Yarnell School Online

PAINTING CHALLENGE #16 01

TITLE “Raising The Bar” SIZE 18 X 24 or 16 x 20 – Horizontal Format Medium: Your Choice SEASON: Spring, Summer, or Fall (no Snow/Winter) TIME OF DAY: Your Choice

Before you start, make sure you have reviewed the above SERIES TUTORIAL!

INSPIRATION

There is a saying that goes something like “Be careful what you ask for.” And along that line we’ve heard from many of you that you want to see more advanced materials on Yarnell School Online (YSO). Hearing that feedback is music to Jerry’s ears (!) and this time he’s giving his YSO students a real challenge called “Raising the Bar.” In lieu of a fully completed painting with all of the steps for you to copy, this “challenge” painting gives you an even greater opportunity to apply what you’ve learned by making “Raising the Bar” your unique composition. Jerry has provided Basics of Creating a Composition, Objects to be Included, and Hints. The rest is up to you. Remember, when you create a composition on your own, you learn faster, and you retain better than when copying. If you’ve followed Jerry’s instructions like many have, then you know that YSO has EVERYTHING A to Z for any artist at any level. Use the YSO as a library to learn, practice, and apply to your compositions. Beginners:  You do not need to include all the objects.  Simply aim for a nice composition and a simpler painting. Beginners can use Jerry’s sketch. YSO Members:  Post your paintings in the YSO Private Facebook Group.  Jerry and Debbie will be periodically peeking at the paintings posted. We all learn from each other and posting your work in the Private Facebook Group is a good way to get encouragement from other members as well. You can do this! Debbie and Jerry are both excited and inspired to see your compositions! CREATING YOUR OWN COMPOSITION FROM SCRATCH – THE BASICS

1. Proper eye flow
2. Entry into the painting (*road, river, stream, or path)
3. Center of interest or focal area
4. Proper elements of composition: negative space, proportions of objects, values, eye stoppers, balance, perspective
5. Color scheme, time of day, location of sun (high or low)
6. Proper ellipses for lakes, puddles, flat stones, etc.
7. Shadows

OBJECTS TO BE INCLUDED – WHAT JERRY WILL EXPECT TO SEE

1. Beginners do not need to include all the objects. Simply aim for a nice composition and a simpler painting.
2. Two layers of distant mountains or hills
3. Pine trees or other types if you prefer
4. Dead tree or trees
5. Fallen log or logs
6. Boulders or rocks along your river, stream, road, or lake.
7. 4-7 value changes to create depth
8. Semi-stormy sky or late evening sunset
9. Spring, Summer, or Fall (not a snow season)
10. Entry into the painting with a road, pathway, or stream/river
11. Land masses for meadows, plains, or prairie
12. Script brush work for taller gasses, tree limbs, small bushes, etc.
13. Optional and Not Required: Fences, old buildings, or an animal
14. Remember the contrast rule, darks against light. Don’t be afraid of strong sunlit areas to give your painting POP!
15. Be sure to have proper color balance using the compliments.
16. Balance out the landscape with a mix of warm and cool tones.

HINTS, TIPS, SUGGESTIONS

1. Collect reference material, photos, sketches, internet.
2. Make small quick, loose thumbnail sketches to work out the composition, placement of objects, etc. Don’t get in a hurry -- it may take several sketches to work everything out.
3. Choose canvas size – probably an 18x24 or 16x20, or 15x30 will work for most landscapes.
4. Tint your canvas with medium warm gray which is a mixture of Burnt Umber, Ultramarine Blue, and White (Gesso).
5. Now using the small soft-vine charcoal, lightly sketch in the main key elements and land masses.
6. Have a damp paper towel handy to wipe off any charcoal marks as you make changes.
7. Remember also which brushes are best for what you are working on:

• Bristle Brushes – for scrubbing and blocking in areas.
• Dynasty (chisel-edge) Brushes – for creating clean edges and smother blends (do not scrub with these brushes).
• Small Sables (Flat, Round, and Script) Brushes – for details, weeds, etc.

Well folks, that's it! So begin your research and I can't wait to see what you come up with!! Jerry

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Childhood Swimming Hole 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. As usual, take your soft-vine charcoal and make a fairly accurate rough sketch of the main components of the painting -- keeping in mind that during the course of the painting some elements may change. So don’t spend a lot of time making a detailed sketch.

 NOTE:  Don’t forget to take a photo of the sketch with your smart phone.

Ready for the next step?  Click on “Childhood Swimming Hole 02" below!

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Childhood Swimming Hole 02

1. Because this is an early-morning Spring setting, you want to make sure that your colors/tones are exceptionally clean and crisp. So do not over-blend and create a muddy effect to your work.

NOTE:  The fewer strokes you use the better. Remember the old saying: “Less is More.”

2. For the sky, use your #10 Bristle brush and paint the sky with a fairly thick but smooth coat of White (Gesso). Now while the White (Gesso) is still wet, take a small amount of Cadmium Yellow Light and blend it across the horizon – about one-half way up and while this is still wet, dip into the Ultramarine Blue with a touch of Dioxazine Purple and blend this across the top and downward into the yellow area and down on the sides of the sky. As always, keep the edges of the colors soft where they overlap with each other. Leave just enough area where the sun goes in the dip of the first range of hills.

NOTE:  Remember to use the tinted White mixture and not pure Gesso.

3. When it dries, use your #6 Bristle brush and paint in a brighter glow of the sunrise with Cadmium Yellow Light and a touch of White (Gesso).

NOTE:  We will make the final glow for the sun toward the end of the painting.

4. Now take your #6 Bristle brush and paint in the first two (2) ranges of hills using the same tones you used in the upper part of the sky. Just add a little more Dioxazine Purple for the first range and add a touch more Ultramarine Blue for the second range.

NOTE:  Remember to pay attention to your value system – so keep them light and soft and as normal we will make things gradually darker as we move into the foreground.

Ready for the next step?  Click on “Childhood Swimming Hole 03" below!

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Childhood Swimming Hole 03

1. For this step, take your #6 or #4 Bristle brush and create a mixture of Hookers Green with a touch of Dioxazine Purple, White (Gesso) and Cadmium Yellow Light until you create a cool grayish green that is about two (2) values darker than the hills. Now turn the brush on its side and scrub in various shapes of distant trees. Remember to keep the edges soft.
2. Now using the same color and a little bit more Hookers Green and Cadmium Yellow Light and using the side of the brush with quick, vertical strokes, underpaint the first distant meadows.

NOTE:  Keep in mind we will be doing lots of highlighting on the trees and meadows as the painting progresses so be patient with the process as everything will look fairly dull and lifeless until we highlight and detail.

Ready for the next step?  Click on “Childhood Swimming Hole 04" below!

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Childhood Swimming Hole 04

1. In this step we will underpaint the water and a small waterfall about midway up. This is going to be a multi-toned underpainting. So, take your #10 Bristle brush and beginning at the very bottom of the canvas, start applying multiple colors of blues, purple, greens, a little Burnt Umber, and of course White (Gesso) to lighten the value. Use long, broad, horizontal brush strokes. Be sure it is much darker at the base and gradually a little lighter as you work your way up.
2. Now switch to the #6 Bristle brush and take a little bit of Cadmium Yellow Light and White (Gesso) and block in the reflection of the sun glow. Be sure you blend the edges of the glow into the darker water keeping the edges very soft.
3. Now take the #6 Bristle brush and block in the little waterfall with Ultramarine Blue, Burnt Sienna, and a touch of Dioxazine Purple using quick, choppy loose brush strokes.

