How to Paint a Still Life: EPISODE SEVEN - Vanitas with Goat Skull and Flowers

hi there and welcome to another episode of the great art Adventure in this episode we're going to talk all about still life painting and honing our skills in observation [Music] [Applause] [Music] enjoy [Applause] [Music] [Applause] w [Applause] painting still life allows us an opportunity to really study how light behaves and it's interesting to note that when you paint a still life all of the things that we're learning in this exercise are going to be translatable to other subjects as well be it a portrait or a landscape this is all about understanding nature understanding how to communicate individual forms and tones and textures and it's amazing how much you can learn by studying something from observation for the central subject in this still life painting I'm going to choose to paint a skull now I have several here in the studio to choose from and what intrigues me by each of these objects is their white tone and I find this would be a real challenge to try and translate into paint and to really carefully control control my tonal Dynamic I've settled on a cow skull I really like this object I like the missing teeth and if I'm sensitive to the light that's shining on it I think it'll make a really great painting with any painting lighting is a critical consideration here I'm lighting from one side with a warm light and from the opposite side a cool light one of them is more dominant than the other providing a little bit more interest and contrast and the difference in temp temperature helps increase the interest in the overall piece I don't think a painting of just a skull is going to be enough I want a little bit more color and interest in this piece nearby I find some toad stools around Lake dford these will make a great addition to the painting yeah I've got an idea for this one perhaps I've gone a little bit overboard but I like all of the different tones of red and yellow that I'm getting with these toad STS I also like the difference in and the shapes I keep checking the arrangement of toad stools in the light watching for cast shadows and interesting changes of tone and color but even this is not enough I think we need a little something else so I think maybe a frame in the background would work well to add another element to this painting I soon discover that this is going to create all kinds of problems one of them is exiting vectors I notied that this forms a distraction with the edge of my canvas and these lines lead right off the page I might need something else that is also organic these grap Vine leaves might make a really great arrangement of vectors in the background to diffuse the eye and Lead attention back down into the composition they also form really nice soft shapes and will kind of go away with the mess of brush work the added bonus is the red and green are complimentary opposites and this will create an engaging color Dynamic I feel I keep adjusting elements within the composition until I'm happy with the arrangement and overall I think it'll make a great little painting for me this composition is ticking several boxes it has an interesting light Dynamic there's plenty of contrast with the tones there's some interesting forms here we have variation with our colors there's a slight difference in texture and it has a moderate amount of depth I think it's important for us artists to anticipate if this is going to be a successful painting or not having a checklist with some different aspects to it will really help us ascertain if this is going to be a dynamic successful painting with plenty of interest I'm working on one of my homemade Belgian linen panels you can find out how to make these by following the link in the description here at the top right this piece is 20 cm High by 40 cm long and I begin by blocking in the loose lines of the composition first and then mapping out the darkest tone in the background and work my way forward with color the dark tone that you see in the back here is burnt Umber and ultramarine blue the green for the leaves has been mixed using ultramarine blue yellow oxide and a touch of titanium white then I map out the skull with the number six filbert bristle brush this is mostly white but it varies from the shadowed portion to the highlight portion in the highlights I have much more titanium white and yellow oxide and in the shadows I have a touch more ultramarine blue and Quin acon magenta along with a little bit of burnt umber to gray out this mix the toad stools are made up with several different shades of red but the mix here is incredibly simple for the most part it's cadmium red with quinacridone magenta and then I have just a touch of yellow oxide and burnt sienna here to gray out or desaturate I use just a touch of titanium white and burnt umber with this small study my plan here is to start off loose and then refine the image further as the painting progresses so my brush work in the initial stages is nice and Broad and then I refine my brush work and decrease the size of my brush this allows the painting to become a little bit more detailed towards the final stages of the sketch I intend for this piece to be a study more or less so I'm going to map it out all in one sitting this technique is often referred to as Alo Prima or wet in wet I reserve the finest marks for the very end of the painting process I intend to map this entire painting out in one sitting so I'm avoiding any really fine detail I want it to be a little bit looser than my normal works I'm fairly happy with the arrangement and the composition although I think this subject might take a little bit more exploration before I make it