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American artist, Hall Groat II, demonstrates how to paint cherries in a classical style.
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Female: The New York Art Collection is pleased to introduce to you American Artist Hall Groat II. Hall resides in upstate New York, and has been working professionally as a fine artist over the last 20 years. Since his father is also an accomplish artist, Hall first started painting at the early age of 3 and hasn’t stop since. Hall is currently a professor of classical oil painting at a college in New York. However he has years of experience teaching students of all ages. He has shown at one person exhibitions at numerous colleges’ galleries and museums throughout the North East United States. Professor Groat is also in countless private and public collection internationally, including Bristol-Maira Squib, House and Garden, Sharidon Hotel Corporation, and the State University of New York System along with Michael Douglas and Catherine Zeta-Jones, just to name a few. In 2006, Hall became involve with the new art movement called The Painting a Day, which originated in the United States and has evolved internationally with the global view of fine art. Art is his passion, his vocation, his life. Following a call for what he was born to do, and now he is sharing his knowledge through instructional DVD’s. We are delighted to provide the highest quality of our education with concise but thorough communication to an international audience. You’ll be learning from the best, I am pleased to present to you professor Hall Groat. Hall Groat II: Hello, my name is Hall Groat II, I’m an American Artist, living and working in upstate New York. I’d like to welcome you to my studio. Alright, we’re gonna use a little bit of Rembrandt titanium white. Now we’re gonna mix up something for all the area below the… below the cherries. Big bold brush strokes… alright at this point, it’s a good time to sort of sit back and look at your motif and… and you’ll notice that the alizarin crimson fuses beautifully with the burnt amber. Looking at them individually, how they connect with one other ones, I’m looking at them in pairs of two… this point we’re gonna take a look at what we have and consider the next move. Gonna hit the side with some of the light. Okay, at this point, I’m pretty satisfied with the way the form and painted surfaces coming together. Just to show where it turns, and the light sort of gathers there. Now, we’re getting to the point in this painting or… haven’t gotten towards highlights yet, but starting to indicate some of this specific contour, where the fronts roll outwards. So, put a little bit of titanium white into the grey, sort of give it a tonality. And that allows me to build, sort of drag the paint in the surface and then some of the ground kicks through. That seems to really be adding a piece. Alright, let’s shape things up a little bit. A little bit more tension back here, getting into some violet. I would like to have a movement, you know, some sort of transition from left to the right. And some way to bring the eye across, by lightening it over here, makes it look like a light is breaking behind the form more. We can have a little bit over here actually. Turn it up around. Real slightly, carving away those stems, alright. Going with the number 8 synthetic nylon brush, it’s really soft… some little bit of grey violet, pretty much what I used before. And at this point in the painting, I’m going to work with some softer brushes.