NOTE:  You want the brush strokes to be very visible – which will create the suggestion of rocks.

Ready for the next step?  Click on “Childhood Swimming Hole 05" below!

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Childhood Swimming Hole 05

1. In this step we will block in the rest of the meadows and all of the banks and shorelines. Use your #6 Bristle Brush and a mix of Hookers Green and Dioxazine Purple and a touch of Cadmium Yellow Light and block in all the darker meadow grasses. Use the brush on its side and scrub with short, choppy vertical strokes.
2. Now take Burnt Umber with a touch of Ultramarine Blue and a touch of Dioxazine Purple and block in all of the banks. Use the #6 or #4 Bristle brush. Be sure to blend the banks into the water with soft edges.

Ready for the next step?  Click on “Childhood Swimming Hole 06" below!

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Childhood Swimming Hole 06

1. Now we will highlight the banks and the waterfall area. Use your #4 or #2 Dynasty (chisel-edge) Brush for these highlights. Just use White (Gesso) with a touch of Burnt Umber and Cadmium Orange and a very slight touch of Ultramarine Blue to help cool off the color. Highlight the banks and carefully blend them into the water, leaving soft edges. Then add a touch more White (Gesso) and Cadmium Orange to the mix and highlight the rocks.
2. Now take White (Gesso) with a touch of Ultramarine Blue and using the #2 Dynasty (chisel-edge) Brush in the highlights (phase one) of the waterfall.

NOTE:  When you blend the banks don’t be afraid to add more color of the grassy green tones to help with the blending process in the water.

Ready for the next step?  Click on “Childhood Swimming Hole 07" below!

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Childhood Swimming Hole 07

Now for this step we will paint the old house. Take your #2 Dynasty (chisel-edge) Brush and the #4 flat and #4 Round Sable Brushes to paint in the house. This is very simple and easy so don’t overwork or detail it, Use a dirty medium gray for the shadowed side and White (Gesso) with a touch of Cadmium Yellow, Cadmium Orange, Cadmium Red Light for the highlighted side. Use Vertical strokes to create the suggestion of old wood.

For the door, windows, and chimney on the front of the house, use a #4 Sable Flat or Round brush with a mix of Ultramarine Blue and a touch of Burnt Umber. For the window with the light, use Cadmium Yellow Light and Cadmium Orange and a #4 Sable Flat or Round brush to dab on the light.

Ready for the next step?  Click on “Childhood Swimming Hole 08" below!

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Childhood Swimming Hole 08

Now we will begin highlighting the distant trees and middle-ground meadow plus waterfall. At this stage you can begin painting in the bright tones of flowers and accent highlights on the trees. So, take your #6 Bristle Brush and fan it out and begin dabbing in various colors to create the suggestion of distant flowers and accent highlights on the trees and grasses. Don’t over-highlight and be sure you have enough contrast of dark and light tones. Also don’t be afraid to use any color you want for the flowers. Use pure White (Gesso) for the highlights on the waterfall and background stream.

NOTE:  We will brighten up the flowers and highlights in the final step.

Ready for the next step?  Click on “Childhood Swimming Hole 09" below!

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Childhood Swimming Hole 09

All you do for this step is create a mixture of 50% Ultramarine Blue and 50% Burnt Umber. Then use our #2 and #4 Dynasty (chisel-edge) Brush to underpaint all the tree trunks and old tire. Then thin some of the mixture to an ink-like consistency and use our #4 Sable Script Brush to paint in some of the smaller limbs on the large tree.

NOTE: We will put all of the final smaller limbs on the tree in the final step.

Ready for the next step?  Click on “Childhood Swimming Hole 10" below!

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Childhood Swimming Hole 10

1. In this step we will paint in the final glow of the sun and the sunrays. We will also “leaf” the smaller trees on the left of the painting and add the reflections of those trees on the left side.
2. Take the #4 Bristle Brush and a mix of White (Gesso) with about 25% Cadmium Yellow Light and load a small amount on the end and scrub in the bright glow and sunrays (it is okay to cover up some of the limbs on the larger tree because we can paint them back in the final step.
3. Now take the #4 Bristle Brush and block in the canopy of leaves on the smaller trees on the left and those in the background. For the reflections on the left side, use the same mixture and scrub in the reflections with a horizontal stroke – making sure they are very soft and fuzzy. The mixture for all of this is Hooker’s Green with a touch of Dioxazine Purple and a touch of Cadmium Yellow Light.

Ready for the next step?  Click on “Childhood Swimming Hole 11" below!

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Childhood Swimming Hole 11

This is the final step where you put in all of the final highlights, brighter colors, flowers, tree highlights, ripples in the water, etc. So just enjoy finishing this up however you wish, but here are a few suggestions:

1. First, I would put all of the final limbs on the large tree using your #4 Sable Script brush. Next, I would add all of the brighter Spring flowers and grass highlights. Be sure to put the flower colors on very thick using a dabbing technique on the very tip of the #4, #2, #6 Bristle Brushes.

NOTE:  Remember if you want purple, blue, or crimson flowers to show up, you have to add a touch of White (Gesso) to the mixture.

1. Now add the Dioxazine Purple reflected highlights on the shadowed side of the large dead tree. Use your #6 Dynasty (chisel-edge) Brush for this and pull sideways toward the center but be careful not to blend too far. The mix is 1/3 Ultramarine Blue, 1/3 Dioxazine Purple, and 1/3 White (Gesso).
2. Now add the brighter-colored weeds using your #4 Sable Script Brush and a mix of Cadmium Yellow Light, a touch of White (Gesso) and Hookers Green.

NOTE:  It is very important that you make the weeds really bright so they will contrast against the shadowed areas.

1. For the final accent highlights on the edges of the tree trunks, rocks, old tire swing, and edges of the banks, use White (Gesso) with just a slight touch of Cadmium Orange. This will act as a silver lining to really make your objects pop.
2. Also, I would make the sunrays brighter and the reflections of the sun in the water brighter. Use your #4 Bristle brush and a mix of White (Gesso) with a touch of Cadmium Yellow. Use a dry-brush scrubbing stroke with the side of the brush.

NOTE:  Remember if you are struggling with any of these techniques, refer to our vast library of instructional materials in YSO 1.0.

HOPE YOU HAVE ENJOYED DOING THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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Tulsa’s Woodward Park 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. Once you have prepared the canvas with the proper tint and texture, then sand off any rough edges.
2. Be sure that the tint has various light and dark values.

NOTE:  Don’t make the tint all one value. Also, you don’t want to make the tint too dark. I recommend that the tint is a medium light value.

3. Now we are ready to make the rough sketch of the main components of the composition.

Ready for the next step?  Click on “Tulsa's Woodward Park 02" below!

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Tulsa’s Woodward Park 02

1. Take your soft-vine charcoal and lightly sketch in the location of the wall and steps. It should be about 1/3 up from the bottom of the canvas.

