Use brushwork skills to paint in a loose, impressionist style.
Assess a subject for suitable composition and potential for a strong painting.
Master color mixing.
Identify shapes, color and light effects with confidence.
Attend this dinner I'm going to be looking at brushwork And we're back in the village of new Bethesda with this lovely little composition that we can work from. So I've set off to a rough sketch. And just as a guideline based on the studies I've done and straight into the blocking in the docs which you're quite familiar with by now I'm sure. So we are going to speed through parts of the process and slow down for the brushwork but we're only just discuss some of the stroke techniques that I'm using in this painting. And obviously in this blocking and are using and Dolly to blue ultramarine blue but of Sienna and then into the lots. Starting with the sky. A warm titanium white with a touch of an old marine blue. And it's just getting a feel for the walking in and then the focal point will be at the end of this. This possed little house in the distance and the lot on the road going by the stage I'm using a fine head brush well brush. But as I get into the thick brush work particularly in middle and full ground I'll be using a bristle brush and getting some paint into those close up areas and into the middle value pots the just until getting that correctly. This caused a lot of light on that but it's also cooler obviously than in the foreground so I'll be keeping an eye on those cooler temperatures and go into detail looking in. So but into the. But thicker paint using a saw six bristle brush in the sky. A full bird and but a cooler temperatures a pint at the end of that process just to hope to bring the Paul down a bit. Doesn't look like we're going uphill. And I want to just stress the Mach some putting in its short deliberate brushwork very Derrickson varying angle and getting the paint on the brush so I can put on a good amount of paint in the first strike. Turn the brush over put some more paint brush strokes on to aren't overly blended. It's more off putting it on the spot curving it or dragging it in the direction that I think is suitable for that particular mark. So I'm trying to think about the brush strokes and not just haphazard and I'm not just falling in paint for the sake of it trying to think about the brush and and not losing the brush. Mark not a perfect science of course. I will be going over some brush work on developing locks but as long as I've got my thoughts engaged and having some sort of purpose. Things got much better. The paint goes where it should and the painting develops almost on its own. So you go into this wall. It's cool temperature color. And we'll go through that. I'm back on to find a hair brush I remember in the shutter the parents should be thinner than the paint used in sunny areas of difference in thickness of paint and texture all helps to synch the mood whether it's in the shutter and cool in the sunny areas and you use paint and brush to a sense should those areas in different ways keep that in mind and finishing off the off it's not just walking it in and the process of sort of being inundated through long usage. So I use concave brush strokes in that area and emphasize that to match the situation in the. So finishing off the blocking and warms and cools lots of docs a lot of the dogs disappear in the States. So that is why it's important to come back later on and re-establish those thoughts in your second or third layers of the painting. So nearly done of the walking in. And hopefully you've seen a variety of brush work to get to this point. It's not the completion of the painting but we've made good progress.