Good morning ladies. We are going to begin our mountain stream and waterfall workshop and this is the photo we're going to be working from and we're going to be working on this so that we are going to be getting some experience in developing the the darks and lights and design of a waterfall. There's going to be we're going to be spending a lot of time learning how to paint rocks and boulders. We have basically three devices that we can use for developing visual interest in a painting. We have light versus dark or dark versus light that's called value. So what we're going to be doing we're going to be putting a light rock against the dark foliage background. We're going to have some maybe some dark rock against some white water. So that's value. Light versus dark dark versus light. Another device we have is warm versus cool or cool versus warm. That's called hue or the temperature of a color. Notice back here that we are working mainly with cool colors. We're using the turquoise and whatnot and we're putting coolness back here so that when we put warmness up front the warmness is going to appear closer. Warm colors appear closer to us cool colors back in space. The third device is detail. The farther away something is the less detail you're going to be aware of. So I'm already engineering into my painting an absence of detail back here that is going to be kind of trumped by greater detail that's going to be coming in the front or in front of it. So why are we eliminating hard edges back here? We're eliminating hard edges for the purpose of helping us get the sense of distance in the absence of detail. Now what we're going to do is we're going to transition into some warmer, earthier greens that are associated with this rhododendron that's right in front. I've been chastising some of you about your machine gun stroke. This is not beneficial for the painting. Another thing that doesn't help is this. That's not a brush stroke. All right. I want you to slow down and be a little more intentional. Now when it comes to going into this area of the rhododendron we can get dark, we can get light, but we still the rhododendron is a fairly cool color green. But even though it's cool color we still want enough earthiness in it to communicate that these rhododendron are closer to us than these rhododendron. Okay. So now I've got my pool here. I'm going to take some a little more burnt sienna. I'm going to take a pretty good sized chunk of raw sienna. I'm going to go with my veridian. And I'm still going to put a touch of turquoise in there. Now I've done quite a bit of mixing here, but another thing I want you to avoid is that's over mixing. Try to mix just enough where you get the contributing colors into this mix, but you still have a sense. You know what? He used rhododendron. He used burnt sienna. He used veridian. And I see the turquoise. Instead of over mixing so you get one flat color. Try to minimize the amount of mixing. You have to take time to mix, but try to minimize it to the point where you don't kill the individuals who came together to create that color. Now this color that I have here now is a fairly dark green, but it's not the darkest green. Something that most of you have heard me say is, avoid anything that looks like a man-made line. Well watch me on this as I look at the photograph. This is almost a bank of several rhododendrons, but there's no man-made line in there. So I'm going to come in with this color. I'm going to soften my edges. I'm going to use some short little strokes, and they can be somewhat vertical, but I'm going to go in and soften edges. Now notice that I'm trying to avoid what happens there. You neutralize the individuals that came together to create the color. Try to do less stroking in a single area. Let your strokes go out and soften edges. Now I'm going to come out here a little bit, and I'm going to put some soft edges. I'm going to try to soften some of these edges here with somewhat of a vertical stroke. Even though some of the stain is showing through from underneath, I am now done with that backward distortion on this foundational part of my painting. So we go from distance because of the coolness, and without detail, we have come closer here, and we have come closer here. So what I'm going to do is I'm going to take a little touch of turquoise, touch of white, touch of turquoise, and as I look at this photograph, the waterfall is going to come down here, but there are some colors in here that are going to be just plain beautiful. So I'm going to take some white and some turquoise in this pool that I have here, and I'm going to lay in some of this turquoise. Now there's something about this picture that really caught my eye, and it's this beautiful turquoise green and blue that's right in this area. So we're going to start with a foundation of that. I have adjusted my pool color to get this radiant turquoise color right here. So my pool has that really attractive color that drew me to this photograph, but now I'm going to add raw sienna and the dark green to this now, and a little bit of burnt sienna, and I'm going to come, and I'm working with this pool still, and I'm going to use fairly broad strokes. Initially, I'm going to use some broad strokes to get down to about here. More raw sienna, more burnt sienna, and I'm going to come down here, and now I'm going to shift gears, ladies. I'm going to want you to take a bunch of raw sienna burnt sienna, and we're going to start down here. I'm going to have to use a touch of white raw sienna burnt sienna. I'm going to put even a little touch of orange in here with this pool color, and we're going to begin a color down here, massing it in, and we are going to begin what's going to become rocks underneath the surface of our water. Raw sienna using some of the pool color. Now I'm going to go back to this part of the pool that I have here so that I can make a transition. We started with our pool, but we added white and turquoise and some of the veridian. We worked until we got that kind of luminous turquoise green. We want to get it as close as possible. When we get that green, we put it in, and then as we come down, we were adding raw sienna and burnt sienna. We got down to about here. Then we cleaned our brush and started with just a little bit of white raw sienna and burnt sienna, and then we started working back up towards that mixed color. What we have now is the stream bed. This is the bed of the stream underwater that we are eventually going to go towards to show the light and shadow of these rocks that make up the bed of the stream.