 NOTE:  Be sure the steps are located to the left of center.  Once the wall and steps are located, then sketch in the layers of trees. There should be about 3-5 layers. Now sketch in the pathway. NOTICE: the pathway engulfs the entire foreground and recedes back to the steps. Now you can sketch in the light pole, park bench, large trees and little squirrel or some sort of colorful bird.  NOTE:  Don’t hesitate to use any design of park bench you want as long as it is in proportion to that area of the painting.

Ready for the next step?  Click on “Tulsa's Woodward Park 03" below!

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Tulsa’s Woodward Park 03

1. Because of the early morning atmosphere and the misty/hazy effect, you want to paint in the open sky area with a soft yellowish tint. Use your #10 bristle brush and a mix of White (Gesso) with a touch of Cadmium Yellow Light and a slight touch of Dioxazine Purple. Paint this mixture on with loose, broad-brush strokes.
2. As you move into the leafy trees, use the same #10 bristle brush and the same mixture – but add a small amount of Dioxazine Purple and touches of Hookers Green. Just paint in the first layers making sure the trees have soft edges with interesting pockets of negative space.
3. Now just gradually darken the leaves by adding a little more Dioxazine Purple, Hookers Green, and touches of Alizarin Crimson. Gradually darken each layer by adding various colors to the original mixture until you get to the wall.

NOTE:   It is important to make sure each layer has soft edges. These are some of the other colors you can add to the leaf tones:  Alizarin Crimson, Cadmium Red Light, Cadmium Yellow Light, Vivid Lime Green, and Dioxazine Purple. ALSO IMPORTANT:  Only add very small amounts of these colors.

Ready for the next step?  Click on “Tulsa's Woodward Park 04" below!

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Tulsa’s Woodward Park 04

1. Now we can block in the wall, steps, pathway, and grassy areas. For the wall, create a mixture of Burnt Umber, with a touch of Ultramarine Blue and a touch of Dioxazine Purple. Then add just enough White (Gesso) to create a medium tone (cool gray). Use your #6 or your #4 Bristle brush to underpaint the wall. Use loose, choppy brush strokes to suggest texture. You can add touches of White (Gesso) to add value changes, to create contrast, and to cap the top of the steps.
2. Now underpaint the pathway using the same mixture but add Burnt Sienna to warm it up. Then with your #6 Bristle brush paint in the pathway using short, choppy, horizontal strokes and gradually darken the tones as you come forward.

NOTE:  We will use your toothbrush to splatter pebbles/gravel in the final steps.

3. For the grasses, use your #6 Bristle brush. Create a mixture of Hookers Green with about ¼ Dioxazine Purple. This creates a deep forest green. Now take your #10 Bristle brush and begin scrubbing in the grasses using short, choppy, vertical strokes to create the suggestion of different lengths of grass. Also add other colors as you scrub in the grasses like Vivid Lime Green, touches of Cadmium Yellow Light, and Cadmium Orange. Just be sure the grasses get darker as they come into the foreground.
4. For the puddles in the pathway, use your #4 or #6 Bristle brush and a mixture of Ultramarine Blue with a touch of Dioxazine Purple and enough White (Gesso) to create a pale-blue tint. Then paint in the puddles making sure they have interesting shapes and are elliptical so that they appear to be flat.

Ready for the next step?  Click on “Tulsa's Woodward Park 05" below!

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Tulsa’s Woodward Park 05

1. Now we can begin highlighting the background trees and paint in the tree trunks and limbs. We will highlight using the #6 Bristle brush. Now create 3 different mixes:
   1. Vivid Lime Green with a touch of Cadmium Orange
   2. Cadmium Yellow Light with a touch of White (Gesso) and Hookers Green
   3. Vivid Lime Green with a touch of Dioxazine Purple

NOTE:  Don’t be afraid to experiment with various highlights. Now take your brush and tap in the highlights to create various shapes and interesting pockets of negative space.

2. Now paint in the tree trunks and limbs using your #4 Dynasty (chisel-edge) brush for the main trunks and the #4 Sable Script brush for the small limbs. Then create a mix of Burnt Umber, ¼ Ultramarine Blue, and ¼ White (Gesso). This should create a deep charcoal gray. Then block in the main trunks but be sure to thin the mixture to an ink-like mixture when you use the Sable Script brush.

Ready for the next step?  Click on “Tulsa's Woodward Park 06" below!

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Tulsa’s Woodward Park 06

1. Now we can detail the wall and steps. Create a mixture just like in the previous step (charcoal gray). Switch to your #2 and #4 Dynasty brush. Now highlight the steps and stone wall. Be sure to create a good variety of shapes to the stones.

NOTE:  We will highlight and put final details on the steps and wall in the final step.

2. Now paint in the large tree trunks in front of the wall with a mix of 50% Burnt Umber and 50% Ultramarine Blue. Use your #2 or #4 Dynasty brush for the main trunks then finish them using the #4 Script brush.
3. Using the same dark mixture, paint in the lamp pole with the #2 Dynasty (chisel-edge) brush.

Ready for the next step?  Click on “Tulsa's Woodward Park 07" below!

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Tulsa’s Woodward Park 07

1. Now paint in the park bench a rich green tone. This is a mixture of Hookers Green, a touch of Turquoise Deep, and just enough White (Gesso) to create a nice clean, rich green. It should be sort of an emerald color. Use your #4 Flat and #4 Round Sable brushes to paint the bench.

NOTE:  For the deeper shadows on the bench, just add a little Dioxazine Purple to the mix; for the highlights add a little White (Gesso).

2. Now take your toothbrush and splatter the pathway with multiple dark and light colors such as Burnt Umber, Ultramarine Blue, Burnt Sienna, also Cadmium Yellow, and a muddy White (Gesso).

NOTE:  It’s all about contrast:  light against dark.

3. Now that all of the basic objects are under painted, we can begin detailing and highlighting. First take your #4 Bristle brush and a mixture of White (Gesso) with ¼ Cadmium Yellow Light and dry-brush the glow around the lamp at the top of the pole. Now add a touch of Cadmium Orange to the mixture and use this mix to highlight the edges of the stones, steps, and the tree trunks. I recommend you use your #2 Dynasty brush to do most of the highlights.

NOTE:  Because there is no direct light source from the sun, the highlights are from the glow of the lamp. So every object on the right side of the pathway will be highlighted on the left side of the object and every object on the left side of the pathway will be highlighted on the right side of the objects. Don’t make the highlights too wide.  They should be more of a silver lining.  

Ready for the next step?  Click on “Tulsa's Woodward Park 08" below!

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Tulsa’s Woodward Park 08

1. In this final step, paint in the reflections of the tree trunks, lamp stand, and park bench. Use your #2 Dynasty brush and a mix of Burnt Umber with a touch of Ultramarine Blue and just enough White (Gesso) to create a medium warm gray. Now make loose, short horizontal strokes to make the reflections.
2. Now highlight the grasses and weeds with a variety of colors like Vivid Lime Green, a touch of Cadmium Yellow Light, with a touch of Cadmium Orange. Use your #4 Script brush and #4 Dynasty brush with loose, vertical strokes. Be careful not to over highlight.
3. Now we want to apply a dry-brush glaze in the top corners and across the top of the sky area. Create a mixture of White (Gesso) with a slight touch of Cadmium Yellow Light and a slight touch of Dioxazine Purple. Now take your #10 Bristle and load a small amount and begin scrubbing this mixture all across the top of the sky area gradually fading downward.

