Hi everybody I'm Cinnamon
Cooney you'r Art Sherpa.
And today I'm so excited to
share with you how you can
paint this tree today.
All you got to do is;
Get your paint get your brushes
come back and meet me at the
easel right now.
I'm going to show you step by
step how to do it.
Come on let's go.
Let me share with you the
materials we're going to be
using today to get this great
tree done.
I have an 11 by 14 canvas
board this is pre gessoed and
ready to paint.
You don't need to do another
thing to it over
here I have acrylic paint.
I have the colors Mars Black,
Phalo Blue,
Quinacridone Magenta,
Phalo Green,
Yellow Ochre,
Burnt Sienna, and Titanium
White. Assorted brushes for
acrylic painting.
These are all synthetic
filaments and of course a jar
of water and the first thing
I am going to do is I'm going
to take this number four round
and I'm going to start
sketching in my tree.
Now listen if drawing
sketching is not your bag
and you're not into it yet.
Don't worry. On my web site I
have a traceable so you don't
have to you know concern
yourself with doing that if
you're ready to paint.
But I'm dipping in water again
just to improve the focus my
paints been drying at my
studio.
If you're not ready to start
that at this time.
So I have this number for round
right. This is by Roussillon
and I like this because it
keeps a really nice shirt
quaint and is super
resilient against acrylic
paint.
I'm coming over here from the
lower left and I'm going to
wander up.
The story of a tree.
Now I think it's important to
realize that trees are
different to paint
in many other things because we
have such strong feelings about
them.
I'm coming over here and I'm
going to do a little curve here
Monnick curve up and launderer.
Range.
And curving up.
I'm laying.
And I'm wandering around
them and I come back.
I'm telling the story of clouds
in winters and weather
and I'm going in the branch
right here.
This is the main trunk.
Now it's important for me to
set the main trunk.
I'm going to get a little water
here. You'll notice a dip in
and take off a little bit of
the extra.
I'm just trying to moisten the
brush but not soak it.
Someone come over here and I
want to tell a really really
interesting story of this tree
so I'm going to bring a little
curve here some curving
around and I'm following
the thickness of my trunk
as I go up.
I'm going to taper and because
his trees grow up in general.
They get finer.
And twig here.
And you want to make sure that
you do that as well.
Once I have this basis I'm
going to come right here in the
middle of the trunk and I'm
going to put in something
interesting because what makes
a tree interesting is all the
character it's the knots and
the that time it went without
enough water and it got a
little bit naughtier and
you know is sort of interesting
and a wander a weird little
root here kind of coming over.
That's an interesting part of
the story. Tell great stories
with your trees.
Now below this not
going to wander off a branch
it's going to bend down.
Against its weight and then
it's going to struggle and come
back up and sort of level out.
It must be
thinner than the trunk that
it's attached to.
That's really what you're
trying to remember is to keep.
Your tree when you're when
you're painting it in thinner
than the trunk it's attached
to. I'm using just a mix
of burnt sienna black here this
is my dark value in my tree.
Because this is an old
weathered tree I'm going to
want to have a lot of knots and
shadows and I'm just using
this round brush to sketch in.
I'm going to come back.
I just was improving the
fluidity my pain adding a
little water. I'm on the tip of
the brush and I'm going to
wander out on this tip.
Making some weird Wiggles.
Now listen a lot of these
Twiggy bits.
They're going to disappear
under.
The the branches and leaves
and things that are happening.
But sometimes putting in the
bones of a tree will help
you build out its foliage.
It's a weird deal but it really
works both
this not in cannot
come out and tell another
little branch story it's going
to wander out over here to the
right.
I'm pressing very lightly
on the tip of my brush when I'm
working with around.
It's about brush pressure.
And lightening up when I want
to lighten my line and I'm just
on the tip of just a few little
bristles.
Again I know that I have to
make sand or branches in.
My trunk and I'm going to
actively do that.
Each one thinning out.
Coming out saying No wonder
some out here.
Again much of this may be lost
to the leaves that I will be
putting on the tree but that's
OK because I'm quitting in my
skeletal structure my
architecture of my tree.
One more little branch needs I
think to come here really.
Obviously it's going to wander
up come back.
Yeah it's an interesting little
fellow.
Each branch should be
interesting.
And kind of have its own little
narrative rate its own little
space because you're going to
have to put structural
beautiful clouds of leaves off
of these. So having a feeling
about it will help you know a
lot of people want to line
up their branches and make
this very symmetrical.
But I would suggest to you
you think about the way things
twist and grow and move with
the sun move your branch
up the trunk a little bit
before wandering in out.
