Stormy sky prairie scene watercolor tutorial Video Lecture | Master the Art of Watercolour Painting (English) - Art & Craft

hi there Lindsay here the frugal crafter
with another painting tutorial this time
it is a request by Sarah Hoffman she
asks could you paint a tutorial for a
prairie scene the colors out there are
amazing with the bull skies and bright
fields while if did find a prairie that
I wanted to paint over at paint my photo
and the photograph is actually by Rachel
Eversole and it's not really a wild
flower filled scene but I think you'll
like it anywhere it's very very pretty
and I took a photo of my um my sketch
here so I hopefully will be able to make
that into a little pattern for you to
give you for free on my website and just
look below the in the video description
for a link to that also a link to the
photo definitely a link to the photo at
paint my photo but hopefully a link to
to a pattern as well now I wanted to
keep a limited palette I've got five
colors here and I usually don't use
pre-made grades but I really wanted to
to make a stormy sky here and um
whoopsie press some buttons here and so
I'm going to use some Payne's grey
because it's kind of um it's kind of
nice earthy great it just makes a really
good moody sky and that's kind of I want
here so I've wet the sky portion of my
paper and I'm just kind of putting in
these dark storm clouds this is just
Payne's grey and the reason I like a
like Payne's grey is that it's just um
it's kind of granular and just it's
gonna really it's not a flat gray like
some Grey's a very flat this is a lot of
vibrancy in it and I want to add a
little ultramarine in there too I think
that's a probably a bit much and I mix
it out into the Payne's grey first see
the nice thing about to being
sedimentary is I can actually go in and
I can I can mix it up mix it off or lift
it up if it's not quite right and I want
to have a little bit of yellow in the
sky too I think a little bit of yellow
ochre actually I'm using raw Sienna I
usually use yellow ochre but today I
decided I wanted raw Sienna I'm gonna
get some of that to the sky to just to
warm it up a bit
a little bit more of the Payne's gray
this is Cottman colors I'm using your
common colors there how's that for a
moody sky I think that's I think that's
really nice I like that Scott we just
tipped it a little bit I know you
getting some glare there and if I see
any puddles I might actually be inclined
to leave any puddles because I would
give me kind of an interesting uh look
but sometimes you'll just kind of bang
it and get the get the paint moving a
little bit there we go I really like
that now that's that's kind of more like
what I want for my moody Prairie sky
okay so and then what I did you know
I'll grab a couple different pictures I
might take the sky from one and take the
general scene from another one all right
so I'm going to look at this building
here and I don't really want a tackle
building yet so what I'm going to do is
I'm going to leave this kind of band of
area just plain and I'm just going to
wet the bottom part of my paper and this
is just a bolt elapid ated barn or shack
I mean this boards missing you can see
through it to the to behind it so that's
a reason I'm going right over it with my
with my water because your paints only
going to travel where the paper is wet
so keep that in mind and I'm going to
use some raw Sienna here I'm going to
warm it up a little English red now this
is it's always out of those out of my
comfort zone anyways to paint something
that's not local to me or something I've
experienced I have I've never been to
the Midwest so you know this is a cut
probably gonna look very um probably
look like a flatlander paint in the
lighthouse is what its gonna look like
because I've never really I've never
witnessed this firsthand myself so it's
hard to get a really true look sometimes
but I'm going to do my best and I'm
gonna have fun alright I'm also going to
tone the top of this building while I'm
at it because I don't want it to feel
like it's just kind of Stark
and let's see there's some kind of looks
like just dry vegetation on the ground
just like really looks dusty like the
Badlands or something so I'm going to
take a little more that raw Sienna and
grab a little bit of SAP green and I
think I'm just going to kind of uh I'm
just twisting my brush look we're still
that big brush I'm just going to twist
some just little patches of grass in
here and then of course cuz a painting
of mine would be complete and I have to
apologize who is that oh gosh I wish I
could remember people's names when I'm
on the spot
I can never but there's a one girl she's
like I love your tutorials but that
credit card scraper man it makes my
teeth hurt and I'm sure it's just
probably just the microphone just
picking it up just so and it's making
and it makes an awful screeching sound
kind of markers do that sometimes I've
noticed I'm just gonna do some little
little flicks with my little credit card
scraper I just I really like that you
could use the end of a paintbrush but
the credit card scraper seems to be so
much finer and I can get so much better
detail especially like if I look at this
big brush that's not gonna give me a
really fine scrape but the little uh
little paintbrush spring scraper papers
