Current A–Z Programs

Program Reminder:

Paint This with Jerry Yarnell

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Ch. Title Description # Day Date Time Length RPT CC DVS AD MD
36.1 A Bluebird's Paradise, Part 5 Jerry begins building the highlights of the feathers in this painting, and skims the surface of the under painting, leaving darker pockets showing through the bright colors of the red crest, the bright blue of the head and the lighter gray of the under belly. (9 of 13)
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1109 MO 09/08/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Parade of Lights, Part 1 Jerry introduces a cityscape for the first time as one of his painting projects. A metropolitan cityscape with high-rise skyscrapers stretches across a 15x30 canvas with a dark sunset, glowing lights in the buildings that reflect beautifully in the water. (10 of 13)
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1110 TU 09/09/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Parade of Lights, Part 2 Jerry finishes construction of the buildings with a dynasty brush making sure to vary the sizes of the buildings, the height and location of skyscrapers and closely observing and manipulating the negative space between the structures. (11 of 13)
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1111 WE 09/10/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Parade of Lights, Part 3 Jerry begins to detail the buildings with the use of a different value to create an overlap of smaller buildings in the foreground, their reflections in the water and the addition of well-placed lights in the city. Additional glows, variety of colors, and a skimming technique connect the structures of the horizon line. (12 of 13)
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1112 TH 09/11/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Parade of Lights, Part 4 In this final session of the 15x30 painting, Jerry completes the miscellaneous glows and with the addition of a dry brush haze around the lights, both in the sky and in the water. (13 of 13)
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1113 FR 09/12/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Biloxi Shrimpers, Part 1 Jerry discusses the differences between a gallery wrap and the traditional canvas as he begins the composition of a boat dock with a shrimp boat, reflections in the water and a pelican on the piering. (1 of 13)
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1201 MO 09/15/14 11:00am 00:28:45 - (CC) × ST
36.1 Biloxi Shrimpers, Part 2 Jerry continues to discuss the gallery wrap and using the pegs in the frame to tighten a canvas as he continues to under paint the grays of the dock and the boat. He utilizes the contrast rule and discusses the value created with the use of turquoise blue and ultramarine deep to successfully achieve the next level of value in the piers and dock.(2 of 13)
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1202 TU 09/16/14 10:59am 00:28:45 - (CC) × ST
36.1 Biloxi Shrimpers, Part 3 Jerry adds the intermediate details of the boat trim, barrels on the dock, miscellaneous items stacked around the boat house and the additional highlighting of the water. He begins placing more emphasis on the center of interest, the dimensional form of the boat. (3 of 13)
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1203 WE 09/17/14 11:00am 00:28:45 - (CC) × ST
36.1 Biloxi Shrimpers, Part 4 Jerry begins adding the final details in the boat, blocking in and adding shape to the pelican, plus, he demonstrates how to make a correction to the design/composition of a painting by altering the length of the boat. He switches to the Dynasty brushes for the chiseled edge and to create the shrimpers nets on the boat. (4 of 13)
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1204 TH 09/18/14 11:00am 00:28:45 - (CC) × ST
36.1 My Favorite Things, Part 1 Jerry discusses the unique steps that an artist will take to actually develop a painting. He discusses the use of a camera for resources, using a color printer and setting up a research library. The next step is the setting up of a still life, the proper lighting, suggested items for the setting such as colored fruit, vases, flowers, all the while watching the negative space even as you set up the still life. (5 of 13)