And have it tell a slightly
different story.
Then this branch over here.
Thick in and out this one might
be a little bit thicker than.
The other side where he says
all we're doing.
We'll a little more brown here.
Telling these light.
So get a little clump of paint
there. I want this to flow off
my brush while some of this
world is around.
And I'm pick up that fluid bit
right there.
Right.
Now I'm going to get a position
on my brush where I have
strength in my in my
angle where I can pull the
stroke out.
And feel like it's going well.
And also I want to kind of pull
a little branch down here
because I want there to be.
A little character like this
and I'm going to sweep this
down.
A little bit and taper it out
because I want this to be much
longer than everything around
it.
I'm going to roll my brush this
is offloading and load the tip
back up again with this more.
Fluid paint. And why come over
here.
And when to make a point of not
lining these branches up
because you don't want to line
them up.
Mount until a little bit the
story. I don't need to make
every line connect.
I just need to tell little.
Little bits of information.
To the viewer.
Because you have to leave room.
For the viewer in your tree.
I'm going to come here and did
not smoke pick off the extra.
Swirl around.
It.
Swirl around so that spinning
that heavy body paint if
you're painting a
pro paint.
Lens and it's heavy body.
So.
I have to thin it to get this
nice fluid effect.
But I don't want to thin it too
much.
Too much water because that's
not good for.
Meant want to just continue.
I don't want to take the tree
totally off my page.
So I'm going to make sure that
my branches are.
Here to remind myself that
there's something happening but
that I will be paying a lot of
this out.
Come in and.
Kind of talk about the trunk a
little bit.
As I'm going.
Fun stuff.
I want to make sure that the
knot is darker.
Than the surrounding wood so I
can not lose where it is the
not so very important part of
the tree.
The best trees.
Have lots of personality don't
they.
Have initials carved in them in
and knots in them and weird
bends along the way.
Where the wind has shaped
them and life is shaped them.
Best people to.
Have all those character bits.
No hedges out here.
On the top of this hill Orient.
So I'm bringing this down.
Now when I get here.
Right.
Go ahead and take some of this
land out this way.
And paint this out here.
Get a little darker with my
paint at the bottom here.
It just grabs more black and
I'm going to.
Work this little not even out.
Coming here on the under side
with more black.
Just working that out.
And teeny tiny bit.
In. My brush.
Wipe it off and let's start
putting in a story.
So one of the stories I want to
start putting in is a slightly.
Quaid Brown
kind of space might get a
little of my white over here.
And I whether this trunk.
Ash it out a little bit with
white.
Now my common start.
Creating.
Little rises in low lights.
Of where the trunk is and so
I'm coming and twisting the
strokes around showing the
twist of the wood.
The beginnings of the twist of
the wood.
Will warm brown.
You know make sure I have some
twists of the wood here.
Twist the wood along here.
No one sits out and I'm going
to switch.
To one of my favorite brushes.
This.
Is a Number one you can do.
Number two. Number one bright
what you want is a small
bright.
And we're going to come in here
and get some chust black.
And I want to come to the top
of this little ridge of the
tree and pull in a shadow here.
And take this like little
shadow along the trunk.
Let's pull up some
twists in the wood that are
deep shadow along here.
Along the bottom side.
Maybe another little deep twist
right here.
See how it's starting to.
Come. An.
Ancient and wide tree.
Another little deep shadow
here.
Give the trunk some
personality.
And you can bring one here.
It's quite dark here so we're
good.
I want to make sure that
there's.
Lots of character to the wood.
Now as I get up here I know I'm
going to paint out the huge
amount of what I have to wipe
off my block but not rinse it
off and just get some of my
brown.
Now I'm coming up on this.
Just adding that.
To what I have.
Creating layers.
Of bark.
Get a little more in this rain.
Sort of Bernstine and sounds
popping there.
Just dashing this here and
there.
You get better trees today.
Sometimes it's hard to know
what all is involved.
And painting a tree isn't it.
Sometimes it's put a little
of this.
Reddish brown.
The top of this branch
wandering.
You read the top of this not
here on this route we still
want this to be fairly dark and
in shadow.
It's come to the top of this
branch.
So my light source is really
going to be coming from up
above and down in even if
I'm painting this trunk I need
to be thinking about that.
Where the light might be
hitting elements of it.
And adding those now.
Before my leaves go in an arena
out my brush a bit
and I'm going to grab a little
of my yellow ochre and a smidge
of my black.
And I'm just grazing the shell.
OK. So this is a weathered
tree.