NOTE:  The goal here is to create a soft hazy affect. So don’t be afraid to repeat the glaze as many times as needed to achieve the desire affect.

4. Finally (and these are optional steps), you can leaf the large trees or leave them bare. Also, if you want to add the person walking and the squirrel or some other small animal, use your #4 Round and #4 Flat Sable brushes to paint in the person and or the squirrel. Just be sure to paint them in very soft and not too dark. 

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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Should I or Shouldn’t I? 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. Take your soft-vine charcoal and make a very loose sketch of the main landscape and fences/gate. Don’t worry about sketching in the cow. We will sketch that later in one of the final steps.
2. I recommend you take a photo of the sketch with your smart phone to preserve the image because you will lose some of the sketch during the underpainting stage.

Ready for the next step?  Click on “Should I or Shouldn't I? 02” below!

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Should I or Shouldn’t I? 02

1. In this step we will block in the first phase of the sky. Take your #10 bristle brush and a combination of Alizarin Crimson, Cadmium Red Light, Cadmium Orange, and Cadmium Yellow Light and load your brush fairly heavy with each color. Now begin scrubbing horizontally all across the sky about halfway up -- leaving areas of the different tones. Be sure to blend quickly. Re-load often so you will get good coverage and no hard edges.
2. Now take Alizarin Crimson and Dioxazine Purple and scrub across the top of the sky --- and blend down into the base colors at the horizon.

NOTE:  Be sure to scrub quickly so you will get good blends. Now let it dry and we will be ready for the clouds and sun. Also, do not use any water to thin the colors. Use paint right out of the tube. This way you don’t have to double-coat.

Ready for the next step?  Click on “Should I or Shouldn't I? 03” below!

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Should I or Shouldn’t I? 03

1. In this step we will add the clouds, sun, and the bright highlights. Also, we will paint in the first layers of distant hills.
2. For the clouds we will use a mix of Alizarin Crimson and Dioxazine Purple about 50/50. Then add just a small touch of Cadmium Orange. NO WATER. Then use your #6 bristle brush and scrub in the darker horizonal clouds. Be sure to create good pockets of negative space throughout the cloud formations.
3. Now for the sun, mix 50/50 Cadmium Yellow Light and White (Gesso) and use the #4 or #2 bristle brush to block in the sun using same color as the sun.. Then dry-brush in a haze around the sun.
4. Now take the cloud mixture and add a little White (Gesso) and a touch of Ultramarine Blue to create a purple-ish gray and use the #4 bristle brush to paint in the first layer of distant hills. Be sure it is not too dark. Then slightly darken the mix using the same mix but less White (Gesso). This should be about 1 or 2 values darker. Now take the #4 bristle brush and paint in the second layer of hills. Now go back to the Yellow and White mix (used for the sun) and dry-brush in a little haze over the hills. You can also add some silver linings on a few of the clouds and hills using the Yellow and White mix with the #4 round sable.

Ready for the next step?  Click on “Should I or Shouldn't I? 04” below!

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Should I or Shouldn’t I? 04

1. In these steps we will paint in the middle background, hills, trees, and meadows.
2. First, begin with the distant trees. (Remember, since this is a bright low horizon sunset, the trees are only going to be a silhouette against the hills.) Take your #4 bristle brush and create a mixture of Hooker’s Green, Alizarin Crimson, and a little Dioxazine Purple – about 1/3, 1/3, 1/3. Then scumble in the trees. Just be sure to have good negative space and soft fuzzy edges.
3. Now take the #10 bristle brush and start scrubbing in the meadows using multiple tones of Hookers Green, Alizarin Crimson, Dioxazine Purple, and Cadmium Yellow Light.

NOTE:  Use the chisel-edge of the brush with vertical strokes.

Ready for the next step?  Click on “Should I or Shouldn't I? 05” below!

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Should I or Shouldn’t I? 05

1. Now we will underpaint the foreground, grassy meadow, dirt road, and ruts.
2. Using the #10 bristle brush and a mix of Hooker’s Green and Dioxazine Purple -- about 50/50 – create a very dark green. And with the chisel edge of the brush, paint in the remaining foreground grasses using vertical strokes like you did in Step 4. Also add touches of Yellow here and there to create contrast.

NOTE: Be careful not to over blend or you will lose the grassy effect. Paint loose and free. You can use any of our brushes to create a good variety of shapes, textures, and forms.

3. For the road – take the #6 bristle brush and use Burnt Umber and White (Gesso) with touches of Dioxazine Purple to paint in the road. Make the left side of the road darker and the right side lighter. Once again, paint loose and free. Make comma strokes for the banks and be sure to gradate your road from light to dark in the foreground. Then block in the ruts with your #4 bristle brush using a little of the dark mixture and choppy dry-brush strokes. Don’t make them too dark.

Ready for the next step?  Click on “Should I or Shouldn't I? 06” below!

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Should I or Shouldn’t I? 06

1. Now we will highlight the background meadows, trees, and road. Plus we will paint in the fence/gate.
2. Take the dark green mixture and add Cadmium Yellow Light to create a soft, fairly bright Yellow-ish Green. Then using the #6 bristle brush, load the very tip of it and begin dabbing on highlights on some of the grassy areas and trees to create a soft glow.
3. Now use White (Gesso) with a touch of Cadmium Orange and Burnt Umber and highlight the banks along the right side of the road. Use loose, choppy vertical strokes and blend across until you meet in the middle and blend the two sides together.
4. For the gate and fence take Burnt Umber and about ¼ Ultramarine Blue to create a very dark mix. Then take your #2 chisel-edge (Dynasty) brush and paint in the fence and gate. You want it to look old so it can be crooked. Now paint on the reflected highlights which is a mix of Ultramarine Blue, Dioxazine Purple, and a little White (Gesso). Use the #2 chisel-edge (Dynasty) brush to paint the reflected highlights.
5. For the barbwire – use the dark mix and thin it to a watery consistency and use your #4 script brush to paint in the wire. Then use White (Gesso) with a touch of Cadmium Yellow and Cadmium Orange and with your script brush paint on the highlights along the edge of each board and the wire.

NOTE:  Remember this should be an old fence so don’t paint it too perfectly. Have a little fun making it look old and broken.

Ready for the next step?  Click on “Should I or Shouldn't I? 07” below!

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Should I or Shouldn’t I? 07

1. The first thing you want to do is make a very good sketch of your cow with soft vine charcoal or a White Conte pencil. Do not use a regular pencil or charcoal pencil as they are too hard to erase.
2. Now we will paint in the cow. Don’t be afraid of this step. Painting animals is always a challenge, but this cow is easier than you think.

The next thing you want to do is take your #4 and #2 chisel-edge (Dynasty) brushes and underpaint the darker area of the body. The color your need for this is a mix of Ultramarine Blue with a touch of Burnt Sienna and Dioxazine Purple. Then add enough White (Gesso) until you get a medium dark mauvish gray. You want it to be a little on the cool side. Now block in the shadow areas and adjust the darkness or lightness tone by adding more or less White (Gesso).