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1205 FR 09/19/14 11:00am 00:28:45 - (CC) × ST
36.1 My Favorite Things, Part 2 Jerry has a collection of items he has collected from around the studio. He begins blocking in the shapes and he demonstrates how to paint a perfect circle for the grapes. He uses a # 4 bristle brush and pivots the brush thus creating a round object. (6 of 13)
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1206 MO 09/22/14 11:00am 00:28:45 - (CC) × ST
36.1 My Favorite Things, Part 3 Jerry adds dimension and form to the blocked in shapes of this composition. He discusses the creation of a candle light glow on a painting and how to dry brush in the shape around the flame. (7 of 13)
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1207 TU 09/23/14 11:00am 00:26:46 - (CC) × ST
36.1 My Favorite Things, Part 4 Jerry brings up the highlights slowly with multiple layers on each of the objects. He deepens the cast shadows on the apple and completes the painting with the final details. (8 of 13)
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1208 WE 09/24/14 11:00am 00:28:45 - (CC) × ST
36.1 A Farmer's Icon, Part 1 Jerry provides step-by-step instruction on a beautiful nostalgic red barn. While blocking in the composition during the first stages of this painting, Jerry demonstrates a new method for creating a dramatic stormy sky. (1 of 13)
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1101 TH 09/25/14 11:00am 00:28:46 (RPT) (CC) × ST
36.1 A Farmer's Icon, Part 2 Jerry continues blocking in the barn, roof, silos and trees while establishing the contrast and values of the painting. He uses a variety of greens with to demonstrate beautiful meadows, while complementing and creating a contrast with the red barn. (2 of 13)
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1102 FR 09/26/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 A Farmer's Icon, Part 3 Jerry adds the middle tones and highlights, beginning with the silos and a circular motion the dimensional form is created on the cylindrical shape of the silos. The barn is highlighted and further detail is added to create textured, old wood and with the addition of ruts in the road, even further attention is directed towards the barn. (3 of 13)
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1103 MO 09/29/14 11:00am 00:28:46 (RPT) (CC) × ST
36.1 A Farmer's Icon, Part 4 In the final stage of this painting, Jerry continues highlighting the barn, adds the details of the fence, broken boards and a gate. Pure pigment is utilized to brighten the barn and the use of a script brush will add the necessary cracks and holes in the wood of the barn. (4 of 13)
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1104 TU 09/30/14 11:00am 00:28:45 (RPT) (CC) × ST
36.1 Night Sail, Part 1 Jerry begins on a charcoal, almost dove gray under painted canvas. In phase one of this painting he uses a Hake brush and starting 2/3 of the way down the canvas he mixes yellow, purple and white to create a beautiful sky. He builds the base slowing while working from dark to light slowing creating the emergence of a night sky and clouds. (9 of 13)
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1209 WE 10/01/14 11:00am 00:28:45 - (CC) × ST
36.1 Night Sail, Part 2 Jerry begins this episode with the discussion of a tip regarding the sanding of a canvas and why it is something every artist should consider it important. Then he begins with a dry brush blending technique to finish up the sky and the creation of rain clouds in the horizon. (10 of 13)
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1210 TH 10/02/14 11:00am 00:28:45 - (CC) × ST
36.1 Night Sail, Part 3 Jerry demonstrates how to paint the water so that it appears to have movement; he demonstrates using a variety colors and glazes to bring the water to life with the addition of white caps, spray and even swells. (11 of 13)
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1211 FR 10/03/14 11:00am 00:29:00 - (CC) × ST
