Scumbling achieves a soft, mottled background of warm, earthy fall tones; under-painting the walls and water.
Applying the next layer of warm autumn highlights; under-painting the rock formations; smaller and intermediate size tree trunks and limbs.
Adding brighter highlights to the background trees; adding highlights on the water and rocks.
Final highlights on large trees, bridge supports, tree limbs, water, weeds, and brush.
Snow scene at sunset includes an old farmhouse with lights in the windows.
Sketching in the house; blocking in pine trees and house; applying the first layer of snow.
Applying the final glow to the sunset; applying details to the house; adding another layer of snow.
Putting final details on the farmhouse, snow highlights on the ground, and pine trees.
Preparing a canvas for a bird painting; background for an eagle's head; miniature bird and animal paintings.
Sketching the eagle's head; under-painting the head, beak, eye and shoulder; blocking in feathers.
Adding final details to the eagle's beak, eye, head and shoulder; layering effect on the feathers.
Sketching in the pots; under-painting each pot.
Painting the final highlights on each pot; using small brushes to apply the design to each pot.
In this opening session, Jerry explains to his students how to use the Hake Brush, and the #6 Dynasty Brush to paint in the background and with the wet-on-wet technique paint in the tall out-of-focus background needs.
Drawing a human figure; under-painting the torso, hair and face.
Applying final highlights; adding taller foreground weeds.
Painting larger distant trees; proper placement of Teepee; adding highlights on the snow.
Sketching in the large dead tree which includes a hawk sitting on a limb and a hollow stump.
Jerry takes his students through the process of sketching in the large dead tree in the foreground paying special attention to the foreshortened limb that the Hawk is sitting on and the hollow stump. Then, he shows how to under-paint the tree and give it 3-Dimensional form.
Jerry shows his students how to properly sketch and proportion the Hawk sitting on the foreshortened limb. Then, he shows how to properly underpaint the Hawk's body and head. He begins painting in the eyes and beak and the feathers on the head.
Jerry shows his students different techniques for finishing the details and highlights of the entire bird with a special emphasis on how to create feathers. Then finishes with snow on the large tree trunk and limbs.
Using multiple colors to create darker hues which resemble nighttime; making a sphere shape to create the moon; distant trees.
Applying the glow around the moon and adding darker clouds; applying a second layer of color to the foreground grass.
Sketching in a large, gnarled tree; hillside and grasses; formation of distant geese; stars;
Under-painting the old barn wood.
Wood grain; adding final details such as cracks and knot-holes.
Miniature ruby-throated hummingbird.
Sketching in the hummingbird; underpainting with different hues.
Painting in some background weeds and leaves; using the round sable brush; details of wings.
Putting final details on the little hummingbird; using the chisel-edge brush to paint leaves, weeds and flowers.
Using contrasting values to create various cloud formations.
Adding the sunlight glow and sunrays; applying the silver lining to certain clouds.
Converting a photo of a sunset into a painting.
Creating a waterfall; layers of highlights establish form and details of rocks and falling water.
The proper use of the value system creates depth; using impressionistic techniques to underpaint and block in the background.
Using loose, impressionistic strokes to block in the middle and foreground; minor highlights lead the eye to specific areas of the painting.
Negative space creates good eye flow and form for the trees and bushes; foreground grasses.
Placing the barn; blocking in live trees; blocking in a large dead tree on the right foreground; middle ground flowers.
Highlighting the road, barn, large dead tree and leafy trees; painting daisies and grasses in the foreground.
Underpainting the forest, reflections in the water, middle ground and rocky areas.
Blocking in background rocks; using a bristle brush to dry brush in the fog and mist; leaves on distant trees.
Applying brighter mist and sunrays; additional rocks along the shoreline; tree trunks.
Increasing the brightness of the glow; additional rocks; blocking in leaves.
Detailing and highlighting the large autumn tree; finishing the painting.
Creating a semi-stormy sky; blocking in distant mountains; under-painting the foreground using grayish greens.