3. For the light/white areas, create a mix of White (Gesso) with a slight touch of Cadmium Orange to create a soft white. Now block in the light areas by gradually blending into the darker areas. You should create multiple value changes to create form on the torso, head, and legs. Blend carefully. We will paint on the final highlights and details in the next step.

Ready for the next step?  Click on “Should I or Shouldn't I? 08” below!

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Should I or Shouldn’t I? 08

1. In this final step, we will finish the highlights and details on everything in front of the fence including the cow.
2. For the cow – you’ll use pure White (Gesso) with a touch of Cadmium Orange (just enough to slightly tint it). Then use your #4 flat and #4 round sable brushes to paint on the brighter highlights. Paint on the highlights fairly thick along the top of his back, head, the edge of his legs, and tail. Highlight the horns with the same mixture with a little touch of Burnt Sienna and Burnt Umber.
3. Take your toothbrush and splatter an array of colors: darks and lights on the road. You can use any color you want as long as you add a little White (Gesso) to the mixture to opaque it.

NOTE:  If you don’t add the White (Gesso), they won’t show up. Also be sure the paint is very thin (watery).

4. Now along the edge of the road, paint in some small rocks and pebbles. Be sure to make them very bright so they will really look sunlit.
5. The rest of the details will be painted in with the #4 sable script liner brush and #4 bristle brush. So first take the bristle brush and carefully tap in some flowers. Be sure you use very thick paint so that the flower are bright and colorful.

NOTE:  Don’t be afraid to tap in some bright highlights in the background, meadows, and other areas to create some hot spots of bright sunlight.

6. Finally, use your #4 script brush and paint in the taller weeds and birds and highlight the barbwire and edge of the fence. Then finish up by adding the cast shadow in the road. This is a soft mauvish gray and just scrub it in with your #4 bristle brush.

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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Spring Has Sprung 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. Take your soft-vine charcoal and make a very rough sketch of the main components of the composition as mentioned in the Hints, Tips, and Suggestions. NOTE: Keep the sketch simple and rough – no detailed sketch will be necessary because the composition will change slightly as the painting develops.

I recommend you take a photo of the sketch with your smartphone to preserve the image because you will lose some of the sketch during the underpainting stage.

Ready for the next step?  Click on “Spring Has Sprung 02” below!

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Spring Has Sprung 02

1. Keep in mind this is early morning and we want to create the atmosphere of a misty, hazy morning after a heavy dew
2. In this step you want to use your 1-1/2” Hake brush . (Use broad, loose strokes).
3. We want to underpaint the sky and water using loose, impressionist strokes. Also this should be a soft pastel multicolored sky and water. You should have about 3 layers of distant values of foliage using soft purples, blues, yellows, greens.
4. Remember, we will refine and fine tune the colors, tones, hues, and details as the painting progresses.

NOTE:  The colors are White (Gesso) with touches of Cadmium Yellow Light, Ultramarine Blue, Dioxazine Purple, and Hookers Green. Keep the tones and layers of values very soft with no hard edges.

Ready for the next step?  Click on “Spring Has Sprung 03” below!

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Spring Has Sprung 03

1. Now we begin underpainting the middle ground, middle foreground, and foreground foliage. Also, relocate the sketch of the small mission.
2. This step requires using the #10 and #6 bristle brushes. Also keep in mind that this is only the underpainting so use loose, broad impressionistic strokes. We will refine the strokes later.
3. Now create a variety of greens, using Hooker’s Green, Yellows, Vivid Lime Green, soft purple tones, etc. Now you will have to experiment with different strokes and different angles of the brush to create a variety of foliage shapes.

NOTE:  Do not use Burnt Sienna or Burnt Umber as they will “mud up” the soft Spring tones.

Ready for the next step?  Click on “Spring Has Sprung 04” below!

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Spring Has Sprung 04

1. In these steps we will begin creating more distinct shapes, forms, and a variety of color/tones.
2. Now you can use a variety of brushes to create different foliage shapes. Mostly I stick with using the #2, #4, and #6 Dynasty brushes because of their great chisel edges. Also, the #4 and #6 bristle brushes for scrubbing in larger bush shapes and of course the #4 script liner for smaller weeds, limbs, etc.
3. Now you can begin using a wide variety of your favorite colors. Just keep in mind to start using brighter colors with each step.
4. Now underpaint the mission and finalize any rough shapes of brush, bushes, trees, weeds, etc. In Steps 5 and 6, we will add the more detailed brighter tones, add mist, and paint in reflections and other details.

Ready for the next step?  Click on “Spring Has Sprung 05” below!

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Spring Has Sprung 05

1. In these steps we will continue establishing clumps of bushes and other foliage as well as begin adding brighter colors. Also, you can decide where you want the lily pads located.
2. Don’t be afraid to experiment with multiple shapes and forms and move things around to create good eye flow, overlap, contrast, values etc. Just follow the rules of composition and you should do very well.

NOTE:  This phase of the painting is still the intermediate phase of the underpainting. We will add the additional flowers, bright colors, and any final changes as the painting continues developing.

3. You can use any of our brushes to create a good variety of shapes, textures, and form.

Ready for the next step?  Click on “Spring Has Sprung 06” below!

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Spring Has Sprung 06

1. Now you can really express yourself! We begin adding groups of flowers and add bright colors and final details.

NOTE:  Don’t be afraid to really use thicker volumes of paint to create texture of flowers and don’t hold back on the use of color. I recommend you use your #2, #4, and #6 bristle brushes for dabbing on texture to create certain flowers. Use the chisel-edge of the #2, #4, and #6 Dynasty brushes for creating the thicker, taller weeds, cattails, lily pads, and of course use the #4 script brush for the really taller, skinny weeds and tree limbs.

2. Because there are so many moving parts to this painting, I want to point out some of the most important elements:
3. Composition—be sure you have good eye flow with your groups of flowers. Be sure you have good overlapping connectivity with each group of flowers. You don’t want your eye to bounce around the painting but flow gracefully throughout the painting.
4. Color Balance—be sure to follow the rules of color composition. Check that you are using complements and various values of those complements.
5. Contrast—Make sure you have a good balance of contrast of your color scheme. This means strong dark and light tones against each other.
6. Be sure the lily pads are elliptical so that they will appear flat.
7. Keep most of the heavy details and strong colors toward the middle ground and foreground.

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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Midnight Mountain Glow 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. Take your soft-vine charcoal and make a rough sketch. 2. I recommend you take a photo of the sketch with your smart phone to preserve the image because you will lose some of the sketch during the underpainting stage.

Ready for the next step?  Click on “Midnight Mountain Glow 02” below!

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Midnight Mountain Glow 02

1. Paint the sky and moon. First create a mix of one part Turquoise Deep with just a small amount of White (Gesso) to opaque it. Then add ¼ part Burnt Umber and ¼ part Ultramarine Blue. Use your 2” or 1.5” Hake brush to paint the midnight sky.
2. For the moon, mix Cadmium Yellow Light with a touch of Cadmium Orange and a slight touch of Burnt Umber. Use the #6 bristle brush to paint the moon.

NOTE:  You may want to slightly thin the sky mixture to make it easier to blend. Also, you may need to double-coat the sky to get good coverage.