36.1 Night Sail, Part 4 Jerry blocks in the shape of the boat and sail. He discusses the proper technique for painting white by using a gray underpainting, and he demonstrates the technique while using a chisel brush. (12 of 13)
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1212 MO 10/06/14 11:00am 00:29:00 - (CC) × ST
36.1 Night Sail, Part 5 Jerry finishes up the boat sails and the body of the boat in this episode. He uses a #4 bristle brush with white glazes on the sail making sure to leave the brush strokes so that the sail appears to be blowing in the wind. He then uses Cadmium Red to finish out the portion of the sail. (13 of 13)
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1213 TU 10/07/14 11:00am 00:29:00 - (CC) × ST
36.1 Pheasant in the Rough, Part 1 Jerry under-paints the canvas in gray and uses a #10 bristle brush with the mottling technique. Next he moves to the hake brush for blending using "X" strokes and feathering brush strokes. His next step illustrates creating the snow base. (1 of 13)
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901 WE 10/08/14 11:00am 00:28:45 - (CC) × ST
36.1 Pheasant in the Rough, Part 2 Jerry continues with remaining distant trees. Then he sketches in the building and under-painting of cedar trees with #4 bristle brush. Next Jerry switches to the #6 chisel-edge brush to under-paint cabin. Then begins first phase of highlighting on snow using #2 bristle to put snow on roof. (2 of 13)
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902 TH 10/09/14 11:00am 00:28:45 - (CC) × ST
36.1 Pheasant in the Rough, Part 3 Jerry shows how to begin putting in all of the intermediate highlights and shadows by using the #10 bristle brush. Also phase two of highlighting the snow drifts. Then how to dry-brush in the weathered wood on the building and block in the door and windows. (3 of 13)
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903 FR 10/10/14 11:00am 00:28:44 - (CC) × ST
36.1 Pheasant in the Rough, Part 4 Jerry shows how to finish up dead trees and add some of the taller weeds. He begins the process of drifting up the snow against the clumps of grass using the #2 bristle brush. (4 of 13)
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904 MO 10/13/14 11:00am 00:28:45 - (CC) × ST
36.1 Pheasant in the Rough, Part 5 Jerry shows how to paint in all of the final details, like snow on fence post and rail plus final drifts up against weeds. He finishes with the script brush putting in final close-up tall weeds to seat the fence post and pheasant. (5 of 13)
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905 TU 10/14/14 11:00am 00:28:46 - (CC) × ST
36.1 Sydney, Part 1 Jerry under-paints the background explaining how to use mottling techniques to suggest distant trees, bushes, and weeds (using impressionistic techniques). Bonus Feature: Repairing a damaged canvas, Step 1. (6 of 13)
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906 WE 10/15/14 11:00am 00:28:45 - (CC) × ST
36.1 Sydney, Part 2 Jerry shows how to use a white conte pencil to sketch in the Heron--explaining anatomical features, then which colors and brushes are needed for under-painting the Heron and intermediate details. Bonus Feature: Repairing a damaged canvas, Step 2. (7 of 13)
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907 TH 10/16/14 11:00am 00:28:45 - (CC) × ST
36.1 Sydney, Part 3 Jerry shows how to create final details on feathers using the script brush, sables, and chisel-edge brushes. He finishes the weeds, grasses, and tree limbs. Bonus Feature: Repairing a damaged canvas, Step 3. (8 of 13)
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908 FR 10/17/14 11:00am 00:28:45 - (CC) × ST
36.1 Trademark of Spring, Part 1 Jerry shows how to compose this beautiful Blue Bonnet painting using a rough charcoal sketch. He paints sky and under-paints all of the main features of the landscape, including distant hills, distant trees, meadows, and the road. (9 of 13)
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909 MO 10/20/14 11:00am 00:28:45 - (CC) × ST