Creating distinct clouds; scumbling suggests different layers of clouds; dry-brushing a brighter glow at the sunlight area and soft sunrays; blocking in bushes and trees.
Under-painting the waterfall and stream; blocking in two large tree trunks; adding small rocks.
Painting in the leaves of two trees; brightening the highlights of the stream, background area and grass.
Painting the cabin; putting the final accents on the trees, waterfall and foreground; using the script brush for weeds.
Underpainting the sky, background trees, waterfall, middle ground, body of water, and foreground rocks; adding darker trees to the background.
Intermediate details include distant trees, first layers of highlights on the waterfall and ripples on water.
Detailing the entire painting from background to foreground.
Using seven values of depth by layering with an impressionistic style to create a sky, mountains, pine trees and rocks.
Rocks; defining the shoreline; highlighting trees; blocking in the Turquoise River.
Highlighting the river; river rocks and island peninsula; defining and highlighting background trees and rocks.
Logs and limbs along the shoreline; highlighting rocks, foreground pines and the river; adding final highlights to the water.
Blending in the sky, with a touch of red glow to create atmosphere; blocking in the cliffs.
Highlighting the lighthouse; shoreline rocks; adding pine trees to the shore cliff.
Close up rock formations in a snow scene using a warm color scheme; layering of distant mountains.
Adding highlights to rocks and snow; adding a silver lining to the rocks using a thick orange and white mixture; adding small branches to the foreground and birds to the sky.
Sketching in the steps; blocking in the side walls; formation of the front pilaster; small brush steps make the building look old and worn.
Painting in pots at the top and bottom of the steps; floral vegetation and leaves.
Adding colors to the flower arrangements; white gesso on the steps provides another level of texture; adding cracks to the wall and other surfaces.
Turquoise sky; wooden fence; adding detail to the foreground weeds.
Sketching the bird resting on a stump; light-colored weeds; white and orange flowers; adding light-colored feathers to the breast, head and wings; using a dark color for the eye, beak and dark sections of the feathered area under the wings.
Adding a non-descriptive dark background; adding light green grasses; sketching the cows and calf.
Using loose strokes to indicate the shape of the cow; highlighting body parts; adding shadows to the ground; grasses and flowers.
Creating turned up edges on the lily pads adds an extra dimension to the front side.
Sketching and blocking in the flower; petals are darker and warmer at the base; warm highlights on the pads; adding details to the flowers and leaves.
A flowered window box.
Adding shadows around the windows; brick work; adding flowers and flower pots.
A painting features a field of poppies.
Adding three layers of flowers in the foreground.
Applying the base color to the face, neck and legs; painting the garments.
Shaping the figure, hair and garments.
Adding shadows and highlights to the face; adding highlights and layers to complete the painting.
The importance of reference material in developing a composition; eye stoppers, overlapping and negative space; creating an entrance into a painting.
Creating a focal area.
Applying gesso; adding snow and penguins; how to mix black.
Adding orange detail to the head; the body hairs are applied; baby is blocked in and detailed.
Sketching a rose using white charcoal pencil; adding green leaves and petals.
Adding color and highlights to the petals; adding accents; painting green leaves below the rose.
Underpainting the piece in sections; adding the horizon line and the road.
Adding highlights and dark areas to the background and road; tree trunks; adding shadows across the road; rocks.
Sketching figures on the road; adding purple and red flowers; adding final highlights to the road, rocks and leaves.
Underpainting the sky; adding a dark tree line to the horizon line; using three values of gray to create depth with the land masses.
Sketching a cabin; snow highlights; adding a mid-range tree line; adding details to the mid-canvas trees.
Blocking in foreground trees; adding a glow to the painting with windows and a chimney; adding a fence with snowdrifts; final highlights to the tree trunk and weeds.
Creating atmosphere in a painting that depicts morning fog at the beach.
Adding details to the pier posts; positioning seagulls; elliptical brush strokes help achieve flatness of the water.
