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This tutorial will teach you all you need to know to help you begin or improve oil painting.
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As close up, and I want you to just take a second, pretend that you are looking at this glass for the very first time, and just notice how intricate the glass itself is. There’s so much going on in it, and you need to spend time with… with respect to glass studying how light interacts within the form of the glass. Now this particular one, unlike some of the ones we dealt with just a few minutes ago, has quite a few triangular formations within it. I’m seeing triangles here, and then more geometric rectangular shapes here. So you need to distill the foundation of the glass, the structure of the glass into its essential parts, you first wanna do that. Then also you need to realize the notion of value, now here is white, we’re looking at white here. Probably it looks a little bit blue to you, but it’s definitely high key in value. Then as I move it away, notice how light in value this sheet of white paper is compared to the glass. Now look at my finger, look at how dark my finger is and look at… look at how my finger is closer to the value of the glass than it is to the value of the paper. There’s an infinite number of colors and tonalities within that glass. It picks up all of the object that are around it, like this fig, the walls, the block it’s on top of, the color of the lamp that’s to the left of the set up moves in here. And all those colors exist in a rather low key formation and then the little jewel like marks are more towards the high key white. We’ll add those in on the end. Right between those little vertical blue marks I’ve made is kind of this warm cool checker board pattern. It’s basically the way they cut the crystal, cut the glass. It was actually saws, carbide saws that cut this glass to give it this type of pattern. Little vertical marks, warm, cool marks, side by side. And I’m noticing some areas, the marks are more saturated, like over here I’m using more of a pure yellow oaker, over here is more tinted. Both cases they become tones because all of the neutral that’s underneath intermixes with the pure color, or the relatively pure color. Here, and there’s actually, I’m noticing underneath this triangular formation up above. Some little golden marks, in some cases they… they seem to be flickering at me. If you squint, make the mark, kinda like plenary painting being out of the landscape, seeing the leaves shimmer in the trees. You have to capture the mark, capture the light. So these are all, we got low key and now we got middle value, what we’ll be ending with some real high key, isolated marks over here. But there’s still a lot of intricate marks I need to add to this. Take about a half an hour of constant superimposing of marks and even up here, there’s some marks that contain some red cast to them. We mixed up the alizarin crimson with white, and just a few new ones is of that even up here in the dark. Building up some of the little intricate shapes and triangular and square formations, did a little scumbling into there too. Now I’m gonna go in with a double O brush, a very, very small, minute brush, basically do the same thing but on a minute scale with some higher key tonalities. Some, actually I’m gonna work with some pure white some pure yellow and that tint of blue green that have mixed up before. And so you’ll see me do the same thing. And then what I’m gonna do as I’m doing these little marks, I’m gonna take one of my other brushes here, one of my bristled brushes and do a little bit of scumbling and talk a little bit about how I take the big marks, the medium marks, and the minuet marks and sort of smear and fuses them together to become more illusionistic.