This is a painting lesson in spontaneity.  Its about just letting go of all inhibitions and painting from your imagination and heart without the aid of a reference photo or plan.   This will teach you how to develop your own unique painting style and most of all, how to truly enjoy painting.

Karrie on Canvas -- Landscape Painting Demonstration

A big thanks to Karrie Evenson and the folks over at Jones Television for making this video demonstration available!  You can learn more about Jones Television by visiting their page over at YouTube Here, or by visiting their Website Here.

Here is a really enjoyable landscape painting lesson by artist Roger Bansemer .  This demonstration was done on location at Caladesi Island off the coast of Clearwater, FL..  This is an acrylic painting demonstration of a beach landscape.

Roger is a very talented artist and I know you will  enjoy this video demonstration as much as I did.  You can learn more about Roger and view more of his paintings over at his website by clicking here. Happy Painting!

Painting on Location with Roger Bansemer – “Caladesi Island” from Roger Bansemer on Vimeo.

About the Artist

Rod Lawrence graduated with a fine arts degree, magna cum laude, from the University of Michigan in 1973. Since then he has been working full time as a professional artist.

Lawrence has exhibited in many group and one-man shows, including the prestigious Leigh Yawkey Woodson Art Museum’s “Birds in Art” and “Wildlife: The artist’s View” shows. From these shows, his work has been chosen several times for their national tour. His art has also appeared as covers, illustrations and features in many outdoor magazines.

A log cabin in the hardwoods of northern Michigan, overlooking the North branch of the Manistee River, is home for Lawrence and his wife, Susan. The symbol preceding his signature in each of his painting shows the importance of his family in his work. The oddly shaped “S” is for his wife Susan (an accomplished basket weaver and instructor), and the “M” and “B” represent their sons, Matthew and Brett.

To learn more about Rod, please take a moment to visit his website by following the link below:

http://www.rodlawrence.com/

About this Demonstration

This acrylic painting demonstration is from the Book Titled: “Art of Acrylic Painting (Collector’s Series)“, published by Walter Foster Publishing. This demonstration was reprinted here with permission from the Artist, Rod Lawrence. All the artwork and text that appears within this demonstration is protected by Copyright laws and cannot be distributed, copied , republished or sold without the permission of the Artist. Thank you for your cooperation.

“Wolf” – An Acrylic Painting Demonstration by Rod Lawrence

Cropping In

I especially liked the angle of this wolf’s head and the bright backlighting. When cropping in on the head, I left enough negative space around it to close in on the wolf without confining it too tightly.

Step One

First I mix the overall base color for the head using cerulean blue, white, and smaller amounts of burnt umber, violet, and ultramarine blue. For the background, I create several values using many different combinations of burnt umber, cerulean blue, ultramarine blue, white and violet–sometimes adding yellow ochre and cadmium yellow light. I apply these mixes wet-on wet, blending as I paint.

Step Two

Now I transfer the main lines of the background branches from my sketch to the painting, beginning with the background mixes from step one. I apply washes of both lighter and darker values to soften the edges and slowly build up the foliage forms. Then I use a darker value on the area just to the left of the wolf, and I apply both light and dark values to the areas above and to the right of the wolf’s head. In the lower-left corner, I start to add some lighter value “holes” (the negative spaces) to the background.

Step Three

Now I wash in the background lights using a mixture of white, yellow ochre, and orange. I build the lightest areas using white mixed with yellow ochre, cadmium yellow light, and cerulean blue. Then I transfer the facial and fur details from my sketch, painting them with a slightly darker value than the base color; I also build up the eye and nose darks, applying several washes. And I add fur details with a value in between the base color and the darker values.

Step Four

When painting the lightest areas, I use thin washes and slowly build my paint into thicker layers. Then I lay on a darker value to create depth, indicating deeper areas of fur and dark markings. When painting fur, look for clumps of hair as well as color patterns. Fur varies in length and color, and it tends to clump in areas where it is thicker or where it is constantly compressed by movement. Take the time to really see how the clumps overlap, shadow each other, and weave in and out. This will help you paint fur more realistically.

Step Five

Now it’s time for color washes (see the samples below), which will enhance the wolf and begin changing the overall look of the base color in some areas. I use a lot of water, treating these mixes like subtle watercolor washes. When dry, these colors will look darker than they do when applied, so you must use some restraint when painting them. This wolf is primarily a grayish-white, so I do not want to add too much color to the body.

Buff + white +cadmium yellow light	Burnt umber + cerulean blue + ultramarine blue + white + violet + dab of yellow ochre	More burnt umber + more cerulean blue + more ultramarine blue + white + violet + dab of ochre
Burnt umber + ultramarine blue + cerulean blue + violet + dab of buff	Burnt umber + cerulean blue + ultramarine blue + white + violet	More burnt umber + cerulean blue + more ultramarine blue + white + violet

Step Six

I establish the eyes with yellow ochre and add a cadmium yellow light wash around the wolf to warm the highlights. Then I paint the next darker value, adding cerulean blue where I want a more grayish-blue and adding more burnt umber where I want more intensity and warmth.