Some swirling around here at
the outside edge and to keep
this from crawling up my brush
I'm rolling it out.
And it's grab a little white.
So it's weathered.
That's common. And some
weathering.
To highlight right here.
Like a little story here.
Definitely have some light
there wouldn't we.
Well that's nice.
Just weather that out.
Maybe a little bit here.
OK. It's picking up paint
underneath it.
Be ok with that.
Are you OK with that happening.
When they come here and an.
A little highlight around my.
All there in.
Why branch.
Maybe a little bit to this
outside right edge.
Telling a little of this story
here.
Here at the.
Arc of this could be a nice
place.
Just catch where you think
there's highlights.
Right here.
Right here.
Thinking about.
These barks that we've got.
The thing that's looking pretty
darn good.
You know come in and make sure
that your.
Want that to be quite dark.
You grab some mail or hair and
make sure that.
I think that's great.
Now we get to get into the fun
color.
Men Arends get out.
Wipe it off to the side.
And I'm going to grab.
A number six.
Number six bright.
I'm going to I'm going to move.
Came in to some cleaner water
because I want bright bright
colors.
And I'm going to come here.
And I'm going to actually add
some code yellow.
To my mix here.
And then add some kad yellow.
And add this to my green.
One to tell a little story
under the tree.
So let's.
Lay a little grass.
The right tree.
When I have that bright yellow
in.
I'm going to take a little of
my green over to my blue.
When I come right under the
tree.
With this darker color because
this would all have a bit of a
shadow wouldn't it.
Pull some light in the dark
together.
Calling these little brush
strokes of grass.
Into the blue.
You realize that they're.
Not nice.
Are just open expressive
little strips.
Where you think you might have
some grass.
Some.
Up.
On the edge.
That you one little.
Just a little bit here.
To show that this is deeply
seated in the world it's in
some just plume a dark canary
there.
MEGO right back into Maiello.
Right back into my yellow.
Right here.
Little brushstrokes.
Little brush strokes.
And then out and see how he
just very quickly.
Have a very multi
dimensional area Princie
that out way far into the
dirty wire that I have.
Wipe this off.
When it come over.
And then I'll take a little
Mike Winokur down here.
Over to my fellow blue.
And I'm going to put it in the
dark shadows of my tree.
So I mix this nice purple.
Little water to show it.
Lemme come here and I'm going
to put in some spots.
This is number six Borate.
I'm going to work the corner.
And I'm going to make.
You sort of a little brush
strokes.
As it comes out here and might
even open that up pretty.
This is my darkest value.
Maybe a couple here.
My darkest value in this space.
Going to fill this in
carefully.
OK if a couple.
Leaves cross the branch
you want to add balance out so
what you want.
Is to make sure that there's
room for birds to fly through.
Or squirrels to be there.
You don't want to over.
Leaf your tree so no light
can shine through. So even in
the shadows you start thinking
about those things.
This is the deep value of your
tree.
Marion.
Wayne she definitely.
Had that de-value right there.
Calf won some of those leaves
come down here.
See now we have a little of the
branches sort of.
Peeking out.
And we're painting the shape of
the tree.
I'm not trying to paint every
leaf on the tree.
I'm trying to paint the form of
the tree.
And the overall shape of the
tree.
When you're looking at trees
think about it's shape first
more than it's individual
components.
That's something that can mess
you up when you start up
painting because as a new
artist you'll be thinking about
the individual components
more.
Than the light shadow and shape
that you're looking at.
When maybe leave a little space
there.
Again some of these branches
are more about the
architecture.
Than the branch.
And that can be you know a
little frustrating when you're
a new artist but I like to use
them to think about.
How the tree is built.
Now up here at the top
I don't have very much shadow
because this part of the tree
is really in light.
So when you just do a couple
little spots.
Of Shadow.
That we might see.
But not as many.
You mean like right here.
Right here in the center.
It.
Might be more in shadow.
Open that up.
That would be.
Let's get a little of this.
We'll start working the other
side.
One more in shadow maybe a
little shadow here.
Because that's deep in the tree
isn't it.
Just painting around this you
could paint this all in.
First if you went into the
order of how he paint things.
Impacts our result.
Here we go putting in those
deep shadows already the trees.
Interesting isn't it.
Let's put in some more over
here.
That's a little more purple.
Elm or connect to the.
You know a little bit right
there.
Pudding. In this part.
Shadow here.
Crosses over maybe a little bit
back there.
Working on shadows in my tree.
Lots of different ways to do
this and we'll look at some of
them. How are you doing.
We're nearly done.