Ready for the next step?  Click on “Midnight Mountain Glow 03” below!

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Midnight Mountain Glow 03

1. Now underpaint the mountains.
2. Create a mix of one part White (Gesso), ¼ part Ultramarine Blue, small amount of Burnt Sienna, and small amount of Dioxazine Purple. This should create a medium dark mauve-ish gray. Now paint the various values of mountains. Remember to add more or less White (Gesso) as needed to lighten or darken the values.

NOTE:  Use your #10 bristle brush to underpaint the mountains using loose, broad-brush strokes to show texture.

3. The most important thing to remember is to get a nice transition of values from mountain to help create depth and the hazy, foggy effect.

Ready for the next step?  Click on “Midnight Mountain Glow 04” below!

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Midnight Mountain Glow 04

1. Now underpaint the Pine trees and foreground.
2. For the Pine trees, mix Hooker’s Green with ¼ Dioxazine Purple. This will create a deep forest green. Use your #4 or #6 bristle brush to paint in the trees and various foreground areas.
3. For the base tone of the road, use a mix of Burnt Umber with a touch of Ultramarine Blue and Dioxazine Purple. Use your #6 bristle brush for this. (We’ll highlight this area later.)
4. For the boulders, use Burnt Sienna with ¼ Ultramarine Blue and a touch of White (Gesso). This should create a deep charcoal gray. Now use the #6 bristle to paint them.

NOTE:  Keep in mind, these are only basic mixes so adjust them according to what area you are painting.

Ready for the next step?  Click on “Midnight Mountain Glow 05” below!

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Midnight Mountain Glow 05

1. Highlight mountains.
2. First create a mix of White (Gesso) with a touch of Cadmium Red Light and a touch of Alizarin Crimson.
3. You can use other highlight tones if you wish to create the effect of moon glow on the mountains.
4. Keep in mind you want these to appear very rugged – so use short, choppy semi-vertical strokes with the #4 or #6 bristle brush.
5. For the snow on the mountains, use White (Gesso) with a touch of Cadmium Orange.

Ready for the next step?  Click on “Midnight Mountain Glow 06” below!

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Midnight Mountain Glow 06

1. Highlight and detail trees, boulders, road, and foreground areas.
2. The highlights on these areas can vary so here are some combinations of colors you may want to use:

White (Gesso) with a touch of Cadmium Yellow Light White (Gesso) with a touch of Cadmium Orange White (Gesso) with a touch of Cadmium Red Light White (Gesso) with a touch of Alizarin Crimson

3. The main thing is to be careful not to “over” highlight. Remember these are only accent highlights to show the basic form of the objects. Most of the foreground should be silhouettes.

In other words:  THE MOUNTAINS ARE THE FEATURE

4. Use the #2, #4, or #6 bristle brushes for highlighting.

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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Father’s Love 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. The first thing you need to do is tint the canvas with the medium warm gray mix mentioned in the HINTS, TIPS, AND SUGGESTIONS
2. After the tint is dry, lightly sand off any loose hairs.
3. Then take your soft-vine charcoal and make a rough sketch. Keep it simple and light. It does not need to be really accurate as it will change throughout the course of the painting.

I recommend you take a photo of the sketch with your smartphone to preserve the image because you will lose some of the sketch during the underpainting stage.

Ready for the next step?  Click on “FATHER'S LOVE 02” below!

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Father’s Love 02

1. Now we will paint the top of the sky first about halfway down with whatever bluish tones you like. I am using Ultramarine Blue with a touch of Turquoise Deep and enough White (gesso) to create a very soft light tint. I recommend you use your 1.5” hake brush for this so you can get that soft, light blend. You want the sky to be a little lighter on the left side and gradually darker on the right side.
2. As you blend downward it is especially important that there is no hard edge where it fades.

Ready for the next step?  Click on “Father's Love 03” below!

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Father’s Love 03

1. This is a really fun step! All you need to do is take your #10 bristle brush and scumble, mottle, and scrub in multiple shades of greens to suit your taste. Just be sure you make a nice transition of value to the leafy area by adding some of the sky colors. You want to have a nice soft, blurry transition (no hard lines or sharp edges where the sky and leaves connect).
2. Now with your #4 and #6 chisel-edge (Dynasty) brushes and paint in a few leaves scattered throughout the transition area. These just need to be loose and free. We will do more detailed leaves in the last step.
3. Now take your charcoal and re-sketch the tree trunk, a few of the main branches, and the Robin.

Ready for the next step?  Click on “Father's Love 04” below!

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Father’s Love 04

1. For this step – it is all about tree limbs. You will need your #2 and #4 chisel-edge (Dynasty) brushes, your #4 script brush, and the #6 bristle brush. First thing to do is take the #6 bristle brush and block in the main trunk and larger limbs. Use a variety of darker tones by mixing Burnt Umber and Burnt Sienna with Ultramarine Blue and Dioxazine Purple. To change the value and create various tones, add White (Gesso) to the mix.
2. As normal use the #4 script brush with a very think ink-like mixture for the smaller limbs and nest.
3. Be sure you have a lot of overlapping limbs and create good pockets of negative space (the more limbs the better).

NOTE:  You can do some minor highlighting to establish form and contrast. Just do not overdo it. We will highlight and detail in the last step.

Ready for the next step?  Click on “Father's Love 05” below!

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Father’s Love 05

1. In this step we will underpaint the Robin and eggs as well as add additional limbs and twigs.
2. You will need your #4 bristle brush, #2 and #4 chisel-edge (Dynasty) brushes, and the #4 round and flat sables for details.
3. First underpaint the chest area with a mix of Burnt Sienna and a touch of Cadmium Orange. I usually give it a touch of Dioxazine Purple to deepen the tone. Use your #4 bristle brush. Now underpaint all the black areas with a 50/50 mix of Burnt Umber and Ultramarine Blue. For the white areas use a cool whitish gray. Use your #4 bristle for this. Use a little Cadmium Orange and Cadmium Yellow Light for the beak. The eggs are a light bluish gray.
4. Now continue adding additional limbs and twigs with your script brush. Be sure to use various dark and light tones to create contrast and depth within the nest area.
5. We will detail and highlight the Robin, limbs, leaves, eggs, and trunk in the next step.

Ready for the next step?  Click on “Father’s Love 06” below!

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Father’s Love 06

1. For this step take your #2 and #4 chisel-edge (Dynasty) brushes. Then create a mixture of multiple green tones and values from dark to light. Now paint in various sized leaves scattered throughout the area around the Robin and nest.

NOTE:  It is important not to add too many leaves to the area. Just enough to create a springtime effect.

2. Now highlight the main tree trunk and larger limbs with a mix of White (Gesso) with a touch of Cadmium Orange.
   1. Be sure to paint on the bluish-purple reflected highlight on the right side of the trunk and larger limbs.
   2. Also do not be afraid to use thicker paint on the trunk to create texture. This makes it appear old and weathered.
3. Highlight the eggs with White (Gesso) and a touch of Turquoise Deep.
4. To highlight the Robin, use your #2 chisel-edge (Dynasty) brush. Highlight the breast area with touches of Cadmium Orange and Cadmium Yellow Light or even a little Cadmium Red Light.