Adding shape and form to the seagulls; reflecting birds on the beach in the water; adding clouds to create movement in the sky.
Painting rock and a waterfall on a textured canvas.
Developing shelves for the waterfall with a chisel edge brush; masses of boulders.
Capping; making light pop in a painting; personalizing a painting.
Combining warm and cool colors to create a winter scene; blending sky colors; mixing underpainting color directly on the canvas.
Cast shadows; developing an atmosphere using warm and cool colors together; interweaving patches of snow; building groups of weeds.
How to be loose and free with brush strokes; final highlights.
Painting on a textured canvas; creating a stormy sky using the value system.
Creating high mountains by using different shapes; foreground.
Multi-step painting; Aspen trees; placing the shadow color of the snow.
Adding the bald eagle; developing the snow of the mountain peaks; accent highlighting adds glow to the painting.
A landscape features trees, running water, distant mountains and dead trees.
Getting rocks under the water; balancing negative space.
Reflections of shapes and colors give the water a wetter look; hotspots.
Overview of palette colors; under-painting the canvas; creating the snow base; loading and rolling the script brush.
Creating distant trees; highlighting on snow; highlighting the snow drifts using a scrubbing technique in middle ground and foreground.
Intermediate highlights and shadows; phase two of highlighting the snow drifts; blocking in the larger trees and fence post.
Finishing dead trees and adding taller weeds; adding light from windows and bright snow on roof; adding tall weeds with warm gold and rust colors; blocking in pheasant.
Painting the final details; highlighting snow on the fence and rail; detailing the pheasant.
Using mottling techniques for distant trees, bushes and weeds; repairing a damaged canvas.
Sketching in the heron; repairing a damaged canvas.
Final details on feathers; finishing the weeds, grasses and tree limbs; repairing a damaged canvas.
Blue bonnet painting includes distant hills, trees, meadows and road.
Highlighting on road and sand; using proper brush strokes to make the road appear flat.
Shaping the bushes and trees; applying first layers of blue bonnets; mixing the proper color for the oak tree leaves.
Highlighting the large oak tree; blocking in red flowers and blue bonnets; painting small rocks; close-up blue bonnets.
Painting the final details including the fence posts and dead tree; weeds; accent highlights; applying reflected highlights on large tree trunks; final close-up flowers/daisies.
Preparing the canvas and blocking in the wood table base; defining the wine glass.
Outlining crystal glass; highlighting grapes; sketching in roses.
Highlighting roses and under-painting grape leaves; additional highlights to the wine glass and wood table.
Final highlights and shadows; adding wood grain to the wooden table top; fallen rose petals.
A rough sketch of the basic land masses; under-painting a late evening sunset; leveling the horizon line; blocking in water along the horizon.
Highlighting open ocean along the horizon line; adding sunlight highlights on the water; blocking in tall grass; highlighting sand.
Sketching in a broken-down dune fence; blocking in the fence pickets; painting in support posts and additional brush and grasses.
Adding final highlights to the fence, grass, water and sand dunes; sketching in figure; adding tall grass and seagulls.
Sketching the adobe building; under-painting the sunrise sky; blocking in distant hills and trees; under-painting snow.
Blocking in the adobe building to create a three-dimensional form; painting in all the distant dead trees; blocking in doors and windows.
Underpainting the snow on the roof, the walls and snowdrifts against the building; under-painting the adobe oven; adding the first layer of highlights of the snow.
Adding final details on building and surrounding areas like grasses, bushes and weeds; adding accent highlights.
Color-mixing process for basic to advanced mixtures; mixing highlight colors for accenting objects.
Creating a dramatic stormy sky in a painting of a nostaglic red barn; dealing with mold on the palette.
Blocking in the barn, roof, silos and trees; using various greens for the meadows; highlights for trees.
Adding the dimensional form to the silos; highlighting the barn; adding details to create textured, old wood.
Adding details to the fence, broken boards and a gate; brightening the barn with pure pigment; using a script brush to add cracks and holes in the wood of the barn.
