 Morning class, I'm Will Kemp from Will Kemp Art School and this week in the acrylic painting that we've been working on we're going to introduce warmer colours into the foreground using some nice reds and yellows to really bring your eye forward into the piece. Then we're going to be working more in pastel on top of what we've already put down, tweak the sky a bit and then our painting will be right on its way. Okay let's carry on. So now I'm just going to wash in some of this cobalt violet. This is just with some of the whites. I'm not painting it like in a block, I'm painting it more in like little dashes because then I can start to use this underpainting to start to come through on the piece because what we're doing is in terms of impressionism there's exactly what you're trying to get, an impression of what you're looking at. You're not worried about the details, you're just trying to get a general feel of it. You see on my paintbrush you'll see that this side is still all the green on, the other side got more of the colour of the purple on so when I'm working I'll often kind of paint a bit and then if it's a mingling you just kind of twist the brush and you'll start to get these like more subtle mixes in your painting. Rather than constantly going back to your palette all the time this one just helps you just to get those nice muted areas of your painting rather than it just being like a solid block of colour. So you've got to use a bit more paint than if you've been using watercolours you've definitely got to use more paint so that when it's actually pressed on there and painted on you've still got enough to move that brush around and you can go quite a far way with the paint that's already on the brush. So because this colour here is quite close to what we're looking at for the final piece what I'm going to do is go back over the sky a bit, get this colour a bit better just so we can start to have a basis of how the painting is coming along. It looks quite abstract to the moment but we're really just starting to build on the shapes and build to see how all the colours work together. So again just that cobalt blue and a titanium white. So again if you want to twist that brush get any of that colour into the sky so it isn't just the one solid cobalt. Now I've got a bit of the greed in there a bit of this earthly colour in there. I mean the photograph is just a guide really you know just use it as a starting point to your paintings. Watch out when you're doing landscapes something to really be aware of is the top left or a top right that essentially the corners in your piece. If you have these areas a little bit darker what it helps to do is it helps to send the viewer's eye back into the painting so that instead of their eye going off onto the side just having a tiny bit on the corner will just make that difference just to subtly bring the viewer back into view. These areas of dark green I'm just going to take the green and put a mix of the darker blue in. This is just the ultramarine blue. You see how it darkens it down nicely and this is more very close to Viridian which is what Monet would be used which is a very dark blue green. Reinforce some of these shapes in the mountain and again try and move those colours around your painting. I'm going to introduce some of the warmer colours in the foreground to just start with the yellow. I'm going to keep this watery to start with just to wash it in. So it's got these red areas in the bottom it's just nice to have those underneath they'll shine through when we paint the thicker paint on top. Adding that white is always going to pin counter colour it's always going to go towards purple or blue when you add white to any colour. So that's how it starts to get this really nice salmony colour. So here you can start to see how the under painting is so helpful because the yellow ochre is very very close in tone to these I don't have to work very hard and all of a sudden the piece starts to look like it's got loads of different colours all working together. A bit more white. So when you're doing your painting you don't have to put out as much paint as I put. It's just a way to show you the colours more clearly when they're on a larger scale. But don't be too mean with your paints because otherwise they'll dry very quickly. Even though these are acrylics you can start to see I can still put my finger in these and it's still wet and that's because I've got that thickness into the paint. I can now start to use just some of the pure white and just start to kind of dab it on top into the foreground. You know I've got quite a lot of white on the end of the brush and just holding it away from it and just gently kind of dabbing it on. I'm not going to pushing it in too hard. Just tone it down with the purple just to make this nice shadow tone on the building's edge. Just going to bring the green up to the edge of the building. Again you can use the blues to knock them down a bit just to darken off that green. Might even on this sky start to put a bit of that purple into it just so it's not as harsh with the cobalt blue. So we've now got a brilliant base for our painting. Tune in next week so you can see how the painting continues on. This is Will Kemp from Will Kemp Art School.