-edge brush to start putting in movement to emulate distant bushes and brush. Then uses #4 sable script-liner to add skinny overlapping limbs.

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Date Released On:04/20/2020

Big Ears 2 of 4

In the second episode, Jerry gives a brief overview of the “portrait smooth” surface that he’s chosen for this painting by using sanding and extra layers of gesso. He explains that students can also use linen or un-tempered masonite for portraits. He also explains the purpose of the wooden peg pieces on back of canvases or another easy method to shrink the canvas. Jerry has sketched in the Kudu’s outline. He recommends using small soft vine charcoal to do the sketch but sketch lightly (not harsh) so you can adjust if needed. Using #4 or #6 bristle brush, he begins to block in the animal and then a #4 flat sable to outline basic antlers. Then returns to #4 bristle brush to add lighter area of Kudu’s neck and body front.

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Date Released On:04/20/2020

Big Ears 3 of 4

In the third episode, Jerry continues work on the Kudu. Using #4 script-liner brush, starts some additional work on the bushes, trees and limbs. Next Jerry gets highlighting started with his #4 chisel-edge brush. Then back to the sable script-liner brush, adds highlights to some of the branches. Now use #2 bristle brush to shape the eye and some of the final shapes of the ear, top of the head, edge of the nose, side of face, etc., to help add dimension. As Jerry wraps up this episode and in preparation of episode 4, Jerry recommends students use their #2 bristle brush to practice stroking to create hairs.

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Date Released On:04/20/2020

Big Ears 4 of 4

In the final episode Jerry continues with the work on the Kudu – specifically with the #4 chisel-edge brush using a skimming technique which gives the nice look of hair on the animal’s chest, neck, and face. Next with #4 or #6 bristle brush begins putting touches of red tones to parts of the animal’s body that really adds more dimension and makes the animal look more alive. Next Jerry adds more highlights to the Kudu and uses very light skimming technique on ears to make them look transparent. Finally Jerry adds weeds in the foreground to make animal appear he is standing in the bush or thicket. Last step Jerry adds some glow to animal’s back.

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Date Released On:04/20/2020

In the Shadow of Giants

Date Released: 02/01/2016

Difficulty: Intermediate - Advanced

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In the Shadow of Giants 1 of 4

Acrylic Medium, 12x24 Gallery Wrap canvas. Jerry reviews this painting’s African theme focusing on the magnificent African elephants. This episode primarily includes underpainting and blocking. Starting with a grayed canvas, Jerry uses the #12 bristle brush to block in simple horizon for the sunset of the sky. Next Jerry discusses a key element of composition: balance. Next Jerry begins process of adding values with emphasis on scrubbing and blending to creating nice movements and soft edges that flow smoothly. Now with the #6 bristle brush, he illustrates creating transitional values.

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Date Released On:04/20/2020

In the Shadow of Giants 2 of 4

In episode 2, Jerry adds silver-lining to clouds with #4 round sable and use of soft, segmented broken lines that add dimension and edge with the skimming technique. Jerry has already pre-sketched his elephants to save time during the episode however he carefully discusses the sketching process of the elephants with soft-vine charcoal being careful to sketch delicately and lightly. Jerry also provides a quick discussion on the negative space rule for drawing and sketching. Next moving to groundwork with #6 bristle brush, scrubs in dirt / dead grass. Next using synthetic chisel-edge brush #10 for big elephant we begin building animals from dark to light being sure to pull inward versus outward with brush. Use smaller chisel-edge brush #4 for work on smaller baby elephants.

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Date Released On:04/20/2020

In the Shadow of Giants 3 of 4

In episode 3, Jerry starts with #4 chisel-edge brush and begins highlighting on the back of one of the elephants continuing on to various areas of the animals. This technique is called dry-brush skimming. Continuing on next Jerry shows intermediate highlights and cast shadows to create better form and shape to the animals. Jerry mottles some darks and lights. Jerry shows how to clean up the forms and shadows. Now with #4 round sable to shape and built from light to dark.

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Date Released On:04/20/2020

In the Shadow of Giants 4 of 4

In this final episode, Jerry uses #6 bristle brush to scrub in some brush, bushes, and a mottling effect. Now switching to #4 chisel-edge brush, uses it to pull up and further define the brush area Now Jerry switches to the #4 script liner to add weeds with a more ‘whipped’ appearance. Now with #4 round sable, Jerry spends rest of episode on highlighting – especially any areas of the animals where you can get better dimensional form.

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Date Released On:04/20/2020

Desert Miracle

Date Released: 01/01/2016

Difficulty: Intermediate

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Desert Miracle 1 of 5

Acrylic Medium,18x24 Gallery Wrap. This is a painting that Jerry completely composes on camera – he has no previously created composite and he challenges his students to try painting this way versus copying. Adding another subject to Jerry’s collection of instructional paintings from each State, this tribute is about Arizona! Specifically, a 70-mile drive in a section of country between Payson to Tempe and NE Phoenix that’s full of life and color – very beautiful. Jerry uses reference material that he photographed while traveling in the area, and these photos include the lovely “Saguaro” cactus which is now a protected plant. Jerry uses a white charcoal pencil and begins placing lines which suggest the layers of mountains, cactus, rock formations, dry wash, brush, flowers, etc. Jerry scumbles in the sky with #6 bristle brush. Next, Jerry places a few clouds in the background. Then Jerry adds the first mountains in the distance with rugged shapes plus blocks in area which will become drifted area of sand and dirt.