jaw kind of card scraper will oh boy you
know this is looking like voiceover
material here
oh let's see we're just gonna add a
little bit more of that color SAP green
and raw Sienna just over near some of
the places I've scratched just to help
make it a little bit darker there we go
and I also want to just kind of give it
some pebbly flecks so I'm just gonna
grab some of that Indian red and oops I
got that in the sky didn't want to do
that
who shoulda done something else there
maybe mmm you know what maybe I can do
what the sky right there and drag some
of that over there so it will be so
that's alright grab a little more that
Payne's grey sometimes it happens though
getting how to fix it right so the more
that Payne's gray in there I might get
some blooms here because I'm going wet
paint on top of a damp surface and but
you know what it's clouds so I don't
really think it's going to be that that
bad if that happens
we'll see yeah and then you cannot
obviously not do that on your picture I
think I'll do the safer Rogo with a
stiff bristled brush for the rest of my
pebbly stuff here let's I can control
that a lot better there you go little
little tip for you don't do what I do go
restock my ultramarine blue I just want
to give some pebbles and dirt they are
in the ground I just get a little
texture even I grab some of that SAP you
can flick up with some grasses of that
if I want to
well those let's flick up a bunch and
then I'll blot off what I don't want tap
in some pebbles - gravel whatever and
then any place I feel like it's a little
much I could just tap it off else wanna
maybe bang that a little bit help that
about those clouds do the thing I did
get a few flecks of a brown up there but
I could look like a dust storm I hear
it's dusty out there all right I'm gonna
blast this with my heat tool dry it up a
bit then we're gonna be able to tackle
the inlet here this little looks like
more prayer eNOS back there so hang on a
second okay we're back with dry paper
now what I'm going to do is simply with
a my clean angular flat brush whatever
you have now I have to uh I do sometimes
get some questions about like you know
what are your basic supplies do you have
a video where you show all your basic
supplies um I try to go over everything
a little bit well I am in every tutorial
every tutorial is kind of like I'm not
expecting that you've watched any of my
other ones and this could be your first
one so that's why I kind of just go over
what I'm using but you're also going to
develop your own preferences as far as
you know what supplies you like like I'm
using a 3/4 inch angular you could use a
half inch flat you know you could um
substitute for what you prefer so you
know I think
there was a this is a there's a channel
this YouTube channel my husband watches
a lot and by default I end up watching
it called food wishes and he was at he
was asked a very similar question to
this accepted regarding two recipes and
cooking and he was a reason I post
recipe is because I'm not teaching you
to follow a recipe I'm teaching how to
cook so I'm not teaching you how to copy
exactly I'm teaching how to paint so you
be able to paint whatever you want to
paint when you know when you feel like
painting so what I've done here is to
make any sense did it I add no idea so
what I'm doing here is I just did some
raw sienna and then I'm putting in just
I you look at my palette heels I've got
this really muddy mix of it but this is
really what I want I want this kind of
neutral palette and neutral colors and
it's it'll come together I'm very very
sure it'll come together but I'm kind of
cleaning up and using the values on my
paper and somebody adds on my palette
and somebody asked what do you mean when
you say value and value is simply how
light or dark something is a value is
more important than color because if you
think you think of value think about
taking a photograph and then converting
the photograph to black and white and
think about that with your painting so
you paint a painting now if you were to
photograph that and convert it to black
and white would you be able to see what
it was so if you rely on your colors too
much for contrast and um and you know
differentiate a differentiy I can't sit
different for different RIA I can say if
you rely on your colors to differentiate
between sorry between items and things
on your picture then it's going to be
kind of a weak in composition picture
you want to make sure your values have
enough contrast so that so that's what I
mean so basically if your values are
good doesn really matter what colors
you're using but I am I'm working this
kind of uh just these kind of an earthy
muted tones and it's okay if they're
getting muddy on my palette because I'm
going with really some muddy somebody
neutral colors here on purpose
all right I want some more that I'm
there and so what I'm doing here if you
notice I'm gonna notice this but I'm
kind of guiding the I in AZ type
composition so you I'm bringing your eye
through the photo with my with my value
and with the kind of how I've laid
things out I did start with a beautiful
photograph so that definitely helps and
I omitted some things from the
photograph there was some silver metal
thing here and I couldn't tell what it
was so you know I don't want to paint
something that I wasn't sure what it was