into a bigger painting now that I'm finished with this little sketch I need to carry these ideas and things that I've learned into the bigger painting but I'm not quite set on this subject I think some changes need to be made I want something with a little bit more drama and a little bit more of a tonal Dynamic and also I want to paint something much bigger so let's have a look now at a different skull and a completely different arrangement the beauty of making a study or a small painting before we carry on with a bigger one is we have the chance to do things over again and really think about our approach one of my issues with the little painting is that the base just was not interesting enough so I've taken some of this reclaimed Barnwood and I've decided to make myself a little bit of a table as a support for a new still life I'm using an old pallet to form the main support for this structure and then I'm just nailing the Barnwood Direct directly to the outside of this I just love the intricate detail and textures that I'm seeing here and the chipped paint would provide much needed interest now my table's finished and you'll notice the dark background behind it I've changed things in the studio recently and painted the struts of my wall easel as well as hung some black fabric behind the arrangement this will provide contrast from the outset now the question is what are we going to paint I want to move on from the subject in the study and create something a little bit more dynamic in addition to these skulls I also have found some roses some eagle feathers an Old Lantern as well as artichokes and a magnolia flour I found the lighting arrangement in the study to be a little bit Bland and perhaps a little bit too warm what I'm going for here is a really cool intense light from above so I change the bulbs in the studio and work out the angle that I want this light shining from with a painting like this every detail counts it might seem tedious but all of this has a cumulative effect and will lead to a better result at the end after giving it a bit of thought I settle on the goat skull as a main subject for this painting having decided a light angle I first make a decision about where to place the goat scull and the main vertical elements in the background the vas with eagle feathers and the lantern need to be placed so that it forms a little bit of height back here and then I arrange the artichokes around this with this particular Arrangement I'm looking at the way light strikes objects and how this creates contrasting tones I'm interested in the varied forms and the different colors that you can see the texture is going to play an important role but primarily the contrast of textures and then a slight light amount of depth will help the painting enormously consideration needs to be paid to every single element of this painting and the placement is absolutely critical I also change and Vary the way the light shines on particular objects like with this artichoke in the background it needs to be shaded out somewhat this will allow more attention to be paid to the skull and the magnolia flowers I place each element within the composition very carefully and check its relationship in the light each one of these objects might seem unrelated but what I'm playing with here is that contrast of shape color tone and texture I'm really enjoying the difference between forms and I think that's what makes this kind of painting so much fun it really will help us as artists to hone our skills with observation and communicating that with paint a few final arrangements with rose petal and the composition is finished I'm happy with this Arrangement and I'm ready to get stuck into painting the more I look at this Arrangement the more I like it it seems to tick all of those boxes that we discussed earlier it's got so much variation and interest and contrast and in addition to this it's really moody I think it's going to make a decent painting because I'm going to be painting this arrangement from life it's going to stay here on this table for the duration but I also know that the flowers are not going to last that long so I take plenty of reference photographs before I get started for this bigger painting I'm using language handmade oil colors and a palette consisting of 10 tubes let's go through these now we have burnt umber titanium white ayed lemon cadmium yellow deep py roll red quinacridone magenta ultramarine blue phthalo blue cobalt teal and phthalo green and this discolored lump here at the end is oo gel and we'll discuss that in a little bit more detail later on make sure you check out my Quick Clip on painting mediums follow the link in the top right here but for the Block in I'm going to be using language underpainting medium which is low toxic and is really good for people who are sensitive to toxic smells and for my brushes for this initial part of the process I'm using a 1-in chip brush to block in this composition it's one of the cheapest brushes you can buy and it will cover a really large amount of area quickly in addition to this I'm using a bristle dagger number eight my point of view in looking at this Arrangement as I paint it from life is absolutely critical I've designed it in such a way that the most optimal place to view it from is from sitting down at this angle because I continually view the arrangement from the left hand side of the canvas here it makes it easy to find my place again when I start a new painting session I'm working on a 36x 48 in Belgian linen stretcher I precolor this with a burnt sienna wash just to kill the white with a bristle dagger brush loaded with burnt umber I sketch up the major lines of the position all I'm