Painting Eastern bluebirds on a diptych, two paintings are brought together to make one piece.
Highlighting trees; blocking in the birdhouse, roof and supporting post.
Weathered wood on the birdhouse; brighter highlights; drawing in the smaller branches.
Using turquoise blue, ultramarine blue and burnt umber to create the underpainting of the bluebirds; detailing the feathers.
Highlighting feathers; the completed painting features Eastern bluebirds, a birdhouse and a connecting branch.
Creating multicolored skies as a backdrop for high-rise skyscrapers; creating a horizon line of buildings and their reflection in the water.
Finishing construction of the buildings; placing trees along the shoreline and overlapping some of the building silhouette.
Detailing the buildings; adding lights; connecting the structures of the horizon line.
Adding a haze around the lights in the sky and in the water; painting stars and the moon.
Differences between a gallery wrap and a traditional canvas; composing a boat dock with a shrimp boat, reflections in the water and a pelican.
Underpainting the grays of the dock and the boat; using turquoise blue and ultramarine deep for the piers and dock; movement of water.
Adding intermediate details for the boat trim, barrels on the dock, items around the boathouse and additional highlighting of the water.
Adding final details to the boat and pelican; making a correction to the design of a painting; creating shrimper's nets on the boat.
Steps that an artist takes to develop a painting; using turquoise deep and ultramarine blue for the painting's background.
Blocking in shapes and painting a perfect circle for the grapes; incorporating a new color, naphthol red, into the painting.
Adding dimension and form to the composition; creating a candlelight glow; developing the apples, grapes and vase.
Bringing up the highlights with multiple layers on each object; deepening the cast shadows on the apple; completing the painting.
Creating a night sky and clouds.
Sanding a canvas; finishing the sky; creating rain clouds, a lightning bolt, the moon; blocking in ocean waves and a sailboat.
Using various colors and glazes to make the water appear to have movement; adding white caps, spray and swells.
Blocking in the shape of the boat and sail; proper technique for painting white; the underpainting of the red portion of the sails; adding glazes to the water.
Finishing the boat sails, the body of the boat and water.
The proper painting of the background.
The value of water miscible oils; blocking in the basic shapes; the proper mixing and blending of greens.
Completing the green mixture; blocking in the red pepper; adding the cast shadows of the vegetables on the table.
Adding the final details to the still life of two peppers.
Painting water-miscible oils over acrylics; cleaning an acrylic painting with a lint-free rag.
Using water miscible oils over acrylics.
Adding details to the painting; comparing oil to acrylic; creating a grassy meadow.
Working on the pool of water from the bottom up; adding rocks, trees and grass.
Drawing the cabin; removing a charcoal sketch from an oil painting; adding traditional purple flowers.
A 12x24 stretched canvas painting features stormy skies above a prairie.
Building darker areas of the clouds; adding accents like purple in the dark clouds and yellow in the bright highlight add drama to the painting.
Blending the corners; pulling the rain over the prairie grass by skimming and feathering all the edges.
Finishing the painting with a two-story house with lights in the window and a smoking chimney.
The beginning stages of painting an old covered bridge.
Underpainting includes the bridge support, archway and the building itself as well as other miscellaneous objects.
Intermediate details, highlights, beginning of the color scheme and strengthening the bvalue system.
Adding the final details on the shingles, road, rocks and gates; touches of color are added with accent flowers along the rocks.
A landscape features an elk in the foreground.
Building the background and underpainting; adding hot spots to make the painting come alive.
Drawing the elk; the rule of negative space; adding highlights like fallen logs along the shoreline.
Detailing the elk; the importance of light and shadow; adding tall, light-colored weeds and pods; adding layering and glazing to bring color to the elk's body.
Creating the soft distant tree shapes and rolling mist.
Lightly sketching intermediate trees; creating the open part of foreground with sand, dirt and scrubs to create mud.
