Moving on now to establish where the sunlight falls on top of the hillside along the ridge. So taking some white touch of ultramarine blue and adding some cadmium. Now, to mix a fairly pale green, you don't want it too strong at this stage because this is this is going to be the middle distance color and keep it fairly light. don't add too much blue at this stage, otherwise it will go too dark. The factor about color mixing is you have to continually judge is a color to light too dark or too pale or too strong. And so you are continually adjusting the color as well providing that you don't over mix it each time.

So now starting along the hillside rich, you lay the color in, just drag it to the left and to the right. You can see how moving the knife when you're not pressing how it leaves areas of the underpainting which continually really adds more character to the painting. And that's the great thing about the knife, letting the live do the work, not pushing the paint too much into the canvas. start laying down broad strokes, which will give you really clean areas of color. And this is one of the beauties of using a painting knife that without over mixing on the palette, the color has more of vibrancy and it looks fresher as well. As you're laying in this lighter tone in nice broad strokes.

You can see the dynamics of the contrast of this really quite strong color against the foreground dark or the middle distance darks. I've added a touch of cadmium and now touch of ultramarine blue to strengthen the green and make it slightly darker and also make it slightly stronger by adding certainly more yellow and adding a touch of crimson just to warm it slightly. And so now, as I mixed this, we bring this down into this this middle area. It's sort of halfway with broad, clean strokes of color, not mixed with the underpainting keeping it fresh.