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Learn how to classically oil paint or improve your oil painting skills with American artist, Hall Groat II.
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So just a downward stroke, looking at the spot, trying to match that value, just to show the side of the tray. It’s my double O brush, small amount of the burnt amber once again with some ultramarine blue, just to darken it and cool the burnt amber off, and we’ll use that to accent. Real big brush, number 6, just a… stroke of burnt amber will do it, perhaps little tiny bit of ultramarine to cool it off. I’m gonna take the brush, hold it out like this and start, what’s gonna end right here, I’m gonna make a few check marks. This dark shape will help the other values work better. It’ll add more contrast. So that comes right out like that, maybe about like that. As I said, I’m not gonna get in to detail with regard to this cigar at this point, it’s a little bit thicker. And there are highlights; there is a big highlight on this cigar. There are some plains but now I’m just gonna treat it as a spot of value, so we can put our time on to the… the china ashtray. Now we’re gonna work on some highlights, but before I do that, let me soften a few of these accents here, just blend, soften that edge. So the edges aren’t so sharp. Then since I’m here, since I have the dark on my brush, noticing a bit of a cast shadow comes out here. It’s got more of the… more of the carmine from the fabric in it. Certainly been adding like that… just let that fade out for now. There’s more of a definite shape to it, but now I’m just gonna treat as a dark spot. And some of that shadows are here to. Start with the warm highlights, using my double O brush, quite a bit of white, just gonna warm the white up with the… the oaker, the color we have here. We’ll do, this is gonna be rather thick, we’ll gonna really lay it on. So this is when the glass starts to look like china. I put this highlights on, so there’s a little right there. There’s some cool highlights in here to. So I put the cool over here, the warm will look warmer. And now, let’s see, I’m looking carefully… now we’ve got… what’s important now is to get this warm top edge right there… it’s almost like a plane oppose to a highlight. There are some brighter jewels. I have to use some pure white in a few spots. It’s like a highlight plane on this… comes out like that… over stay it… hmm. Now for some cool, some pure white on my double O brush, and what I’m noticing are some real bright spots here, I’m just… I’m taking a thick glob of paint and sort of dragging it, these little key areas I see. This is the… this is the highest key spots within this piece, and then… noticing one right here and a little bit right here. Now, if you put a glob down like that, and it’s too thick, you can take the end of your brush, sort of carved it in. In this case I have to go to a number 2 brush and just chop it off, yeah, that works pretty well. And I’m noticing a little highlight here. And if your highlights are too long, you can chop them down like this. There we go… beautiful.