Creating soft sand and dirt; adding the effect of gravel, pebbles and dirt; creating a combination of grasses; stonework.
Adding larger trees and details; filling in foreground and walls with a dark color mix; leaf patterns; creating bark.
Adding the final details, including warm highlights to create soft sunlight and shadows and adding edges to leaves to make them look more individual.
Different types of papers and surfaces to paint on; setting up a palette and painting area; tools for basic watercolor technique, concepts and beginning washes.
Applying various washes to create basic landscape objects; creating rocks and other objects like water and reflections; basic study painting.
Painting a mallard duck on watercolor board, with a soft sky, dead tree and pond.
Adding details to the painting, including a hollow stump, reflections and grasses.
Adding the final objects using opaque watercolor.
Using 300lb watercolor paper for a painting of an old mining building in Silverton, Colo.; underpainting the trees and building.
Using chisel-edge brushes to create doors, windows and old weathered wood effects as well as miscellaneous details; foreground details.
A large dead tree and miscellaneous details complete the painting; creating a small note card on 90lb watercolor paper with monotone colors.
A long horizontal painting of the Grand Teton mountain range and surrounding landscape.
Blocking in the mountains, cabin and background trees.
Intermediate details of the landscape include distant pine trees and the road; lifting off paint to create rocks; adding final details on mountains; blocking in the dead pine tree.
Adding final details to the cabin and painting in the fence help complete the painting.
Making a small greeting/Christmas card on 90lb watercolor paper, applying different washes to create a snow scene.
Using soft-vine charcoal to sketch in elements; blocking in sky and where the waterfall will be; creating various values to make the area look rocky; the depth of the painting begins to appear.
Underpainting the rocks of the waterfall; adding the first layer of water; adding greenery; highlighting rock formations; adding shadows.
Creating mist and haze at the base of the waterfall; sketching in tree trunks; adding intermediate highlights; adding another layer of white on the water
Using a toothbrush to add water action and a fine-mist to various areas; sketching in arches and railing details of the bridge; blocking in limbs and tree trunks; using a thick amount of paint to create the brighter, center part of the falling water.
Adding the final highlights, rock formations and details; adding warmer highlights to some of the waterfall rocks; creating pockets of texture with color; adding a rolling mist at the bottom of the painting.
A painting depicts a little country church in South Dakota.
Sketching where the church will go; blocking in the church structure; adding intermediate-sized trees; adding drifting snow.
Working on the church sides, roof and steeple; creating shadow to show melting effect along the road; adding light to make the building appear old and washed-out.
Painting in the stained glass windows; adding cedar and pine trees, large dead trees, weeds and limbs; final highlights on snow; making the road look like muddy ruts.
Using a portrait smooth canvas to make blending colors easier; mottling colors together, then spraying the canvas to make it creamy for blending; sketching in the composition.
Lightening the soft grey undertones; adding shapes of the light formations; adding brighter colors by gradually layering them; underpainting the mountain range.
Dry-brush blending; adding the foreground; forming the trees and mountains.
The final details include highlighting the mountains, snow, and adding the final brighter colors of the sky; painting in the trees, silhouetted against the sky.
A Midwest scene depicts a cowboy's life in an impressionistic style.
Sketching in a chuck wagon, horse, cowboy and campfire; doing ellipses to create wagon wheels; irregular brush strokes create the wood and sticks of the campfire.
Blocking in intermediate details including the horse, saddle and cowboys; adding the campfire's glow; detail of the wagon; inserting rocks and reflections in the water.
More work on the chuck wagon; creating the cowboys; weeds, bushes and twigs add proportion to the painting; blocking in the old cast iron pot; adding highlights around the campfire.
Adding final highlights and details; inserting smoke from the campfire; using pure red to brighten up the fire; blending weather elements into the painting.
Preparing the stretched canvas surface for a painting featuring a prairie setting with the Wile E. Coyote; underpainting the entire painting with darker warm earth tones.
