Hello, my name is Hall Groat II. I’m an American artist, living and working in upstate New York, actually about 200 miles North of New York city. Adjusting detail, I’ve got the camera zoomed in to one of this areas that I just place down to, you know, represent the stitches in a simplified manner. Now I’ve mixed up a little bit of burnt amber and I’m using a very, very, very small brush. It’s a double O. As they go around they turn. Takes a lot of focus. Every time you reposition the ball. The angles of these stitches change. I’m gonna get down to basics in this one. I had many request from, you know, both artists, beginning artists, and also art students to put together a DVD that actually introduces all of those fundamental concepts and, you know, art principles that are intrical into being able to learn how to paint and draw. And I also, you know, get into the tools of the trade. So this particular DVD is outstanding for showing the beginning student the techniques for stretching cotton canvass with the players applying the jesso. You know, how assemble the stretcher strips. I get into the various types of bristle brushes and compare bristle brushes to the nylon and the synthetic type brushes and the, you know, the traditional Kolinsky Sable. Discuss the various paints I use, colors. Then from those tools I move in to, you know, the classic design principles, those concepts that are essential for setting up a dynamic composition that communicates in, you know, powerful way. And then I phase into the art elements, and so both with the design principles and art elements. I discuss the, you know, the concepts in relationship to a black and white painting of eggs and… more than willing to answer questions that you may have. I mean, if you’re beginner, there’s always a, you know, ideas that may, you know, appear a little bit vague. And there’s so much to it. And thanks again, and if you are a teacher at a public school or a professor at a college I, this package will be, you know, outstanding for, you know, introducing fundamental concepts to your student… Make sure it’s tight. Staple. Okay, so that’s two sides I stapled. Now this first one here or this third one here, don’t pull that as much, just pull a little bit. Okay, zoom really close in on this corner so you can see how the canvass is sort of folding. I’m gonna see if this is possible to show. Watch what my fingers do. From the center outward… outwards. And the reason for that is you want it to shrink and dry evenly. When I first started this process 18 to 25 years ago, I remember stretching large canvasses and starting from one end and it would shrink unevenly and then all of a sudden the canvass would buckle, torque. Alright, same brush, same phase, more detail and zoomed way in on here. The back of the Oreo cookies, there’s one up top, this little division, so I’m using the same brush just printing down. Almost like a little mild print to indicate those minuet forms. There we go. Just like that. And as I do it, I’m actually becoming more ac… remember… down here, we’re stating the detail. Take a quite a bit of focus. A little about myself: I received my masters in fine arts degree down at Brooklyn College back in 1990, and, you know, spent two years there studying with an artist by the name of Lenard Anderson, actually being expose to the classical ideas of, you know, naturalist painting. And it was quite different for me at that point because before that time, I was actually more of an abstract painter. And so I do have that, you know, abstract background and, you know, design and experience, so. At Brooklyn College, anyways, I spent considerable amount of time, you know, being exposed to traditional realist painting and since then I’ve spent, you know, years perfecting and have fun. That’s what painting is all about. Having fun, and take chances. And make mistakes. You have to make mistakes to, you know, discover new things about yourself as an artists. Good bye. Pry some different combinations out with this tetra option and compare it to the color schemes I presented before and, you know, see which ones work for you. As I have always mentioned, you have to be willing to take chances with color and experiment. I mean that’s the fun thing about painting, is working with color and seeing what the possibility. I pan them down you might tell and I’ve got decided to go with a cad yellow contrasted with the violet and then a orange blue. Let’s see what happens. As I said, you have to try things out, willing to take chances to make discoveries of color. And here’s an example before your eyes.