Acrylic painting on 18x24 stretched canvas. In this opening segment, Jerry discusses the type of canvas and underpainting tint. He then discusses the reference material and how to create a composite composition using photos, sketches, and memory. Now he shows how to paint in the sky and first layers of distant hills to create depth. Then he discusses the value system and finishes by painting in the middle ground, hills, meadows, and buildings.

In this episode, Jerry finishes painting in all areas behind the wall. Then he shows how to underpaint the road with the proper value changes. Now he sketches the outer shape of the wall and arch. Next he shows how to begin underpainting the large areas of the stucco wall. Then he paints in the dimensional shadow of the large and small arches.

In this third segment, Jerry continues painting in the road by adding the ruts, small pebbles, and gravel effect by using a toothbrush. Then he adds the bushes and miscellaneous details on the back side of the arch. Now he begins phase one of applying the texture of the stucco. The he underpaints the stone wall on the left side of the road and finishes by painting in the stone wall at the bottom of the wall.

In this episode, Jerry shows his viewers how to begin detailing the wall and add the stones and other miscellaneous highlights. Then he begins adding the green vines hanging over the edge of the wall. Then he begins adding all foliage in the stone planter and around the edge of the wall.

In the final episode of this series, Jerry takes his viewers through the final process of detailing and highlighting. First adding the flowers on the vines hanging over the wall, the flowers in the stone flowerbed on the left side of the road, and the large yellow flowers in the flower pot. He points out that the flower color is a personal choice and whatever color you choose, begin with a darker version -- then add white to that color for highlighting. He finishes by adding final highlights to the wall road and other areas.

Acrylic on 18x24 stretched canvas. In this opening segment, Jerry talks with his viewer about the awesome beauty and power in nature and encourages his viewers to visit Yellowstone and Old Faithful. Then he discusses his canvas choice and preparation. Now he shows his reference material and how to create a composite using multiple photos. Then takes his soft vine charcoal and makes a rough sketch of the main composition. He then finishes by painting phase one of the sky and distant trees.

In this segment, Jerry starts the finishing phase of the sky and background. Then he begins the process of underpainting the middle and foreground areas. He discusses the issue of glazing to create softness. Then paints in final highlights and details in the middle and foreground areas. He finishes by explaining the compositional layout of Old Faithful as it begins to release its steam and gases.

In episode 3, Jerry continues highlighting the foreground rock area with multiple colors and various brighter highlights and details. Now he explains how to mix a specific color of gray for the underpainting of the mist and gasses from the geyser. Now he shows how to use the # 6 bristle brush to underpaint the formations of the geyser. He ends by explaining how to layer the light values to create the cloud-like formations.

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.