Applying multiple layers of short, choppy vertical strokes to create the beginnings of the tall prairie grasses; feathering technique creates multiple values and tones of the grasses.
Bringing up the highlights through the center of the painting; creating the darker and lighter tall weeds; seed pods.
Sketching the coyote with soft-vine charcoal; underpainting the body; adding foreground weeds; applying highlights to the coyote.
Making a rough sketch using soft-vine charcoal; underpainting the sky and distant mountains; blocking in the foreground rocky cliff formation.
Painting in the distant objects including clouds, waterfall, pine trees and rock formations; creating the rugged form of the cliff.
Sketching the main subjects including large dead trees, fallen log, rock formations and grizzly bear; underpainting the foreground objects.
Highlighting the outer form of the bear; using specific brushstrokes to form the rest of the bear's body; highlighting and detailing the logs, brush and weeds.
Painting chickens in a barnyard and a rooster; adding strokes for straw.
Barnyard straw; rooster; creating a sandy dirt look, highlights and texture; the wood ladder in the door area of the chicken coop.
Using a naphthol crimson glaze on the building; beginning the highlights and accents on the straw and hay; blocking in a hen; creating the illusion of feathers.
Adding highlights to the rooster's feathers; using cast shadow on the rooster's back; creating the illusion of sunlight.
Scrubbing method creates a motted background for a picture featuring an Appaloosa; underpainting the horse.
The gallery wrap; sketching in the horse while leaving in proper negative space; dry-brushing in grass.
Back side of the horse; using a deep shadow color to insert cast shadows underneath the horse; creating the horse's muscle and hair.
Using a rolling method to achieve a soft shadow on the horse; adding spots to the horse's body; adding weeds, sunrays and seed pods.
A painting composed on camera pays tribute to Arizona; placing lines that suggest the layers of mountains, cacti, rock formations and flowers; adding the sky, clouds and distant mountains.
Highlighting rocks and creating rock formations; adding various colors to the rocks and creating the look of cracks and crevices; adding grass and vegetation to the rocky areas.
Adding warmth to the eroded washed area; adding irregular structures and light to the desert; using warmer tones in the background to indicate stronger sunlight.
Adding small bushes and foliage to create a springtime look; shaping the cactus; adding a variety of flowers.
Highlighting the cactus; adding red blooms to the ocotillo plant; adding highlights to the yellow bush; using a toothbrush to get a rock and pebble effect.
Blocking in a simple horizon for the sunset of the sky; balance; adding values by scrubbing and blending; creating transitional values.
Adding silver lining clouds; sketching elephants; negative space rule for drawing and sketching; scrubbing in dirt and dead grass; building animals from dark to light; smaller baby elephants.
Dry-brush skimming; intermediate highlights; casting shadows to create better form and shape of the animals.
Scrubbing in brush and bushes with a mottling effect; adding weeds; highlighting.
Creating the background for a painting featuring a young male kudu buck.
Using small, soft vine charcoal to sketch the kudu's outline; blocking in the animal and outlining the antlers; adding lighter area to the kudu's neck and body.
Working on the bushes, trees and limbs; adding highlights to branches; shaping the eye, ear, top of the head, nose and face; hairs.
Using a skimming technique to add hair to the animal's chest, neck and face; red tones add dimension and make the kudu look alive; adding weeds to the foreground; adding glow to the kudu's back.
Sketching the outline of the lions; using a skinny stick of soft-vine charcoal to create animals; a rough blocking-in of the lion's eye and head.
Blocking in the second phase of background; blocking in part of the female lion's body and the male's face and body; adding light colored grass; adding highlights to the lion's body.
Intermediate details and highlights; a cast shadow adds more accuracy to the lion's form; adding in tones for sand, dirt, grass; creating broken spots on the log.
Wildlife and grasses; the painting comes together by using techniques including brush pressure, negative space hot spots, skimming and dry-brush blending; advantages of using a dirty palette.
Final details on hair, whiskers, and fur as well as grasses, twigs, foreground and background; adding brighter highlights to the log; adding silver lining to animals.