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Date Released On:04/20/2020

Desert Miracle 2 of 5

In this episode, Jerry continues blocking in the second phase of background. With #4 bristle brush Jerry begins highlighting with grayish tint to give suggestion of highlights on the rocks for accent and to create rock formations. Jerry shows how to create the ‘silver lining’ showing dimension. With #4 bristle Jerry works on face of the mountain doing scrubbing, leaving pockets with vertical and horizontal strokes. Next with #6 chisel-edge, Jerry adds various colors to the rocks with the mottling and scumbling technique also creating the look of cracks and crevices. Now Jerry adds some grass and vegetation to the rocky areas.

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Date Released On:04/20/2020

Desert Miracle 3 of 5

In the third episode, Jerry begins with the #6 bristle brush and with comma strokes adds warmth to the eroded washed area. Now with #12 bristle Jerry inserts texture that will become a grassy area which creates pockets of space and provides dimension. Then with #10 chisel-edge brush Jerry’s skims with a greenish-tint to add irregular structures and a bit of light to the desert. Next Jerry shows how to create the Ocotillo plant using the #10 chisel-edge brush turning it sideways with a tapping motion. Next with #4 bristle brush, Jerry shows how we begin adding light into the painting with use of the layering technique. Now with #4 chisel-edge brush, Jerry add more highlights in the background with warmer tones to indicate stronger sunlight and sets the stage for the value system.

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Date Released On:04/20/2020

Desert Miracle 4 of 5

In the fourth episode, Jerry begins with a bit more highlighting on the rock formations with #4 chisel-edge brush to create more interest and shading. Next Jerry adds small bushes and foliage to create the nice, spring-time look. Now Jerry sketches in a few places where he wants cactus; then with the #4 chisel-edge brush inserts shapes of the cactus being careful not to leave hard lines – rather soft edges. Next Jerry illustrates how to insert the grooves in the cactus. Now Jerry begins adding a variety of flowers.

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Date Released On:04/20/2020

Desert Miracle 5 of 5

In the final episode in this series, Jerry uses the #10 chisel-edge brush to add first level of light on the cactus and to leave a darker ridge for the depressions in the plant. Now switching to the #4 bristle brush continues with highlighting and bringing cactus alive. Now with #4 round sable brush, Jerry returns to the Ocotillo plant to add the red blooms. Next Jerry inserts a grassy effect in various areas of the painting foreground. Now with the #6 chisel-edge brush Jerry inserts some tall weeds. Then with a dark mixture, Jerry adds a cast shadow of the cactus that creates drama and sunlight coming through – which also fits the vertical-ness of the grass and contour of the land. Next with the #2 chisel-edge brush, Jerry dabs in some touches which have the structure of a flower – giving them a “cup” effect like a poppy. Then with #6 bristle brush Jerry adds additional highlights to the yellow bush. Jerry shows how to use a toothbrush to get a rock and pebble effect and finally, Jerry wraps up with a few more highlights on the rocks.

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Date Released On:04/20/2020

Appaloosa Beauty

Date Released: 12/01/2015

Difficulty: Intermediate - Advanced

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Appaloosa Beauty 1 of 4

Acrylic Medium. 16x20 Gallery Wrap Canvas. Another beautiful and often-requested subject which is a vast part of our history the horse. This particular breed is the Appaloosa and Jerry uses reference material from his personal reference library. First Jerry starts with the #12 bristle brush and starts at the top using a scrubbing method which creates a beautiful mottled background to include transition values. Jerry emphasizes the importance of creating soft edges so there are no hard lines left. This entire episode is primarily dedicated to the underpainting process. You should have 3 value changes. Now with #6 bristle brush and starting at top Jerry begins skimming surface to get a nice, lighter value across top of painting feathering it into your mid value.

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Date Released On:04/20/2020

Appaloosa Beauty 2 of 4

In the second episode, Jerry gives a little brief overview of the gallery wrap. Next he emphasizes while sketching in the horse the importance of leaving proper negative space. Negative space is that space that surrounds an object and gives it its form. Learning this makes drawing a snap. Now Jerry uses his #6 bristle brush to underpaint the horse’s body with a warm gray being careful to “pull inward” from the edges( versus outward).to leave a soft edge. Jerry shows how to use a darker value change for various parts of the body separations (mane, underneath neck, legs, etc) with the #2 bristle brush. Next Jerry uses the #6 bristle brush to dry-brush in grass emulating sunlight on the surface and paying special attention to the gradation taking place. Last technique in this episode includes one more layer of light in the background.

