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In episode 14 of the cows in Devon landscape painting, I do some further work on the cow lying down in the sun. First, I add a sense of texture to the hide of the animal and then include some very dark green in the deep shadow areas. The dark green is used to depict the light that bounces off the grass and onto the cow's skin. Finally, I do further work on the cow head, introducing blue shadows and simplifying my treatment of the subject.

In episode 13 of the cows in Devon landscape painting demo, I work on the head of the cow lying down. Using a small round brush, marks of titanium white, magenta, cerulean blue and brown are applied and then I make use of the interactive acrylic blending properties and blend these marks together with a flat brush.

In episode 12 of the cows in Devon landscape painting, I do a bit of field work... that is to say, I paint the field that the cows are in, adding some blades of grass to the edge of the cast shadows and generally adjusting the colour of the grass surrounding each cow. I then work on the hedge in the background, selecting the colour so that it best complements the cow in the middle.

In episode 11 of the cows in Devon landscape painting demonstration, I refine the shadow areas of the cow lying down on the grass and also draw in its front leg that I had somehow missed before. It's funny how, despite careful observation, key elements of a subject can be missed or forgotten. Sometimes, this works out well and actually makes for a better painting but in this case, the cow definitely needs its leg! :-)

In episode 10 of the cows in Devon landscape painting, the cow lying down in the sun gets a similar treatment to the two cows in shadow. Continuing with the idea of complementary colour pairs i.e. dark blue and orangey brown used previously, the left hand cow now gets some pale blue and a brighter orange brown layer added. The brighter coloured acrylics both add to the sense of sunshine and help to make this cow the focus of the painting.

In episode 9 of the cows in landscape painting, I begin by further working on the shadows of the two right hand cows using pure blue. Then I add an orangey brown to each cow and, having sprayed the painting with water, make use of the blending properties of the Atelier interactive acrylics to create some interesting effects. Next, I work on the face of the middle cow using some lighter blues and titanium white.

In episode 8 of the cow painting, I refine the line work on the middle and right-hand cows. My style of painting is iterative in nature, I typically work by putting down some quick lines, then block in, then add tone and colour. This is then followed by adjustments to any and / or all of the above. This little video is a good example of me going back over work already done in order to refine the image. In particular, I adjust the shapes of the cow heads and the lines of their backs with ultramarine blue. These adjustments have the added benefit of hiding the lower part of the tree which is a little too light at the moment.

In episode 7 of the cow painting, I add some shadows to the cow on the left and redefine the line of its back as my initial mark had become lost under the layer of green paint. Because this animal is lying down in the sun, my plan is to have a higher level of contrast and range of colours on this cow compared to the others. Then, I place some cast shadows under the middle cow and darken certain areas next to the cattle.

In episode 6 of the cows in Devon landscape painting, I begin by using a mix of magenta and white on the brush to introduce some blossoms on the tree. To do this, I change the angle and orientation of the brush each time I paint a blossom to create the illusion of light striking the flowers in a different way. Then I use blue to enhance the shadows on the central and right-hand cow.

In episode 5 of the cows in landscape painting video, I begin by using a large frayed brush to depict a tree in the foreground on the right of the painting. Next, I use a reddish brown to create some shadows on the cow on the right, then do the same thing for the middle cow. This step starts to bring the cows to life as the begin to look like 3D objects with light beaming down on them. Finally the cow lying down on the grass also gets some shadow work done.