In this final episode, Jerry continues layering the highlights on the explosion of mist and gases from the geyser. He explains how to carefully layer the highlights to create the progression of lighter values. Then shows how to create a very bright white to cap the multi-layered formations. Then he finishes by using the toothbrush to splatter the rock formation with various colors.

Acrylic Painting on18x24 stretched canvas. In this opening segment, Jerry explains the process of creating a memory painting without the use of reference material -- other than a rough "memory" sketch of things you have seen as you travel. He then explains and lays out the composition and begins blocking in the sky and distant trees and other background areas. He also discusses the loose impressionistic brush strokes and techniques he will be using.

In the session, Jerry continues the underpainting process by blocking in the water and various areas of land masses. He then blocks in the tree trunks of some of the distant trees and begins highlighting and detailing the background areas in preparation for re-sketching and underpainting the bridge. Now he underpaints the bridge, pathway, and darker grasses along the shoreline.

In this episode Jerry begins the refinement phase of detailing and highlighting the grasses and other areas. Now he underpaints the rocks along the edge of the banks and paints in some of the reflections of the grasses and rocks along the shoreline. Then he underpaints the larger tree trunks and reflections of the trunks.

In the episode, Jerry shows his viewers how to paint the stones and miscellaneous details on the bridge. He continues by painting in the form highlights on the rocks along the shoreline and on the large tree trunks. He continues by adding additional tree limbs and miscellaneous intermediate details along shoreline and pathway.

In this final segment, Jerry takes his viewers through the process of adding all final details and highlights. He adds the miscellaneous clumps of grasses, weeds, and brush to seat the bridge, trees, and rocks. Then adds the leaves on the large trees. He finishes up by putting a horizontal glaze on the water to make it appear more wet. Then uses the script brush to apply the taller weeds throughout the painting.

Acrylic Painting on18x24 stretched canvas. In this episode, Jerry discusses the size, shape, and preparation of his canvas. Then talks about the reference material and how to compose a painting from memory. Then he shows how to create the proper underpainting mixture for the shadow of the snow and how to properly apply it. Then he finishes by showing how to dry-brush in phase one of the contour of the snowdrifts and create the proper composition.

In this episode, Jerry continues showing how to form and highlight the snowdrifts using brighter glazes of white. He then shows how to use smaller brushes to highlight the raised areas. He then shows how to add touches of orange to the white to create a soft bright highlight for the tops of the drifts. He now finishes by taking the # 10 chisel-edge brush and underpaints some of the main clumps of grass.

In this episode, Jerry continues underpainting the base grass clumps. Then he shows how to use the #6 chisel-edge brush to paint in the taller, thicker weeds. Then shows how to seat the grass clumps by drifting snow at the base. Then he adds the taller skinny weeds with the #4 sable script brush. Now he shows how to paint in the bright sunlit weeds. Then he finishes by using the #4 round sable brush to paint in the extreme bright snowdrift at the base of the clumps.