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Date Released On:04/20/2020

Appaloosa Beauty 3 of 4

In the third episode, Jerry continues work on the Appaloosa horse in this beautiful painting. Using #2 bristle brush and starting on back side of the horse he begins shaping the rear-end of the horse’s body using a feathering motion and building highlights on the horse. Moving along the neck, withers, and various sections to clean up the form and create nice, subtle blends. Jerry emphasizes importance of getting the withers positioned correctly. Next Jerry moves back to fix a little smudge over the horse’s back with use of background colors of the pasture. With #6 bristle brush Jerry uses a deep shadow color to insert cast shadows underneath the horse – again feathering so there are no hard edges. Then with #4 chisel edge begins highlighting process on the horse. Jerry switches to #2 bristle to scumble and add scattered brown tints so you create the muscle, creation of hair, etc.

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Date Released On:04/20/2020

Appaloosa Beauty 4 of 4

In the final episode Jerry continues with the work in shadows and begins with a #2 bristle brush use a rolling method to achieve a nice, soft shadow on the horse. Now using the #2 chisel-edge brush, Jerry begins adding the “spots” to the horse’s body using a stroke that becomes part of the contour of the body and being sure to feather the edge. He also adds additional highlights to the horse before moving to flowering techniques using the #2 chisel-edge brush. Jerry adds weeds with the #4 chisel-edge brush and with a yellowish-green tint adds highlights to weeds in the foreground. Now with a #6 bristle brush Jerry illustrates how to insert sunrays. Finally with the #4 script liner brush creates some seed pods in the foreground which act as eye-stoppers and a fun way to complete a beautiful scene like this.

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Date Released On:04/20/2020

The Roost

Date Released: 10/25/2015

Difficulty: Intermediate

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The Roost 1 of 4

Acrylic painting, 16x20 stretched canvas, Vertical format. A subject which is constantly requested from Jerry’s students around the World: chickens. Jerry shows his ‘chicken’ reference material and provides at a very quick, high-level a valuable copyright tip. This painting includes chickens in a barnyard, a predominant rooster, perch, and more. Starts with a grayed canvas which is simply a small amount of Burnt Sienna or Burnt Umber, a little blue and gesso to “kill” the white canvas. With #10 or #12 bristle brush Jerry begins with white gesso to opaque the colors. Jerry uses several colors in a scumbling fashion quickly as he illustrates creation of the mottled background. Now uses hake brush and the X strokes -- barely skimming surface. Now Jerry sketches main rooster, door to hen house, etc. Uses chisel-edge #6 to block in coop door, adding wood grain with a skimming technique. Next a little work on the foundation of the coop with sideways, chunky strokes. Jerry blocks in porch next. Now with same brush Jerry inserts darker value using once again the mottling/scumbling technique. Jerry shows how to add strokes for straw.

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Date Released On:04/20/2020

The Roost 2 of 4

In episode 2, Jerry adds a bit more work on the barnyard straw and then turns his focus to the rooster sketch being sure that this bird takes up major portion of the painting for balance of negative space. Starting with a tooth-brush, Jerry illustrates how to create a sandy dirt look, highlights, and texture. Now Jerry blocks in rooster with #6 chisel-edge brush being careful not to leave a hard edge. Blocks in the post and perch area and then the tail. Next Jerry works on neck area being careful not to lose the accuracy of the bird’s shape. Now Jerry works on beak with #4 round sable working around the bird’s eye. Starting with #2 bristle, Jerry begins to shape bird’s comb. A little work on the wood ladder in the door area of the chicken coop wraps up this session.

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Date Released On:04/20/2020

The Roost 3 of 4

In episode 3, Jerry starts with #4 chisel edge brush for more work on the building using a naphthol crimson glaze. Then with some soft browns and the #2 chisel edge brush makes suggestion of stacked stones carefully leaving a bit of space between each stone. Now with the #4 round sable Jerry adds a few dark cracks between the stones. Next with the #4 chisel edge brush, work begins on wood frame of door. Jerry adds a few soft lines to create the illusion of items back inside the coop. More work on the board ladders that lead to the porch and coop. With #2 chisel edge brush, Jerry begins highlights and accents on the straw and hay on the ground creating more sunlight. Jerry blocks in a hen in the doorway of the coop. Lastly, with #4 chisel edge brush Jerry uses loose impressionistic strokes to create illusion of feathers.

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Date Released On:04/20/2020

The Roost 4 of 4

In this final episode, Jerry uses #4 chisel edge brush and continues highlights on feathers in front of rooster’s breast area and main part of body. In all areas Jerry emphasizes using pockets of negative space to create form. Jerry uses dark mixture to create better structure in various areas of the rooster. Jerry illustrates use of ‘cast shadow’ on rooster’s back. Now switches to the #2 chisel edge brush to add more accent highlights which create illusion of sunlight on bird. Add a cast shadow where the rooster is standing and highlights to the post to create rutted wood look and a cap on the board. Finally Jerry adds suggestion of another chicken in the barnyard. This painting has many wonderful techniques that students can use over and over to create various paintings of their own creations.

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Date Released On:04/20/2020

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