to begin with so I I omitted that so I'm
letting my colors totally cross
pollinate here but that's alright I'm
using the same colors over and over so I
know they're gonna harmonize a little
more blue and they're way more blue in
there the inside I can actually go into
the inside of my building here cuz it's
kind of dry in there and I can start to
add some of the darker areas this old
decrepit building I could have switched
over to another brush by now I'm just
really I'm a big Brush painter I like to
use a big brush I find it very
liberating I like to be able to cover a
large area this is a 9 by 12 so it's not
my you know the watercolor cards I
generally use but I just kind of like to
carve things out of the landscape here I
guess carve carve little compositions
here I'm gonna go under the roof of this
building
bring those shadows and it's you know
when you're painting what you're
painting a shadow light and shadows so
keep that in mind
try not to psych yourself out thinking
it's really complicated it's not anybody
can do it
if you have the desire to do it you
don't have to have the money for
expensive materials you don't have to
have an art degree you just have to have
the desire to want to do it just going
and painting in the in the building a
little bit
it's on the shadows from endzone on the
ground inside the building sometimes
it's easier to go into the big brush
because then you cannot fuss around
details too much I want to use a little
Indian red on the roof hopefully it's
dry enough there might blast that little
section with my heat gun just for a
second use a hairdryer if you don't have
a heat gun you don't have to have a key
again I just have one always on mice um
always on my table plugged in while I
work so it just works for me to use them
but use what you have you know use a
sunny window go dry it out outside if
that's what you have
don't let your you know don't let a
little amount of I'm going to switch to
a smaller brush don't let a limit of
resources limit your resourcefulness ah
how about that I've said something
eloquent today it's can only go downhill
from here probably all right I'm just
using some more the colors already
already have and already been using just
to fill in this little rusty metal roof
here looks like there was some red paint
at some point on this building so I'm
getting that in there
and once you've got some wet paint on
there I want to have some more Gray's on
there's a very dour looking
establishment so I want to have this I
don't want to have it too lively in
color I want it to really have that kind
of desperate look that the that the
photograph has a photograph has a very
melancholy desperate look to it now when
that's all wet we're going back to our
favorite thing which is the credit card
scraper I'm going to scrape in similar
cloud boards here now just go here and
there because if you start spacing out
perfectly the second you get one this is
not perfect it's gonna make the whole
thing look out of whack so you just want
it hint you want the illusion of uh you
know you want the illusion that you know
what you're doing he want the illusion
that all those cloud words are there you
don't want don't want to make it too
perfect and will do the same thing on
the side of the building right over here
just read what the whole area and we
doing with our Gray's I think I'm gonna
put a little bit of the raw Sienna in
there too that's actually a little too
wet I'm gonna block that off a little
bit there we go
don't be afraid grab a towel and blot it
if it's if it's a little too wet you
don't want to be swimming in that you
don't want it to be um you know
bothering you the whole time and again
in with our scrape ease my apologies to
the heavy ones teeth it's funny how
things sometimes sound really weird on
the microphone they sell fine here but
you know on the microphone that is
really weird now this I was I was
recommending a brush the other day is a
wool Cornel comfort grip and um they
were talking I was talking to a viewer
about um I say talking were we were on
you know typing YouTube whatever on the
comment section and she was saying how
she has little Cornel brushes in there
rubbish and the hair keeps falling out
and it just you know made me think that
yeah they almost all pink companies or
brush companies will have like a cheap
line and a good line you know different
because I'd mentioned if you find that
toll painting brushes for decorative
artists they're usually great and you
can use it for watercolor too and
they're not too expensive and the cats a
case with this little Cornel I think
these are probably and uh you know I've
mid-priced I would say they're probably
alright like this brush is probably
between three and five dollars I can't
see sometimes I write it right on the
brush but um you know I don't consider
that inexpensive too expensive of a
brush and you know it will be used and
if it's a watercolor then it will last a
lot longer than using it with acrylics
so so we were talking about that and um
and so I just wanted to make sure I
mentioned what this brush was because I
do know that you know everyone's on the
lookout for a good brush and you can't
always find the same brushes that I'm
using so I like to mention the different
varieties that I use I'm here just
painting the blades and I'm not really