trying to do here is to get the loose arrangement of the objects onto the canvas and check their relationship with one another once I'm happy with the way the arrangement sits within the parameters of the canvas I begin blocking in with these broad chip brushes as you can see here I've already laid in most of my dark tone which again is a combination of burnt Umber and ultramarine blue the skull is mapped out with titanium white predominant but I make sure I stay away from the top of my tonal range and continually drop the tone with combinations of ultramarine and burnt umber this part of the process is all about getting the main forms down quickly this allows me to judge one shape against another and from there make adjustments the most efficient way for me to cover a canvas like this is to break everything into zones and follow along with my drawing as closely as I can this saves me having to paint over areas I know that the background is totally black so I avoid painting the entire thing a big broad black shape and then having to go back over the top of this to compete with that dark tone this would completely destroy the tunnel Dynamic so here what I'm doing is just leaving areas and preserving the background color so that when I have to knock in some lighter tone like I'm doing here with this Magnolia I don't mix any of that background paint into it also working in this way allows me to continually evaluate what I've done and allows me to check whether the arrangement is a sound one in addition to my 1-in chip brushes I'm using some broad synthetics here a filbert and in some places I'm using my bristle daggers around number eight the daggers allow me to cut in with sharp lines to Define shapes further they also allow for some slightly more refined Marks here in the Block in all I'm trying to do here is inform the next pass in the process the vast majority of this block in happened in one sitting and the underpainting medium will dry in about 24 hours making it ready for the surface to accept the modeling layers I always try to make sure I cover the entire canvas within a block in from here I've got a finished composition that I can layer over and I'm pretty happy with the painting so far I'm now finished with blocking in my composition and I'm ready to get on with modeling now this is where my brush work becomes a little bit more intricate and I'm paying closer attention to my color combinations and trying to communicate the exact textures colors and forms of the materials I'm communicating but here something else has happened because of the time that's elapsed the flowers in the composition have started to die already so I made sure that I took some detailed photographic reference to work with and really focus on for this next part of the painting process and it's also going to come in handy later on when the flowers are no longer around I'm using language oo gel for the modeling portion of this painting this is a thixotropic gelled oil medium and again if you haven't already seen check out the Quick Clip all about painting mediums I'll explain a little bit more detail about how this medium works but one of the main advantages to it is the extended working time and also its low toxicity when working in a confined space this can really help sensitive artists within a controlled setting like this it's really amazing to notice slight changes the flowers are deteriorating a lot more rapidly than I would like so I have to continually take photographic reference throughout the arrangement in case I need something to refer back to modeling occurs over the dried blockin layer and this is where my brush Strokes become a little bit more refined and I reduce the size of my brush slightly I'm paying more attention to the variation of tones and colors and I'm trying to communicate more about the forms and textures that are present within this Arrangement it's a real challenge painting white forms and paying close attention to the way the contrasts and tones change as the surface turns away from the light but this is one of the benefits of working from life such as this is we really get to hone our skills and observation and work out exactly how light behaves now I've learned from experience that these flowers though I'm happy with the arrangement are not going to stay like this so I have to work quickly here in the modeling stage to get as much information down as quickly as possible and again take some detailed photographic reference of each flower the size of my brush has decreased you would have noticed to a number two bristle dagger it's amazing how intricate these forms are and the individual forms and shapes pose many challenges for the painter it's amazing when observing things closely you realize just how different they are from what you assumed they were I've noticed that the quality of the Reds changes greatly as these pedals turn corners and shift in the light I had the tendency to go way too saturated with my Reds and I worked out that by diffusing the saturation and dropping the tone slightly that I would save the most intense Reds and communicate the form a little bit better with modeling I'm paying close attention to the type of brush stroke that I'm making and how it communicates the form of the skull I'm also paying attention to the thickness and consistency of the paint once the oo gel has dried in about four or 5 days I'll be able to lay back over this and create some of that unique texture and surface detail that the skull has by twisting the handle and paying attention to the way that the bristles engage the surface of the painting we can communicate all sorts of different marks all of the brushes that you've seen me use here