Using soft-vine charcoal to sketch in the basic components of the landscape, land masses and mountains; blocking in the sky, mountains and foreground water.
Painting in the clouds; painting in mist in the middle and foreground's grassy meadows; blocking in the first layer of distant pine trees.
Composing and blocking in the rock and boulder formations; painting in pine trees; highlighting the black meadows; painting in the large cliff rock; phase one of the highlights on the boulders.
Highlighting the stream; phase one of the waterfall; underpainting the cabin; blocking in the large dead pine tree; detailing and highlighting the cabin; adding final white highlights on the stream and waterfall.
Applying the final highlights and details on grassy meadows and wildflowers; adding highlights to rocks, water and other objects; finishing the painting with weeds and other details.
Rough sketch of the basic components of the objects and land masses; painting a late evening sunset; underpainting of the distant trees and water.
Details of the teepees; applying highlights on the snow; painting in the intermediate trees; historical information about the construction and purpose of the teepee design.
Applying brighter highlights on the snow; creating frozen ice chunks on the edge of the snowbanks; detailing the teepees and other objects.
Adding clumps of grass, taller weeds, tree limbs and final highlights on the snowdrifts and miscellaneous objects; making the sun's reflection in the water a little brighter.
Painting close-up feathers; mottled background creates the effect of faded or distant pine boughs; detailed pine branches; blocking in the cardinals.
Painting the intermediate pine needles; creating depth; using different shades of greens to create highlights and overlapping pine needles; phase one of the highlights for the main cardinal.
Adding new pine needles around the cardinals; adding brighter highlights on the male and female cardinals; painting the first layers of snow on the pine boughs.
Painting brighter highlights on the snow drifts; adding final highlights and details to the cardinals; adding finishing touches to the pine needles; creating falling snow.
Painting the sky and blocking in the water; blocking in the first value of distant grasses; composing the grasses in the middle and foreground.
Adding a hazy fog in the background; blocking in all of the vertical grassy areas; adding reflections and shoreline highlights.
Glazing the water; adding soft sienna tones to the grasses; painting intermediate weeds; arranging Canadian geese to create good eye-flow.
Under-painting the geese; adding taller weeds; detailing the geese.
The purpose for using a gallery wrapped canvas; using reference material to lay out the composition; mottling in the background of bushes and leaves; under-painting the pathway and brick foundation; sketching in the picket fence.
Adding leaves to the background; under-painting the picket fence; creating an elliptical effect of stones on the pathway; under-painting the bricks; painting the large flower pot; smudging in cast shadows.
Background flowers and leaves; adding details on the stone pathway, brick wall, leaves and grasses; blocking in the terracotta pots and adding foliage.
Finishing the fence pickets and horizontal cross-braces; adding highlights on the stone pathway and pots; making different flowers using opaque paint; adding tall weeds and limbs.
Mixing and applying a mauve-blue-gray tint; making a rough sketch of the land contours and basic objects; painting a late evening sunset; painting the first layer of distant trees.
Re-sketching the farmhouse; applying a second layer of snow highlights; blocking in the farmhouse and pine trees; painting in the large pine tree to balance the composition.
Adding the final highlights and details to the farmhouse; adding highlights to the snow drifts; adding shadows of snow on the pine trees; under-painting clumps of grass.
Under-painting the snowman, mailbox post and cream can; drifting up the snow around the snowman; blocking in the straw hat; intermediate details on the mailbox, cream can and post.
Adding features to the snowman's face; adding buttons, scarf and branches for hands; adding a red flag to the mailbox; dabbing fallen snow on the mailbox; adding tall weeds, dead bushes and snow highlights to the pathway.
Part 1 of 5. The Season 22 premiere demonstrates how to compose a still life painting using research photos.
Part 2 of 5. This episode demonstrates how to compose a still life painting using research photos.
Part 3 of 5. This episode demonstrates how to compose a still life painting using research photos.