NOTE:  Not all Robins are the same tone. Some are more red in color and some are more orange and rust. So, suit yourself on the color.

5. Highlight the dark areas with White (Gesso) and a touch of the dark mix.

NOTE:  Do not over-detail the feathers. Just the suggestion of feathers is all that is necessary.  

6. Highlight the white area with White (Gesso) and a touch of Cadmium Orange.

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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COOL GULLS GROTTO 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. The first thing you need to do is tint the canvas with White (Gesso) with about ¼ Ultramarine Blue and enough Burnt Sienna to create a medium cool bluish gray. The key is not to get it too dark and be sure it is on the cool side.

NOTE:  Use any large brush to coat the canvas.

2. After the tint is dry, lightly sand off any loose hairs. Then take your soft-vine charcoal and make a rough sketch of the rock formations.

I recommend you take a photo of the sketch with your smart phone to preserve the image because you will lose some of the sketch during the painting process. 

Ready for the next step?  Click on “COOL GULLS GROTTO 02” below!

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COOL GULLS GROTTO 02

1. Now we want to paint the sky and underpaint the water areas.
2. Paint the sky with your hake brush. The mixture for the sky is

• White (Gesso) with a little Ultramarine Blue, small amount of Burnt Sienna, and a slight touch of Turquoise Deep.

Now just take your time mixing the color. Just experiment with this mixture until you come up with a very creamy medium-light bluish gray. Now create a mix of

• White (Gesso) with slight touch of Cadmium Orange for the light strip in the center.

Now paint in the light strip with long vertical strokes. Then take the bluish gray mix and paint the rest of the sky leaving a nice soft light area toward the center.

3. Now just paint in the water using your #6 bristle brush and variety of medium to light bluish gray tones. Make the water a little choppy to suggest movement.

NOTE:  The key is not to “over” blend and be sure the edges of the light strip are very soft – no hard edges.

Ready for the next step?  Click on “COOL GULLS GROTTO 03” below!

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COOL GULLS GROTTO 03

1. First create a base mixture of a medium to dark bluish gray. The mix is

• Ultramarine Blue, about ¼ Burnt Sienna, a touch of Turquoise Deep, and then add whatever amount of White (Gesso) is needed for the different value changes.

2. Now with your #6 or #10 bristle brush beginning with the back rock formations, paint in the rocks – paying close attention to the value system (lighter in the background and darker as they come closer to the foreground).

NOTE:  These rocks need very few details. They are mostly silhouettes – so just focus on their basic forms and values.

3. Now you can add more movement to the water, reflections, shadows, and ripples. Use your own judgment on how much movement you want the water to have.

Ready for the next step?  Click on “COOL GULLS GROTTO 04” below!

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COOL GULLS GROTTO 04

1. Here we will paint in the beach and lower rock formation.
2. Paint the beach in with a mix of

• White (Gesso) with a touch of Burnt Umber and Ultramarine Blue. This should create a medium light warm gray.

NOTE:  We will splatter it with your toothbrush in the next step to make it look more like sand.

3. Now block in the lower rock formation with the basic rock mixture – just add more Ultramarine Blue and Burnt Sienna if needed to darken it.
4. Now you can begin minor highlighting and adjusting your rock shapes. Just add a touch of

• White (Gesso) and a touch of Cadmium Orange to your basic gray mixture to create different values of highlight tones.

Then shape your rocks like you want. I suggest you use the #4 or #6 bristle brush.

Ready for the next step?  Click on “COOL GULLS GROTTO 05” below!

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COOL GULLS GROTTO 05

1. Now the fun begins! First take your toothbrush and splatter the beach with different dark and light tones of browns and grays. The more you splatter it the more like sand it will look.

NOTE:  Add larger pebbles and small rocks on the beach if you wish.

2. Now mix White (Gesso) with a touch of Cadmium Orange for the accent highlights on the edge of the rocks, ripples on the water, seagulls, and larger pebbles on the beach. Remember these are only accent highlights like a silver lining on a cloud. Only accent the rocks and water toward the main center section of the painting. Use your #4 round sable for the accenting.
3. For the seagulls, I recommend you make a light sketch with your charcoal or white conte pencil. Use the #4 round and #4 flat sables to paint them. These are very simple birds so don’t over work them. You only need 2 colors:

• Deep charcoal for the dark areas -- Ultramarine Blue, Burnt Sienna, and a touch of White (Gesso).
• For the light area use light gray – then accent by adding touches of White (Gesso). For the breast area use White (Gesso) with a touch of Cadmium Orange.

4. Now all you need to do is scan the painting and make final adjustments to your rock formations, highlights on the water, silver-linings on the edge of the rocks.

FINAL NOTE:  Be sure that your value system is in proper order from background to foreground. There should be at least six (6) value changes. If you need to lighten the value on any area, you can use a soft glaze of White (Gesso), a touch of gray, and enough water to create a transparent glaze.  For help understanding how glazes and washes work, refer back to the Hints, Tips, and Suggestions section where we identified YSO videos which illustrate this method.

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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CALICO PUMPKIN PATCH 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. As mentioned in the Hints, Tips, and Suggestions, tint the canvas with White (Gesso), Burnt Sienna, and Ultramarine Blue.

This should create a soft warm, medium gray tone. Just paint it on loose and free with the #10 or #12 bristle brush. It is ok if brush strokes are visible.

2. After the tint is dry, lightly sand off any loose hairs. Then take your soft-vine charcoal and make a fairly rough but also a fairly accurate sketch of the main objects.
3. I recommend you take a photo of the sketch with your smart phone to preserve the image because you will lose some of the sketch during the painting process.

Ready for the next step?  Click on “CALICO PUMPKIN PATCH 02” below!

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CALICO PUMPKIN PATCH 02

1. Now we will mottle the background in around the main subjects that we discussed in the Hints, Tips, and Suggestions To do this use a #10 or #12 bristle brush. Now simply take a variety of colors that have an Autumn tint to them like yellows, golds, siennas, olive greens, oranges, etc. Plus use some White (Gesso) to change the values and tones of the colors.

NOTE:  Remember this is a mottled background so you want to use very loose, broad-brush strokes. Also keep in mind that we are not trying to create a particular vegetation or leaf pattern. We only want the suggestion of foliage.

2. Also, pay attention to the contrast rule: Make the background a little darker on the right side of the cat against its white chest and lighter on the left side against its darker back side.

Ready for the next step?  Click on “CALICO PUMPKIN PATCH 03” below!

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CALICO PUMPKIN PATCH 03

1. In this step, you want to underpaint all the objects. You can use the #2, #4, or #6 bristle brushes to underpaint these objects.
2. For the calico cat, underpaint the white areas with a soft cool gray tone:

• White (Gesso) with a touch of Ultramarine Blue and Burnt Umber.

For the dark areas, use:

• 50% Burnt Umber, 50% Ultramarine Blue

For the warm, butterscotch tones, use:

• Burnt Umber with Cadmium Yellow, Cadmium Orange, and a touch of Burnt Sienna. Then add just enough White (Gesso) to create the value and tone you want.

NOTE:  Be sure you do not detail or overwork the underpainting. We will do detailing in the last step.