filling them in I'm just kind of putting
I'm just painting the reflection the
darker selections on the blades because
I don't want to overdo it I don't want
to uh yeah I don't make it too dark it's
obviously kind of dark in there but I
don't want to make it overwhelmingly
dark and I'm probably not putting in as
many as is in the photo because
sometimes you have to minimize in order
to make it you know not look overworked
okay and this thing here let's say this
is should be a little bigger and you
know I've sketched this on but I'm
finding that the more I observe the more
I noticed that it should be a little bit
different I'm not a little bit different
but I go in and I'm spending as much
time looking at my screen with a
photograph on it as I'm looking at my
paper you can't see my face but um look
at my face if I bothered you can't see
my face but I'm spending as much time
looking at the at my photograph as I am
looking at the picture and I think you
need to do that if you're trying to copy
something now while I have this dark
color I am going to I know I here's my
artistic license I really wanted to my I
felt that my composition was a little
weak so I wanted to I want to brown that
up a little bit let me add a little bit
of that English right onto my brown
there um I wanted to have something
that's gonna pull your eye through and
since I didn't know what that metal
thing in the middle that I omitted was
which really I think was
nice in the photograph but I didn't know
what it was so I'm not you you know
you're kind of piss over your painter
you're kind of a con artist you're
trying to make people believe that this
is what it is it's not what it is it's a
painting it's paper it's paint on paper
okay so you're a little bit of a con
artist as a painter because you're
making people believe that this is what
it is so in order to make it believable
you have to kind of know what you're
painting so since I didn't know what
that was I felt like I needed a little
something so this fence having a fence
in here that's gonna wrap around um and
get kind of bigger as it gets further
down the paper is a way for me to do
that it's kind of a little cheat and um
so that's what I want I want to put this
little this fence in here for that
reason
so that's why I did that and I also feel
like I need to anchor it because I can't
really see there's no offense there
there are a few little fence posts that
are kind of around that metal thing that
is mysterious
does anybody know that mysterious metal
thing is if you guys look at that photo
in the Midwest I'm not a farmer I have
no idea what that thing is I'm very
curious inquiring minds want to know
what is the crazy metal thing in that
picture alright so we are actually at 20
minutes so that means we are I am
editing this together but you know I
think I'm gonna leave the narration the
way it is because I had so much feedback
from you guys saying that you really
appreciated the live narration alright
feel like I need a little bit of dark in
front of this building a little more
gray I think I'm I think I need a bigger
brush this one's feeling a little
restrictive and let me add there are
some sticks kind of prop in this old
dilapidated building up so I want to get
those in there's kinda there's some
sticks to during yawn just on the ground
and I'm varying my colors as I go make
some lighter with my yellow with my raw
sienna making some darker with the
Payne's gray and brown I just want to
kind of keep that I want that contrast I
want the difference on what the interest
when you're painting the same things
over and over again you gotta have that
intro
thereby varying color or the shade now
I'm going to paint some bigger fence
posts towards the front and they're kind
of weathered and gray so I'm going to go
with my Payne's gray water it down a bit
and I'm going to paint them all in with
that but then I'm actually going to go
in with more concentrated some Indian
English red rather and spruce things up
a little bit but I one this is kind of
like the technique where I'd normally
paint it with water first and go into
the color this is um kind of that
technique except I'm doing it a little
bit differently oh yeah that's the gate
there can hardly see my uh my original
paint my original sketch anymore I've
covered it over so much that's that's no
worries though that's fine don't worry
about covering over your original sketch
okay cuz you know we're painting we're
having fun no need to worry I'm gonna
avoid that for a moment cuz that's
around some wet paint and it's gonna
bleed that might cause me to worry I'm
just gonna avoid that for right now so I
like and I like how water color just
kind of mixes and mingles and blends
well this is fun isn't it it's so much
fun to to paint from a photograph that
that somebody took that knows what
they're doing all fun no worries
and yeah we got some cross braces under
here that i didn't sketch in so i'm just
gonna go ahead and put him in right now
yep oh right there oops that's a little
unrefined but I can get back to that
let that dry I can go over back over
that with another layer now I like kind
of how the paint you'll get kind of like
a hard edge and then a blended edge cuz
you're blending into some paint that's
that's been drying you'll just get some
really interesting effects and I hope