Believe it or not.
For all the fun part.
From here.
That's where that little branch
goes isn't it.
It's structure for it.
White Kli that there's a fine
little bit of something or a
hair.
Maybe even a little bit of
something.
Right here from a branch that.
Is once you have the bones and
then you can start playing with
what you're saying.
Someone who rents out my brush
really really really really
really really really well.
And I'm going to start working
my next values up.
And so this is where paintings
come together in acrylic
painting. Everything has kind
of an awkward stage.
And your job is to hang in
through your awkward stage and
keep building the layers until
like that last 30 percent when
it all comes together and
you're like wow.
Totally pain free.
All right.
Ex-parte.
Some may get my water.
Drag off my extra.
Come here it's OK
if there's a little bit of the
blue I just want this to still
be more pink and I'm going
to get a smidge of white
into it. This is my next value
up.
My next value up.
Right. And I'm going to come
here with this connector down
bright pink.
And I know where my light is
coming down like this.
So let's.
Have some leaves.
On this tree we want to leave
chateaus don't want to take
away all your shadow.
Shadow defines what we have in
our world.
But you do definitely.
Want to talk about the
highlights.
I'm still just on the corner of
this brush.
You know a couple of leaves
here.
You can have a couple that's
top down there.
Maybe. Some of them.
Or blowing in a different
direction in the wind.
Not ok.
Just like letting a little of
the blue still set in it.
And of course some of it's
going to pick up from
underneath.
Layering over a couple of
leaves.
Still letting a lot of light
shine through. Even as I layer
this up.
You're still white and then you
can see that the shadow is
making everything form.
Just a little more hair.
Failing that an.
Having some fine.
Dabbing this out.
Taking us into the sunlight.
Now let's say that this is sort
of a different branch and.
It's layered here and it's.
Thinking about how it's coming
out into the world.
Super fun stuff that's more
current round if you get a
little more current ground
that's OK.
Well haveour that's OK.
Well your way.
I'm not really lightening
lightning lightning the pink
yet because just not
that time at the moment.
If you need some more water
because the pain is gummy
sometimes if you're in a very
dry condition like I am
the paint will start to dry
on your palate.
And that's OK. Got to lighten
it up.
Keep making these little corner
dashes.
Don't take away all your
shadows.
So that's what's going to give
your tree shape.
Going.
That's.
So for you sometimes painting
out things that you put in will
really stress you out.
Just remember.
We're supposed to only see
little implications of these
branches. This is a healthy
tree. It has.
The horns of leaves.
So.
Just keep having those
out as I'm coming over here
and might start curving the
brush strokes a little bit.
Pressing them out I'm trying to
not make lollipops
I'm trying to tell stories with
character.
So that's what I'm avoiding.
Definitely want lots and lots
and lots and lots of leaves.
The top kaching son.
And.
Telling stories.
Catching some.
Couple of these leaves pop here
and.
They're still layering and
letting some of the trunked
show.
See how we go we just layer the
pain is not just looking
beautiful I love it when it
starts to come together he
loving it and they get a little
more moisture and my brush.
Some dipping and then the
thing about synthetic bristles
is that they don't over
moisten.
So it doesn't
you know cause me trouble and
having too much water in my
pain. Too much water and my
pain it gets runny gets thin
doesn't really cover it doesn't
stick to the painting can
get real frustrating.
Just keep adding some of this
maybe a little white back into
the mix again.
Connected on is a fairly
transparent color so
sometimes.
You know you can find it's.
Challenging to get coverage.
So rich and beautiful.
I love to use it.
You've got this.
Right.
Just the top here.
Just were done better at a tree
today aren't we.
Than we did yesterday.
That's the goal.
Paint better today.
What we did yesterday better
tomorrow.
Day before.
We don't have to beat
everything all the time.
That Khatri were constantly
growing.
Going to add a little highlight
here keeping my low lights in
this delightful branch see I'm
keeping the shadows him holding
some shadows.
Because if I don't it will stop
having shape if I paint at all
my shadow.
Stops having a shape.
Just letting things blend on
the canvas and come on here
and the next really important
layer is going to really start
to pop. All of this and bring
it all together so I might put
out a little more quiet or down
and I may do it closer to
my on my way because I'm going
to start doing some really
interesting color things here
creating a lot of
dimensionality and whimsy.
While I still have pink come my
brush them and grab a little
white. I would do some.
Cool. I'm going to drop just a
few puddles on the ground.
When ever you're painting
something colorful.
In the Life'll is sure an.
Integrate those colors around
you Kamis non-friends out
just mostly so I can start to
reload.