are number two bristle brushes of various shapes but you'll notice how a number two filbert here can be used to make a very fine curved line one of the things that really attracted me to this skull as a central subject was the intricate surface patterns and the different textures between the skull itself and the horns I just loved all of these waving parallel lines and the way they catch the Light so now that we have a blocked in surface we get to model it with a little bit of this detail in mind as we've mentioned previously the modeling is simply an opportunity for us to make a slightly more complicated form and surface you would have noticed we started out here with a very flat shape for the horn and here in the modeling section we get to break this up slightly and communicate more three-dimensionality we do this by paying careful attention to the tones and colors the size of my brush is decreased and I'm using here a number two bristle dagger brush I'm using some bristle daggers here in Number 8 6 4 and 2 I've yet to find a steady supply of these online but you can check out a synthetic version that is just as good if not better check the link in the description below working from Life allows you to see all sorts of differences in the surface of objects here I've noticed many different colors coming through these goat horns from reds to Blues to Greens I'm blending between my brush Strokes ever so slightly here in this modeling phase one of the advantages to the bristle dagger is the versatility of the marks you can make from a broad stroke to a line to a fine point you'll notice from the way that I twist the handle it will change the orientation of where the bristles actually engage the surface of the canvas now let's concentrate on the artichokes these are incredibly complicated objects with several different colors and different surfaces that face the light in different ways if we're going to communicate this accurately I need to really pay attention here to individual Strokes of color and how it communicates this form working over the blocked in surface in a similar fashion to the way we painted the skull I'm applying some darker marks with a bristle dagger this is a way for me to fragment the surface further and I'm paying close attention to individual leaves the darker colors are a combination of ultramarine blue burnt Umber and burnt sienna once I'm happy with the arrangement of dark marks I can then go back and apply some lighter ones and gradually fragment and manipulate the surface it's a process of building up a small piece at a time and I must stress that we should not be in a rush painting any sort of realism takes time and there's no shortcut here the edge of some of these leaves needs to be redefined and I sneak the dagger brush down in here with some darker tone to separate individual facets of the arch choke then with the lighter more mustard color which is predominantly yellow oxide burnt Umber and titanium white I apply the positive shape where these leaves will enter the background I'm working one Edge against another simultaneously and gradually the artichoke is getting more refined I always save my tonal Best For Last so these finer highlight marks I save for the last part of the modeling process I must work my way up to towards lighter tones one of the brightest parts of the painting is this magnolia flower I really enjoy the softness of the petals and the way it contrasts with the skull both of these objects are white yet their texture is completely different so a different technique might be required here when painting white objects like this magnolia flower it's very important to stay away from the top of the tonal range this we can refer to as a sliding tonal scale like like the one you see here on the right I'm avoiding the areas around the top of the tonal scale this would be my pure titanium white for example and I'm also avoiding my darkest darks so here with this Magnolia I'm painting more towards the midtone or mid highlight range this means that there's always some place to go and I can continually manipulate the surface with brighter and darker tone just by holding back so I'm controlling this tonal Dynamic with not only titanium white but burnt Umber and ultramarine as well you'll notice there's some slight variation here to the colors and this is given by quinacridone magenta and a little bit of yellow oxide we'll come back to this flower with even more detail a bit later now at the local market I found this great lantern that was broken and was no longer of any use to anybody but I thought it would make a great feature in this painting and something that will talk a little bit maybe about the passage of time similar to The Dutch vanitas paintings that I've been really inspired by I'm really intrigued by the shiny surface of this broken Lantern and some of the more corroded surfaces of the metal that's been exposed again I'm following the same strategy here of working directly over my blocked in layer with more modeling I'm using a number two bristle dagger brush and various other shapes of number two bristles I'm always trying to increase the interest in the surface of the painting and very one color from another so you'll notice here with the corroded surface that there's plenty of Blues and purples coming through as well as some Reds that have been given by Burnt Sienna and yellow oxide I was a little bit concerned about these holes in the top of the lantern but slowly but surely keeping to an even pattern between my marks I communicate this reasonably well some of it going to have to go away though and be slightly diffused and it can be hidden with a little bit of brush work here where the light is