Part 4 of 5. This episode demonstrates how to compose a still life painting using research photos.
Part 5 of 5. This episode demonstrates how to compose a still life painting using research photos.
Part 1 of 4. A swamp scene is painted.
Part 2 of 4. A swamp scene is painted. Included: adding background trees and reflections.
Conclusion. A swamp scene is painted. Included: underpainting the cabin; finishing the highlights and details on the trees, water and hanging moss; and adding taller foreground weeds.
Conclusion. A moonlit scene of an owl is painted.
Part 1 of 5. A Hawaiian beach scene is painted.
Part 2 of 5. A Hawaiian beach scene is painted.
Part 3 of 5. A Hawaiian beach scene is painted.
Part 4 of 5. A Hawaiian beach scene is painted.
Conclusion. A Hawaiian beach scene is painted.
Part 1 of 4. A farm landscape is painted.
Part 2 of 4. A farm landscape is painted.
Part 3 of 4. A farm landscape is painted.
Part 4 of 4. A farm landscape is painted.
Part 1 of 5. The Season 24 premiere explains how to make a rough sketch with soft-vine charcoal; and use modeling paste to create texture.
Part 2 of 5. Jerry continues underpainting the middle- and fore-ground rock formations. Then begins adding distant mist/fog and paints in the distant pine trees along the ridge of middle-ground rock formations. Now he paints in the first layer of highlights on the falls. Then creates the basic form of the rock formations using the chisel-edge synthetic brush. He finishes by rolling in the mist at the base of the waterfall.
Jerry continues his landscape, painting in the rock formations and the water mist.
Jerry continues his landscape, finishing off the rock formations and painting the trees.
In this final session, Jerry takes his viewers through the process of detailing, highlighting, and adding miscellaneous items. Using the script brush for foreground, Jerry adds a few stark pine trees which is a reminder of the fire which took place in the park a few years ago. Adds a little bird in the distance. This painting is a simple scene with a monochromatic effect that looks so magnifice
Part 1 of 4. Jerry explains how he is going to create the beautiful autumn colors to create depth and color harmony. Then he explains the composition and makes a simple sketch of the main ground contours. He also paints the sky and underpaints the mountain; and finishes by underpainting the meadow, water, and rock formations.
Part 2 of 4. Jerry continues to show his viewers how to underpaint the foreground water and the grassy islands on each side of the waterfall. Then he shows how to paint the debris along the back shoreline. He also paints the first layers of ripples on the water; and shows how to dab in the leaves on the distant trees, and paint in the tree trunks and limbs..
Part 3 of 4. Jerry shows how to highlight the rocks on each side of the waterfall, then shows how to put the white highlights on the waterfall and on the water pool.
Conclusion. Jerry adds foliage to trees; and adds details, highlights, and miscellaneous items to finish up the painting.
Part 1 of 4. Jerry takes viewers through the process of understanding the proper use of multiple pieces of reference material. He also discusses sketching in a tree trunk and raccoons; shows how to paint a mottled background around the tree; and demonstrates how to underpaint the raccoons and inside of the old tree trunk.
Part 3 of 4. Jerry continues to show how to detail and highlight the raccoons' bodies while concentrating on shaping and highlighting the tails. Then he shows how to add miscellaneous details and highlights.
Part 1 of 4. In the Season 25 premiere, Jerry talks to his viewers about the importance of developing a photographic memory. Then he explains how to create a painting from memory by understanding all the elements of composition. Then he shows how to paint in a simple sky. He also shows how to take charcoal and make a rough sketch of the basic composition. He finishes by underpainting the snow and distant trees.
Part 2 of 4. Jerry shows his viewers how to continue the process of underpainting the snow. Then adds miscellaneous highlights to create the ground contours. Then he explains the arrangement of the corn stalks and how the underpainting will appear as the cast shadows from the stalks. Then makes a light sketch of the stalks to show their location and proportion.
Creating memory painting without the use of reference material; blocking in the sky,distant trees and other background areas