Everything is pretty easy
to work here on out.
So the next color in a Pops
places take a little of my cat
yellow and a little my
Kronecker down.
I want it to be more
to the red than the yellow.
Maybe a little white to it.
There you go.
I'm going to just a couple of
places.
Quit this warm or color.
This would be like where really
direct light is maybe
hitting everything.
I want to have some here.
Say that there's some light
traveling.
Back into the space.
And it's OK to play with that
great. It's OK to be playful.
Think about things.
I have a.
Reference painting that I.
Usually do a test before I do
this and so I'm just.
Looking back at that making
sure I'm.
Remembering what my plan is.
I'm taking this little bright
highlight out here the edge.
Let's see how that's adding
something.
To a couple here.
And some.
Way if it's having trouble
popping.
Fuel pieces here.
Really really want to avoid
taking out my.
Low lights though.
Some of those all around the
tops. This is really in the
sun.
Keep going you've got it you're
almost done one more.
Little later after this.
You've got this.
Haven't put this everywhere.
No I'm just kissing couple
spots because I'm really
talking about a particular
type of light dappled that
can happen.
When there are inset out.
We've really almost painted
this amazing tree or you just
like wait till the next layer
it's going to just completely
work for you.
All right. Now I have this way
hermitic just a smidge.
Well my Kronecker down over to
my white.
Is going to make a very
light pink.
And I'm going to come up to the
top of my tree.
With this very light pink.
And having these little
clusters.
Where the light is.
Hitting that's the shape of the
tree right. Because we're
painting a shape.
There's some.
Light and it's.
Catching the top of the
branches and.
That's fine.
Catches the top and that starts
to give dimensionality.
To what we're looking at
doesn't it.
As we build that up this
delightful tree.
Built that up.
You of either yellow because
that was your pop of color that
was your color.
Just to light the brain
and.
It's ok to be playful in
in things it's ok to.
Do the unexpected in your
paintings.
It's maybe your tree is pink
and. Purple and yellow.
A lot of.
I. Laid
out here.
Wore pink.
Freshly
minted out here.
Just
finding those highlights.
How's that looking.
That is really working.
Let's keep going.
It's. Not fine.
It's
just fun to paint.
Trees.
Is just fun.
To paint in general.
Actually.
That's that's all this has to
be is.
Just fun.
I mean these highlights I
definitely want to this little
branch. Oh it's got some blue
some more rinse out but that's
not bad.
That's not a bad thing.
I just want it to be more pink
in this area.
What some.
Need. Right there.
Even some of these little.
Leaves cross and.
Do some interesting things.
Top of this.
Is thinking about the top of
this branch.
So that's what you're thinking
about you're thinking about the
top of each branch.
Where's the light.
Is more this.
Darker pink in.
Keep telling this story up
here.
Well always looking to.
Finish the tale or Right.
Where's the tail. How can we
finish the tale.
Having fun dashing those
around.
Getting more weight.
Chest.
Finding the shape that pleases
me.
Making sure I'm happy.
With the branches that I'm.
Seeing.
It's always good to just step
back in.
And look at what you have and
go how do I feel about that how
do you feel about that.
I think I could use just one
more interesting little thing.
And I think it's worth doing.
Rinse out your brush really
really well.
Monograph. Just a little
yellow.
Just.
While it's also wet.
Out a little of it.
Couple places.
Is just super colorful.
Now we're doing we're thinking
about these branches.
Catching light.
You can even add weight to your
yellow if you want.
A little light right here.
The contrast.
In the complementary colors.
Make it really exciting
I think to the.
So when you paint with a lot of
color like I like to really.
Use a lot of color when I
paint.
It's fun for me.
To. Grab. A little white there.
And just enjoy.
Home I get goodness this was
such a fun fanciful
little project right.
Maybe a little right there.
I'm just looking.
For what seems empty.
My brain is constantly speaking
to me and saying it seems empty
here seems empty there but
I'm really imagining the light
landing.
The last thing that I get to do
one of the best parts of when I
get to do is to sign the piece
I'm going to grab a little
signature brush.
This is a small little detail
around right here.
And I'm going to just.
Grab a little of my black paint
and come over to the side.
And just do a nice little
signature.
And have it be like the last
stroke that's happening there.
Well that was a lot of fun and
I so enjoyed spending this time
with you I hope you're really
surprised the tree you were
able to paint today and I
hope we're going to pay a lot
more trees be good to
yourselves be good to each
other.
Go out and keep watching the
videos because they're awesome.
And I want to see you at the
easel really soon but by
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