Step Seven

Now I’ve finished with the darker values. Next I apply yellow ochre washes to the head and chest, sometimes adding burnt umber and cerulean blue. For the eyes, which need subtle washes to make them look more realistic, I also add a tiny bit of white and cadmium yellow light.

Step Eight

For more contrast, I emphasize the eyes, nose, and ears with a mix of cerulean blue, ultramarine blue, burnt umber, and violet. I start the wash above the eyes and between the ears, continuing over the base of the ear on the left. Next I use thicker paint to construct the darker areas. I continue adding the darker value throughout the wolf’s head, applying washes for small changes and several coats of paint to cover really dark areas. Then I mix my darkest value–burnt umber, ultramarine blue, and violet–and apply it over the last wash.

Step Nine – Final Step

With a cerulean blue, yellow ochre, violet, and white mix, I punch up the detail of the fur tips around the eyes, in the cheek and muzzle, and on the chest. Next I use white with a hint of violet to paint the backlit edges, starting with washes and then switching to thick layers of paint. I drag the tip of my round brush into the background to create the finer hair highlights. Next I add the final details, beginning with washes of white tinted with yellow around the left ear. I also paint some darker and lighter fur in the cheek and throat area to emphasize contrast. I apply a bluish-purple tint on the nose; then I stroke in the fine, delicate whiskers.

Watch Artist Roger Bansemer as he paints an Amish Farm in this step by step acrylic painting tutorial.

Big Thanks to Roger for sharing his video demonstration.  Be sure to visit his website for more free videos like this!

Follow this link to visit Roger’s website and to watch more of his Free Videos.

“Amish Farm” Painting demonstration by Roger Bansemer from Roger Bansemer on Vimeo.

About Julie

I am a self taught artist who has been painting and interested in art all my life. My favorite medium is acrylic due to its versatility. One of my favorite things to do is teach painting to other people. I currently teach classes and we couldn’t have more fun if we tried. It’s just so gratifying to see the excitement on student’s faces when they see what they can accomplish with a little instruction and effort. When your ready to forget the theory and produce the art, visit http://www.IamPainting.org. Learn Painting Techniques and create your own remarkable portraits or landscapes.

Tuscan Landscape – Acrylic Painting Tutorial By Julie Shoemaker

Use whichever brush you feel comfortable with. I usually use a flat bristle brush for most of my work. And remember there is no right or wrong way to paint! If your painting doesn’t turn out like mine – then congratulations! You created a unique one of a kind painting.

Sky – First wet the sky area or top half of canvas with white gesso.

Then with a little yellow and a touch of orange added to the same brush, start at bottom of the sky area and work your way up. Use long horizontal strokes. Take the strokes right off the canvas while blending the yellows and orange into the white gesso as you work upward. Gently blend right up towards the top of canvas. Wipe the brush off with a paper towel.

Now add a touch of ultramarine blue and purple to the brush and start at the top of the canvas and work your way downward in the same fashion as you did the yellows.

The bottom part of the painting is under painted with any earth tone colors. Nothing fancy here!

Use sky colors (a mixture of white blue and purple) and paint in furthest hills – mountains. Notice how these hills show very little detail and are very soft looking.

Darken the mountain (sky) color and paint in next layer of hills. You want to make sure that you let some of the previous mountains show. Keep the tops interesting with some variations.

Add some earth tone to the very distant hills. You can use browns, tan, etc. Keep it dull though. Just add white to dull paint color. These are in the center of painting.

Add some hunter green and start dabbing or scrubbing in the bushes. This should be a dull green.

Landscapes typically get darker and more vivid as you work forward.

Lay in the foreground hills. (you will do the one the left first) Make this one lighter to look like sunlight is hitting it.

To do this start on the left of the painting and pull the paint brush into the center of the painting. Notice the slope of this hill. If you want you could add some rows of green for a field of crops look. (see next picture)

Now darken the mixture and add the hill on the right. Darken it with browns or tans. Too much green will make your picture look unnatural. This hill will be painted the same way but starting on the right side of the painting pulling the paint into the painting and overlapping the previous hill. Continue painting until the entire canvas is covered.

Don’t over blend! Let variations of color show.

Now start adding the tall trees.
If you are using a flat bristle brush, hold it on the side and dab on the paint in the shape of the tree.

In the background they will be duller – or lighter. The ones in the foreground are hunter green. Add purple to the paint to darken the side that will be in shadow.

Add some tree shadows to the ground.

Add one more foreground hill in the very front. The more layers – the more depth your painting will have

Add touches of reds or oranges for flowers, and some tiny shadows if you want to. Highlight the trees. (use yellow or light green and dab in brightness on the sun side of the trees)

You could easily be finished with your painting now, and let the dramatic tall tree shadows be the focus.

Or…Add some houses. Just draw in simple house shapes paint in the shapes with “dirty white “ and red for roofs. For shadows on the house, darken the roof color under the eaves. Dry brush in some white for highlights on the roof. Add a touch of orange for lights in the houses.

Add birds – Birds are just little v’s – Practice first and keep then dainty! and sign your painting….