36.1 Trademark of Spring, Part 2 Jerry shows how to begin intermediate details/highlighting on road and sand with special emphasis on placing grass in middle. He also shows how to use proper brush strokes to make the road look flat. (10 of 13)
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910 TU 10/21/14 11:00am 00:28:44 - (CC) × ST
36.1 Trademark of Spring, Part 3 Jerry shows how to begin shaping the distant bushes/trees, then how to begin applying highlights on distant grasses; also applying first distant layers of Blue Bonnets as well as blocking in trunk of large Oak tree. (11 of 13)
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911 WE 10/22/14 11:00am 00:28:44 - (CC) × ST
36.1 Trademark of Spring, Part 4 Jerry shows how to begin the highlighting process on the large Oak tree and use of the #6 bristle brush to begin blocking in the red flowers and Blue Bonnets. (12 of 13)
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912 TH 10/23/14 11:00am 00:28:45 - (CC) × ST
36.1 Trademark of Spring, Part 5 Jerry shows how to paint in all of the final details of fence posts, a dead tree, and illustrates use of the chisel-edge brushes. (13 of 13)
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913 FR 10/24/14 11:00am 00:28:45 - (CC) × ST
36.1 Wine & Roses (Still Life), Part 1 Jerry prepares the canvas and blocks in the wood table base. Then with a white conte pencil, lightly sketches out composition. (1 of 13)
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1001 MO 10/27/14 11:00am 00:28:45 - (CC) × ST
36.1 Wine & Roses (Still Life), Part 2 Jerry continues outlining crystal glass with a script brush then under paints the grapes. (2 of 13)
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1002 TU 10/28/14 11:00am 00:28:45 - (CC) × ST
36.1 Wine & Roses (Still Life), Part 3 Jerry highlights roses and uses the synthetic chisel-edge brushes to start under-painting the large grape leaves, adjusting the value of the color. (3 of 13)
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1003 WE 10/29/14 11:00am 00:28:45 - (CC) × ST
36.1 Wine & Roses (Still Life), Part 4 Jerry focues on final details, highlights, shadows, and adding wood grain to a wooden table top. (4 of 13)
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1004 TH 10/30/14 11:00am 00:28:45 - (CC) × ST
36.1 My Girl, Part 1 Jerry begins with a rough basic sketch of the basic land masses. He under-paints a late evening sunset and talks about leveling the horizon line. (5 of 13)
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1005 FR 10/31/14 11:00am 00:28:45 - (CC) × ST
36.3 A Farmer's Icon, Part 1 Jerry provides step-by-step instruction on a beautiful nostalgic red barn. While blocking in the composition during the first stages of this painting, Jerry demonstrates a new method for creating a dramatic stormy sky. (1 of 13)
WEB LINK
1101 FR 10/10/14 05:30am 00:28:46 - (CC) × ST
36.3 A Farmer's Icon, Part 1 Jerry provides step-by-step instruction on a beautiful nostalgic red barn. While blocking in the composition during the first stages of this painting, Jerry demonstrates a new method for creating a dramatic stormy sky. (1 of 13)
WEB LINK
1101 FR 10/10/14 11:30am 00:28:46 - (CC) × ST
36.3 A Farmer's Icon, Part 2 Jerry continues blocking in the barn, roof, silos and trees while establishing the contrast and values of the painting. He uses a variety of greens with to demonstrate beautiful meadows, while complementing and creating a contrast with the red barn. (2 of 13)
WEB LINK
1102 MO 10/13/14 05:30am 00:28:45 - (CC) × ST
36.3 A Farmer's Icon, Part 2 Jerry continues blocking in the barn, roof, silos and trees while establishing the contrast and values of the painting. He uses a variety of greens with to demonstrate beautiful meadows, while complementing and creating a contrast with the red barn. (2 of 13)
WEB LINK
1102 MO 10/13/14 11:30am 00:28:45 - (CC) × ST
36.3 A Farmer's Icon, Part 3 Jerry adds the middle tones and highlights, beginning with the silos and a circular motion the dimensional form is created on the cylindrical shape of the silos. The barn is highlighted and further detail is added to create textured, old wood and with the addition of ruts in the road, even further attention is directed towards the barn. (3 of 13)