you uh can relax and enjoy X I know
sometimes it can be a little scary when
your paint is flowing and maybe doing
what you don't expect it to do but um I
heard utility you know let your paint do
what it wants to do you know so much
more fun painting if you just accept the
fact
that watercolor is like a cat and it's
going to do what it wants to do it's not
an obedient dog that would be oil paints
there be the obedient dog watercolors
are cats they have their own agenda you
do not figure into their agenda they're
gonna do what they want alright now I
feel like I feel like blotting that cuz
that is just going a little crazy over
there let's just let's just deal that
situation okay here we go oh I'm gonna
have to you know fill in a little bit
there cuz it got a little white but now
we can have some fun with some details
and I think I'm gonna just I really
enjoyed this brush just is a number four
by the way comfort-grip ol chronology SH
you are looking to to find that brush
but the thing I like about it is that it
has a really sharp point so I can use
this brush kind of like I would a liner
or a dagger striper and I'm gonna there
aren't tines on this fence but I just
feel like gosh would it be nice if they
were so in my world there are tines on
this fence a long time since I did
they've held anything in but hey why not
that's a gate that probably wouldn't be
tines on that one I'm just trying to
figure out exactly the way that would go
like that I guess mm-hmm I don't know I
should've thought a little bit more
about how I was gonna connect these
before I started doing that but I think
I'm I also do that over here while I'm
at it
at least it killed the close ones where
we can see that's a nice thing about the
live narration I think you can kind of
hear as I am deciding on things and kind
of you can determine why I've decided to
do things that I have done or heaven or
you can see when I've made a mistake
instead of me
you know just telling you I made a
mistake here and then I decided to do
this you can actually see me make the
mistake and figure my way out of it or
not it's not even a mistake it's just
it's kind of how it is you kind of come
across these challenges and then you
deal with them
it makes what's of what keeps you
painting it's what keeps you coming back
because you know there's always
something new to learn something new to
experience and discover I'm going to put
some shadows underneath this little pile
of sticks over here help them stand out
a little bit more alright and I'm really
paying attention to the sketch for a
photograph for a moment because I want
to figure I think something there maybe
I'll just put like it's put some just
little wires going off the edge there I
feel like I've you know like those math
problems and you would or and you would
or you'd connect the dots you count and
you know school and it would like make a
shark you connect all your your numbers
together you'd do little problems
connect your numbers and get like a
picture when you're done and sometimes
they'd be like way off you tell it's
supposed to be a shark be like ooh
something's not not right there yes good
help I go my little fence right now but
I'm not too worried about it I think
it's gonna be fine all right I want to
get a little bit of the Indian red
because I noticed there was uh what I'm
doing there's blotting off I too much
water my brushes blotting that off um
it's gonna put like a little bit of a
it's a little design or something on
that windmill is some sort of color
there maybe it's just rusting metal I'm
not sure but I want it on there because
I think it's it helps the composition
now I think I'm gonna do a little dry
brushing to add some texture to my fence
posts and the best thing for dry
brushing is an old hog brush kind of
like what oil painters use them this is
you know I'm sure it's from my
collection my oils and you want to load
it up and the brushes the bristles are
going to want to naturally kind of stay
dry they're really stiff and so use up
to your advantage and you'll be able to
kind of drag some texture and it will
make it look really dried out and
weathered but you only want to do that
on the the items you're closing that the
view will be close enough to to be able
to see it so don't don't worry don't
bother doing this on I think too far
away because the viewer wouldn't be able
to notice that detail if you're standing
here you're not going to see
tell the fence posts way over there so
just keep that in mind as you're working
I think what would my viewer be able to
see from where they're standing
and like the clapboards on this house I
think they could see that so I want to
get some of that weathered look dragged
across there and dragged across the
front if I want a skinnier side I'll
just kind of go on the edge and like it
also can look like like old buildings
you get kind of if they're wooden and
they haven't been painted and taken care
of they can get that mildewy that just
that wood rot
you know we want to get that in there
too I mean decay can be very beautiful
and we get some maybe some reds and some
yellows up there I don't really want to
clean my brush it was kind of keeping it
I'd you need to wedded a little bit to
really some color but I want it kind of
I want it kind of grungy doing a lot of
