 Morning class, I'm Will Kemp from Will Kemp Art School and in this lesson we're going to do a Monet style impressionistic painting. We're going to use brighter colours than we've done in the past so you can really get to grips with how Monet painted. Very quickly, very impressionistic, with acrylics is a really simple exercise. All you've got to do is click the link below, you can download the image direct from my website to paint along at home. All the colours are listed there, the brushes that I use. Really hope you enjoy this lesson. Let's get started. This is part one in this free impressionistic landscape lesson showing you how to paint in a style similar to how Monet painted. So the first thing we've got is a coloured ground. A coloured ground is just when you've painted over the initial white or the initial raw canvas just so you've got a colour to work on top of rather than just painting on top of white. This will help you a great deal because it will be easier to judge the different tones, the lightness and darkness between objects and because of the image that we're using has got quite nice bright colours underneath any little gaps that we leave this colour will shine through. This is a yellow ochre underpainting, Monet used a variety of different underpaintings. Here's probably a little bit more muted than this one but for this particular scene I found that the yellow ochre with its nice warm colour is going to work perfectly for us. Now what I'm going to do is just put out the colours that we're going to be using for this painting. So what we've got here is a titanium white which is like a modern equivalent to lead white which is what Monet would have used. Lead is quite toxic so titanium white has been produced so it's not as harmful when you actually paint with it. We've also got a cadmium yellow, we've got a cad red light, a crimson, this is a permanent alizarin crimson. We've got a green here, this is just a permanent green light which is quite close to an emerald green. Again the original painting that Monet would have used, the original colours, aren't used anymore so often you'll find that paint manufacturers make a version of those paints and these are often labelled with the word hue. I'll just show you here on this paint, this is cobalt violet hue. The hue denotes that the paint is made up of a mixture of other pigments to create something very very close to an original cobalt violet colour. I've also got a cobalt blue, an ultramarine blue and a cobalt violet. This demonstration is used in acrylics so acrylics will dry a lot quicker than oils which is what Monet used when he did his paintings. But it will still give you an idea of some of the techniques that you can use and how you can mix the colours to get that nice impressionistic feel into your paintings. Because he often painted outdoors and sketched initially for his paintings I'm going to show you how to approach it quite quickly. So what you do is you block in the actual painting you're working on we're just trying to cover over this just to give our eyes an idea of the different parts of the painting. So I'm just going to dilute the brush just with a bit of water. So the brush I'm using is just a hog brush, this is from Jackson's Art in the UK. So to start with I'm just going to wash in the sky just with the cobalt blue. Notice how watery I'm using it just to give us an idea of where to start with the painting. You start to see what happens is what's called optical mixing where you get the paint optically mixing with the colour underneath it. We're going to be covering this over but it's just something to bear in mind often when you're working in thin layers to start with, you know just washing the paint in kind of like a watercolour technique really. The colours won't be exactly as they will be when they're finished and especially not when we add white to them. This is just to give you a feel for getting used to working with acrylics just so to see how easily you can brush them in. As it gets a bit lighter towards the base I'm just going to add a touch of the white and the mountain here has got a very very slight green tinge that goes towards this end. So we're just going to start with the cobalt blue to start with. As it gets towards this side I'm just going to add in a touch of this green. So it goes towards this lovely kind of turquoisey colour. As it gets further towards this left hand side I'm just going to start to add a bit more of that green. So you're not worried if it goes over the edges or if it looks a bit wrong to start with this is just the first layer, the first time we're just kind of blocking in the painting just to get a feel for how everything is going to work together. What you'll find when you're painting is when you just mix to fresh colour and you paint it on an area of your picture what's very handy then to do is just scan the rest of the image just to see if there's any elements of that colour anywhere else in the picture. The images that we're working from I can start to see all these little blocks of colour just all around the piece and what this helps to do is bring the viewer's eye around the whole painting and you start to get a feeling that you haven't just got the sky and the foreground but the whole painting is all working together as one. Now the other parts of green that we've got here are a lot brighter than this there are a lot more yellow so I'm just going to add a touch of the yellow to them and again with this green with the work atop of those other greens we've already put down in the painting. If you have trouble mixing greens and they often be a real issue when you're painting landscapes if you have a look at my video how to mix green you'll start to see how the different blues and the different yellows that you mix with them can make a really big difference getting the right green that you're after. So click above to subscribe so you don't lose out on the next episode where we start to introduce some warmer colours to the painting.