3. For the straw bale, use:

• Burnt Umber with a little Cadmium Yellow, a touch of Dioxazine Purple, and even add a little Burnt Sienna or Cadmium Orange for the deeper shadowed areas.

For the lighter areas, add:

• White (Gesso) and more Cadmium Yellow to create more of the golden tones. Use these same tones for the ground areas.

Ready for the next step?  Click on “CALICO PUMPKIN PATCH 04” below!

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CALICO PUMPKIN PATCH 04

1. The main thing to focus on in this step is to bring all the highlights up using more clean, pure color. We want this to really pop.
2. For the White areas of the cat use:

• White (Gesso) with a touch of Cadmium Orange to tint it so it will not look chalky.

For the Black areas of the cat use:

• Burnt Umber with 50% Ultramarine Blue

For the Butterscotch tones, use:

• White (Gesso) with a touch of Cadmium Yellow Light and a touch of Burnt Sienna

Just play with these colors until you find the rich highlight tones you want. I recommend you use the #2 or #4 Dynasty (chisel-edge) brush for these highlights.

3. For the pumpkins, use:

• Pure Cadmium Orange with a touch of Cadmium Red Light for the bright pumpkin tone. You can add a touch of White (Gesso) for the EXTREME highlight areas.

I recommend you use the #6 bristle brush for finishing the pumpkin. For the shadowed areas of the pumpkins, add

• A touch of Dioxazine Purple and a touch of Burnt Umber to the Cadmium Orange and Cadmium Red Light mixture.

4. For the straw bale and straw scattered about on the ground, use:

• a mix of White (Gesso) with a touch of Cadmium Yellow Light and a touch of Burnt Umber to create a rich golden color. Then with your #4 script brush or the #2 Dynasty chisel-edge brush, scumble in the individual straws. Be sure to use several overlapping strokes in all directions.

NOTE:  Don’t be afraid to make the highlight tones brighter by adding a bit more White (Gesso) to the mix.

5. To finish the ground area, take your toothbrush and splatter a bit of little pebbles of different colors.

Finally, the little gourds or any other vegetables you want to add are optional Just make sure they do not compete with the main objects.  

HOPE YOU HAVE ENJOYED THIS ONE!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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THE PERFECT STORM 01

Before you start, make sure you have reviewed the SERIES TUTORIAL. If you missed that, just click HERE.

1. As mentioned in the Hints, Tips, and Suggestions section, this is a multi-colored, multi-valued tinted canvas. We will be using a mottling technique instead of the standard warm or cool gray tones.
2. First take your 2” Hake brush and beginning at the bottom – using large overlapping X strokes – apply a liberal coat of Gesso in small layers at a time.
3. While the White (Gesso) is still wet, begin applying the different colors starting with the Alizarine Crimson at the base. Then work your way up with more White (Gesso) and other colors (blues, grays, mauves) until the entire canvas is covered. Remember this is only the tint so don’t worry about it being a little sloppy with brush strokes showing. Put the paint on thick enough so that the brush strokes will show up slightly.
4. After it is thoroughly dry – lightly sand off any loose hairs and make a very rough sketch of the large cloud masses.

NOTE:  The clouds will change dramatically when you start painting so don’t worry about an accurate sketch.

5. Don’t forget to photograph the sketch with your smart phone to preserve the image for future reference.

Ready for the next step?  Click on “THE PERFECT STORM 02” below!

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THE PERFECT STORM 02

1. Now – the FUN begins! Take your #10 bristle brush and take:

Alizarin Crimson with a touch of White and re-paint the base of the sky so it is clean and soft with a few broken cloud shapes on the left side.

2. Now go to the top of the sky with the #10 bristle brush and mottle in very suggestive forms of clouds. Use different shades of blues, grays, soft purples, and subtle white formations. Work these down toward the center of the large cloud masses.
3. Now take the #4 bristle brush an add small amounts of:

• White and Cadmium Yellow and dry brush in the soft yellowish white sun glow. (We will make it brighter in the final step.)

  NOTE:  If you choose to use different tones at the horizon – this is the time to do that. I personally chose to add Yellow, Orange, and a little White to create a much brighter sunset effect.  Use the #4 or #6 bristle brush for this. Keep the strokes fairly horizontal.

Ready for the next step?  Click on “THE PERFECT STORM 03” below!

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THE PERFECT STORM 03

1. Now we will begin building the layers of thunder heads. Start over on the right side of the sky. Take your #6 bristle brush and paint in the lighter clouds first using a drybrush technique (see “Nature’s Fury, Unleashed” for this technique.)
2. Now gradually move your way across the sky – gradually creating the larger cloud formations. Make sure to make each overlapping layer a little darker than the ones underneath.

NOTE:  It is very important that you create a good variety of shapes, sizes with interesting pockets of negative space around the clouds to make good eye flow. Be careful not to use repetitive shapes in one area. SPECIAL TIPS

1. Be sure to stand back often to check negative space, overlap, and value changes. Also be sure to make the edges of the clouds soft and stay away from hard edges. Finally, be sure to use a variety of tones and values; pay attention to the Contrast Rule (light against dark).

2. Also, don’t be afraid to use different parts of the brush – like the side, tip, edge, etc., as well as various brush pressures. This will help you create better shapes and blends.

Ready for the next step?  Click on “THE PERFECT STORM 04” below!

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THE PERFECT STORM 04

1. Now we can begin details, highlights, and adjustments. First you want to study your cloud formations and carefully re-adjust shapes and forms and check for negative space surrounding the clouds to make sure you are pleased with eye flow. Also, make sure the edges of the clouds are soft.

NOTE:  Use the #2 or #4 bristle brush for this.

2. Once your clouds are adjusted
3. then brighten the sun glow with:

• White (Gesso) with a touch of Cadmium Yellow Light

Just be sure to put the paint very thick so that it is clean and bright. Then take a small amount of this color on the side of the #4 bristle brush and drybrush in the sunrays from the sun outward. Now take some of that same color with your #4 round sable brush and paint in a few silver linings on the edge of the large cloud formations. “Powerful, Proud, and Free” is great to study for those techniques.

4. This would be a good time to add some brighter tones of yellows, oranges, golds, etc., at the horizon. Don’t overdo it but add enough color to make the horizon really come alive. Use a #4 or #6 bristle brush and fairly thick paint for applying these tones.
5. Now move over to the lower left corner to paint in the rain bands. All you do here is take:

• A small amount of the dark gray cloud mixture and thin it down to a glaze/wash. Then with the #6 bristle brush, drag the rain bands down from the cloud to the bottom of the canvas. Make the bands different widths.

6. Now to finish up, create a dark mix of:

• 50% Burnt Umber and 50% Ultramarine Blue

Thin it down to a very ink-like mixture and use your #4 sable script brush to paint in a nice collection of various tree limbs and trunks. Just remember to use good negative space. These limbs balance the painting, so they are very important.

GOOD LUCK AND HAVE FUN!

Neither YSO 1.0 nor YSO 2.0 provide evaluations of your work as these are both self-paced instructional materials. However, should you decide you would like feedback on your painting, Yarnell Certified Instructor Debbie Mattison is available to do a simple written critique for a minimal fee. Debbie is also available for more in-depth critiques. Contact Debbie at debbie@debbiemattisonfineart.com or learn more click HERE.

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