dirty brush painting here because once
look old alright a little bit of that
and they're just this is just dry
brushing that's the name of this
technique drag someone's right across it
looks like you know one time it was
painted back in more optimistic days
pull over to that back there too you can
also use this to scrub out any mistakes
they may have made like you wet an area
you just scrub it with this and blot it
and then you can get some some problems
erased basically all right so now I want
to add some little Tufts of grass some
more I'm looking at the monitor and I
have to say I'm kind of enjoying this
this isn't something I typically would
have said yeah I want to paint that so
that's kind of how the requests are
really helpful to me when you guys go to
my blog and you you click on the tab
that says requests and new videos it's
helpful because you know I would never
think I'll paint a prairie you know yeah
I'll paint like you know fall leaves of
Maine you know till the cows come home
because that's what I'm used to but this
this challenges me and and I'm able to
be challenged and you know experienced
painting something different and I'm
also able to help you guys at the same
time and that's just so awesome
happy to do that and it might take me a
while to get teary quest because I get a
lot of requests but um but I also
sometimes skip around if I find like a
grape if I see a great photo of
something and thinking oh gee I'd like
to paint that someday or I'm noticing
something in my own area my own hometown
and I think all that make it great
that'd make a great artwork if I see
it's all it's just been requested you
know I might just go ahead and do that
right away so you know for something you
want to see me paint go ahead to my
request page on my blog and post it
there you know you can post it here too
but I don't always get them I don't
always think to come back and check so
you know it ends up being on the sticky
note somewhere or my house and it may or
may not make it onto the make it as a
request again so if you uh if you do
have the time and you want to make a
request just go over to my blog and and
post it there my blog is the frugal
crafter wordpress.com and there's a link
under the video alright I feel like I
want a little bit of a golden texture
here golden text ray a texture that is
golden the raw sienna it's funny I'm
always using yellow ochre but goodness
I'd like that raw sienna that's awfully
pretty it's more transparent I think a
little more vibrant I'm gonna be use not
a lot more often now um you know what I
think I might a bigger brush this is
another it's a creative mark it's a one
inch angular hog brush I had this
forever this way I won't get too fussy
now I have a little bit of a crisis of
conscience conscious with the hog brush
hog brushes as you know I'm a
plant-based diet my diet is vegan but I
do have some animal brushes most of them
have had for a long time I've had this
one for a long time I do not buy Sables
I have some because they've been given
to me in my stash and like I throw them
away that seems even worse than to you
know you know then you know it's like
well you know you can't bring the animal
back but um you know my family does eat
meat the hog bristle brushes they're
brought a byproduct of the meat industry
and since you know my family eats meat
and you know I prepared for them I will
buy hog bristle brushes the other thing
is they do not
they last a lot longer than many
synthetic brushes for like especially
for stuff like this I never had to throw
it away because you know it just worn it
out they just last and so so yeah I do
use hog brush hog bristle brushes but
that's a choice you know make it make
that choice for yourself I'm certainly
not gonna judge you either way that's
your that's your prerogative I just want
to tell you why I do use the hog whistle
brushes I just find that they last and
you know if I'm if you're throwing away
you being rough with a brush like this
you deal with a synthetic brush it's not
gonna last you very long and you're
gonna end up throwing it away and then
how many you know how much pollution is
that making when you have to keep your
buying the same thing and you know not
to mention your budget so you know just
I just wanted to put that out there
because I know I don't really talk about
being a vegetarian very much but I just
thought I'd put that out there so people
know first of all where their supplies
are coming from and then they can decide
whether they want to you know use
particular supplies or not alright so
here I am just taking my fan brush and I
am just adding some scruffy grass in
here and I'm gonna be stopping pretty
soon because I don't want to overdo it
I'm really kind of liking the way it's
coming out I want to take a I think I'm
gonna dry this ponder it for a minute I
want to pause the camera will I do that
and come back and do any finishing
touches with you okay so hang on a
minute
okay I've dried this I pondered it for a
couple seconds and I decided that I
think I want to pull in some more darks
I want to enhance some of my um some of
my stuff here so I'm going to use my
Payne's gray and I've switched to a
number four flat and this is a Robert
Simmons Xpression rather sorry flat
shader and it's again one of those tool
painting brushes I told you about and I