WEB LINK
1103 FR 10/17/14 05:30am 00:28:46 - (CC) × ST
36.3 A Farmer's Icon, Part 3 Jerry adds the middle tones and highlights, beginning with the silos and a circular motion the dimensional form is created on the cylindrical shape of the silos. The barn is highlighted and further detail is added to create textured, old wood and with the addition of ruts in the road, even further attention is directed towards the barn. (3 of 13)
WEB LINK
1103 FR 10/17/14 11:30am 00:28:46 - (CC) × ST
36.3 A Farmer's Icon, Part 4 In the final stage of this painting, Jerry continues highlighting the barn, adds the details of the fence, broken boards and a gate. Pure pigment is utilized to brighten the barn and the use of a script brush will add the necessary cracks and holes in the wood of the barn. (4 of 13)
WEB LINK
1104 MO 10/20/14 05:30am 00:28:45 - (CC) × ST
36.3 A Farmer's Icon, Part 4 In the final stage of this painting, Jerry continues highlighting the barn, adds the details of the fence, broken boards and a gate. Pure pigment is utilized to brighten the barn and the use of a script brush will add the necessary cracks and holes in the wood of the barn. (4 of 13)
WEB LINK
1104 MO 10/20/14 11:30am 00:28:45 - (CC) × ST
36.3 A Bluebird's Paradise, Part 1 Jerry provides step-by-step instruction on how to paint beautiful Eastern bluebirds on a diptych, two separate paintings brought together by technique to create one piece. (5 of 13)
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1105 FR 10/24/14 05:30am 00:28:45 - (CC) × ST
36.3 A Bluebird's Paradise, Part 1 Jerry provides step-by-step instruction on how to paint beautiful Eastern bluebirds on a diptych, two separate paintings brought together by technique to create one piece. (5 of 13)
WEB LINK
1105 FR 10/24/14 11:30am 00:28:45 - (CC) × ST
36.3 The Lighthouse, Part 1 Jerry gently blends in the sky with the Hake brush and then blocks in the ocean by using turquoise.
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505 SA 10/25/14 05:00am 00:29:00 (RPT) (CC) × MN
36.3 The Lighthouse, Part 2 Starting with the lighthouse, Jerry uses the No. 4 round sable to detail and highlight the structure. The brightness of the lighthouse sets the balance of the value system for the remainder of the painting. Switching to the No. 4 bristle brush, Jerry then highlights the cliffs accordingly, giving the rocks their shape and formation.
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506 SA 10/25/14 05:30am 00:29:00 (RPT) (CC) × MN
36.3 Morning Fog, Part 1 Jerry starts by using using the Hake brush and covers the canvas with a light layer of gesso, tinting the canvas with Hooker's green. The background is then warmed with burnt sienna. Using burnt umber, the value system is applied to create distance starting at the horizon. (11 of 13)
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711 SA 10/25/14 08:30am 00:28:45 (RPT) (CC) × MN
36.3 Morning Fog, Part 2 Jerry begins by adding details to the pier posts in the foreground - noting the value system as he works into the distance. He then creates the reflections of the posts and debris on the beach into the water. (12 of 13)
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712 SA 10/25/14 09:00am 00:28:47 (RPT) (CC) × MN
36.3 Morning Fog, Part 3 Jerry blocks in the seagulls and demonstrates how to add shape and form to the birds using the #4 sable brush. Switching to the script brush, Jerry demonstrates the technique of creating seagulls in flight at the beach. (13 of 13)
WEB LINK
713 SA 10/25/14 09:30am 00:28:46 (RPT) (CC) × MN
36.3 The Lighthouse, Part 1 Jerry gently blends in the sky with the Hake brush and then blocks in the ocean by using turquoise.
WEB LINK
505 SA 10/25/14 05:00pm 00:29:00 (RPT) (CC) × MN
36.3 The Lighthouse, Part 2 Starting with the lighthouse, Jerry uses the No. 4 round sable to detail and highlight the structure. The brightness of the lighthouse sets the balance of the value system for the remainder of the painting. Switching to the No. 4 bristle brush, Jerry then highlights the cliffs accordingly, giving the rocks their shape and formation.
