Tip:
Highlight text to annotate it
X
[Music]
Here's my palette and it's basically what I was using the previous session
and burnt sienna. You can see that I'm using a lot of burnt sienna there.
In fact I'm probably using too much burnt sienna so I'm going to add
some utramarine blue and I'm using
some paint thinner
that really blends nicely together. I'm using RGH paints
and I really liked their burnt sienna. A lot of other brands I really don't like
their burnt sienna all that much.
The burnt sienna with RGH paints mixes really nicely with their
Ultramarine blue.
I'm just scrubbing it on here and using a little bit thicker paint.
to suggest some crack and texture.
Leonardo da Vinci called
this using the spirit of invention where you look at shapes and try to
imagined where the cracks are and where they turn and where the dips and bumps
are so you just try to emphasize those
perceived shapes. Sometimes I have to stand back and stare
for quite a while to perceive these shapes.
Usually it'll become obvious where a crack should be
It's getting a little bit dark but I'm gonna come in and
rub this out pretty quick.
Right now there's quite a bit of impasto here on on the surface as these rocks.
Right now that's been helpful
because the paint kind of settles into the
low points in the impasto and makes a really nice
texture. Rembrandt used this technique a lot.
Whenever you look at an original Rembrandt you'll see a lot of
of this affect where he is building up
a lot very rough paint and then just
smearing a thin layer back into it (when it is dry).
I'm using
warm paint here.
I am trying to warm up the tops of the rock somewhat.
You want a nice interplay of warm and cool colors.
I'm warming up that area little bit more.
so an area between rocks will be a little bit warmer because
the light is reflected between them. I've picked up a little bit
of sap green which is a new color for me
to play around with but on these rocks I think it works pretty nicely.
I'm just smearing it in.
I don't really have to worry about losing my lights too much because I can always
come back and rub those out
with a rag and at this point I'm basically it just kinda
softening the linear quality
of the lines.
When when you do use a rag you do pull out some lights.
There I'm pulling out
a really nice light there on the rock.
We can get just a really, really nice
three-dimensional quality. In some ways these rocks are getting a little bit too
mannered. They're getting a
quality to them because the impasto is so thick.
I may go back in and actually
I'm use my electric hand sander
and and take the tops off of these
big lumps of impasto.
Or I might just come in with some scumbles
some really grayish-whitish scumbles and kind of
push some of the darks back into the flat layer.
I'll just have to see how it goes.
I might do a little bit of both. That's sometimes the
best solution. Right now I'm kinda pulling out more the lights.
I kind of
went a little bit too dark.
It's always better to go lighter. You can always come back in
and glaze again.
So I'm pulling out some of those high lights.
I'm basically taking off all the paint and some areas.
You can really have a lot of fun of this technique
It gives you a lot of flexibility. I hope you give it a try and let me know
how it goes
[Music]