am turning my paper so that I can get a
really nice um angle of attack here for
this and I'm just gonna add some more
shadows in my little building here
some broken out beams in the back I just
want to get in there and get them in
there nice and crooked so it's obvious
that there is problems there is there
are problems there is problems there is
problems with my speaking there are
problems with this building all right
I'm gonna put a dark in our little
window here because that's you know
we're just looking to the vacant whole
of this empty building now an ice chisel
edge brush like this you can use it
sideways like this and just you know
really make some nice sharp shadows and
edges and don't forget to turn your
paper I'm working on a block and I'm a
12 Strathmore 400 series block and
that's fine because it's like kind of
how are you having it taped down but you
just take your paper down to biess
cardboard it's a not a big deal or piece
so I like hardboard from the hardware
store sometimes they'll give it to you
there'd be like they'll be like paneling
samples which are like you know when
they sell paneling for bathrooms and
stuff and when they did get discontinued
they'll have just these plain the
basically just plain pieces of hard
board and and they'll you know they'll
just give them away because they don't
really need them for anything once the
the things been discontinued so I've got
a lot of my just plain drawing boards
that way and it's great because you know
where I teach classes like I'm teaching
a drawing class you can just bring that
in and then all the students can have
their own right I want to bring that
down a little bit lower back there and
so sometimes I'll actually just look at
it kind of like ask myself okay is that
hitting the ground in the right spot
with that with that the back of the
building be there um you know as long as
you can make it kind of feel so it
doesn't you know feel awkward in your
mind as long as it looks kind of
comfortable that doesn't look like it's
got to tip over
you know I mean this is supposed to be
pretty uh pretty rough and rugged but um
you know I also want to make sure that's
not gonna make something feel
uncomfortable unless I intend it to feel
uncomfortable a little bit of the
submarine in there so I want my shadows
to fit where they're going I want them
to feel believable and not just you know
put a shadow in there for no particular
reason and also not cleaning my brush
between a lot of colors helps me kind of
cross pollinate and um give a little
more believability to a scene get that
you keep that local color which you know
is kind of hard to do if you're not
really familiar with the with the area
that your picture is coming from it's
fun it's funny like I you can always
tell when you're from an area in your
paint you can kind of tell whether if
somebody's painting a local scene of
yours whether they're from whether
they're from here they're from away from
away that's what you say here I mean
you're not from here unless you're like
at least fifth generation if your
parents moved to here and you were born
here you're still from away it's funny
um but like we we're talking with that
once with the artist friend of mine
we're talking about the lighthouses
how like a lot of times people from away
and they come in they panel lighthouses
they don't include the railing on the
backside you don't we show the full
ellipse or you know it's something you
don't really think of us like you know
but if you're from you've been in the
lighthouse before you've been in a
lighthouse probably at least once in
your life you know whether it's a school
field trip or you know you just you just
have an opportunity to be in a
lighthouse you just don't always have
that you know but if you're from the
Midwest you may never been in a
lighthouse you know but you just those
are the things you experience and
therefore you know it and therefore you
paint it in your experience shows
through
you just don't uh don't always have that
oh right I'm just gonna darken up some
of the tines on these fences that this
fence back here so it all is it shows up
because that can be darker because
that's gonna almost be silhouetted as it
gets further away from you and don't
worry about making the the details in
the back too sharp because things get
blurry is they get further away so they
can be very nondescript and let me tip
it one more time so I can take a look at
it and I think I think I'm enjoying this
I think this is pretty good the way it
is now somebody had asked me about sign
your name how do you know where to sign
it well I look at I figure out where
would it need a little something I feel
like I'm gonna use some Indian some
English red because I feel like it would
just be a much better um much better
look
here and I'm just gonna put my signature
right here if you liked this video
please give me a thumbs up and subscribe
feel free to share it on any of your
shareable places Oh Pinterest Facebook
with friends or groups that you think
might also enjoy this to be beyond I see
a she can't spell my name talk same time
apparently you appreciated that it helps
me out quite a bit I'd love it if you
checked out my other painting tutorials
so you can find a link below this video
um and thank you so much for watching as
always happy crafting