WEB LINK
506 SA 10/25/14 05:30pm 00:29:00 (RPT) (CC) × MN
36.3 Morning Fog, Part 1 Jerry starts by using using the Hake brush and covers the canvas with a light layer of gesso, tinting the canvas with Hooker's green. The background is then warmed with burnt sienna. Using burnt umber, the value system is applied to create distance starting at the horizon. (11 of 13)
WEB LINK
711 SA 10/25/14 08:30pm 00:28:45 (RPT) (CC) × MN
36.3 Morning Fog, Part 2 Jerry begins by adding details to the pier posts in the foreground - noting the value system as he works into the distance. He then creates the reflections of the posts and debris on the beach into the water. (12 of 13)
WEB LINK
712 SA 10/25/14 09:00pm 00:28:47 (RPT) (CC) × MN
36.3 Morning Fog, Part 3 Jerry blocks in the seagulls and demonstrates how to add shape and form to the birds using the #4 sable brush. Switching to the script brush, Jerry demonstrates the technique of creating seagulls in flight at the beach. (13 of 13)
WEB LINK
713 SA 10/25/14 09:30pm 00:28:46 (RPT) (CC) × MN
36.3 The Lighthouse, Part 1 Jerry gently blends in the sky with the Hake brush and then blocks in the ocean by using turquoise.
WEB LINK
505 SU 10/26/14 11:00am 00:29:00 (RPT) (CC) × MN
36.3 The Lighthouse, Part 2 Starting with the lighthouse, Jerry uses the No. 4 round sable to detail and highlight the structure. The brightness of the lighthouse sets the balance of the value system for the remainder of the painting. Switching to the No. 4 bristle brush, Jerry then highlights the cliffs accordingly, giving the rocks their shape and formation.
WEB LINK
506 SU 10/26/14 11:30am 00:29:00 (RPT) (CC) × MN
36.3 Morning Fog, Part 1 Jerry starts by using using the Hake brush and covers the canvas with a light layer of gesso, tinting the canvas with Hooker's green. The background is then warmed with burnt sienna. Using burnt umber, the value system is applied to create distance starting at the horizon. (11 of 13)
WEB LINK
711 SU 10/26/14 02:30pm 00:28:45 (RPT) (CC) × MN
36.3 Morning Fog, Part 2 Jerry begins by adding details to the pier posts in the foreground - noting the value system as he works into the distance. He then creates the reflections of the posts and debris on the beach into the water. (12 of 13)
WEB LINK
712 SU 10/26/14 03:00pm 00:28:47 (RPT) (CC) × MN
36.3 Morning Fog, Part 3 Jerry blocks in the seagulls and demonstrates how to add shape and form to the birds using the #4 sable brush. Switching to the script brush, Jerry demonstrates the technique of creating seagulls in flight at the beach. (13 of 13)
WEB LINK
713 SU 10/26/14 03:30pm 00:28:46 (RPT) (CC) × MN
36.3 A Bluebird's Paradise, Part 2 Jerry begins painting in the connecting limb with a #2 bristle brush making sure to achieve tapered limbs and to create soft edges. Trees are highlighted, the birdhouse is blocked in, along with the roof and supporting post. (6 of 13)
WEB LINK
1106 MO 10/27/14 05:30am 00:28:45 - (CC) × ST
36.3 A Bluebird's Paradise, Part 2 Jerry begins painting in the connecting limb with a #2 bristle brush making sure to achieve tapered limbs and to create soft edges. Trees are highlighted, the birdhouse is blocked in, along with the roof and supporting post. (6 of 13)
WEB LINK
1106 MO 10/27/14 11:30am 00:28:45 - (CC) × ST
36.3 A Bluebird's Paradise, Part 3 Jerry begins the highlight stage of the diptych. Weathered wood on the birdhouse, brighter highlights and reflected light on the limb, as well as scripting in the small branches of the tree are completed during this session of the painting. (7 of 13)
WEB LINK
1107 FR 10/31/14 05:30am 00:28:44 - (CC) × ST
36.3 A Bluebird's Paradise, Part 3 Jerry begins the highlight stage of the diptych. Weathered wood on the birdhouse, brighter highlights and reflected light on the limb, as well as scripting in the small branches of the tree are completed during this session of the painting. (7 of 13)
WEB LINK
1107 FR 10/31/14 11:30am 00:28:44 - (CC) × ST