shining with a little bit more fine adjustment I can manipulate the position of IND idual holes but I'm reasonably happy with this pattern when viewed from a distance I think it will read well for some finer lines and sharp edges I'm using just the very edge of the bristle dagger number two to get some of these sharper metal lines now we finished with our block in and that is carried into modeling and now that the modeling is done I'm ready for the final details and this is where the brushes are going to get smaller yet again and I'm going to pay very close attention to surface details and texture this is my opportunity now at this point to really communicate the three-dimensional forms and the light that is within the still life painting as we discussed previously this painting I feel is ticking several boxes and one of those is the change in color and texture but I might have created a little bit of a technical problem for myself here and I'm going to need to come up with a strategy to really communicate the purple Bloom here of the artichoke first I start off with the blocked in layer that's been a little bit modeled this is a combination of ultramarine blue and Quin aradon magenta with just a touch of cobalt teal I start off by fragmenting this further with dark marks and then rework into this with lighter marks my filbert bristle brushes are coming in real Handy here from a d0 to a zero to a number two all of these are really handy for creating a fine beat of paint and carrying a line the lines need to be varied in terms of their length and direction I'm also paying very close attention to how the paint is deposited onto the surface and reworking both ends let's carry some of these techniques over to the other artichoke and start off with a little bit of Darker tone this will occupy the space underneath individual pedals then working between these pedals I'm applying a little bit of soft sage green this is titanium white yellow oxide and ultramarine blue I'm just reworking this area one piece at a time there's no shortcut here as I mentioned before each individual facet of this flower needs to be worked as an object in its own right only then can we communicate any sense of reality that said it's important that we pay attention to the quality of our edges and you'll notice that some of the bristles will flick a little bit of paint outside the bounds of the object I'm trying to communicate so I go back and rework some of these surfaces and edges to make sure that it appears correct this softer purple color has got plenty of titanium white as well with just a touch of burnt sienna and quinacrine magenta along with Cobalt teal throughout the entirety of this process I'm using mini number two bristle brushes this one is a flat by holding back with my tones and my colors in the modeling portion you'll notice that these individual objects start to stand free of the surface and almost take on a slight three-dimensionality part of what I really enjoy about these artichokes is a variation in the colors there's some more red coming through here that's given by pyol Red burnt sienna and yellow oxide along with titanium and white again I should mention that the surface is pretty much dry from the last modeled layer which allows new paint to be deposited easily I'm going to bring this artichoke to a point where I just stop short of final detail even though I'm in the detail phase I'm going to save those fine intricate marks for the very end one of the things that I'm really enjoying about this painting is the difference and colors and tones it's important to note that not everything is saturated if everything was special and saturated or bright and colorful then nothing would be so having this point of contrast is really important within the arrangement so to desaturate this Violet I'm using plenty of ultramarine blue and burnt umber along with titanium white the base of the Violet of course is phthalo blue and quinac magenta with a little bit of cobalt teal violets are a common sticking point for a lot of artists and I found that I'm able to mix a wide range with this essential palette to build up a little bit of thickness and texture I'm using language imposto medium it's important that we use a medium that would support this type of texture because the oo gel alone will not allow for it if I applied any texture with the oo gel I might get some wrinkling or Surface crawl so using this imposto medium will allow to retain the brush work which in turn allows me to communicate the texture here of the skull now again I'm paying close attention to my tonal values staying away from the top of my tonal range but here at the end of the process I get to creep up to the most saturated or brightest titanium white that I can manage this allows me to almost sculpt with the paint and continually round out the form of the skull Now by paying close attention to my tonal values it allows us to create a little bit of a three-dimensional effect and I notice something here with the eye socket as I was working notice how the inside of the eye socket appears to be slightly further away than this bright Edge this is just an illusion and it's all part of the careful laying down of tones and following this methodology the eye socket itself Falls away from this new crisp clean Edge which naturally comes forward because it's brighter and sharper I'm trying to create detail here that would read well from about 10 ft of distance so that said you'll notice that the size of the brush here is quite big in comparison to the intricate detail that I'm trying to portray I don't need a triple Zer Sable round for any of this work I just need to load the brush correctly and deposit it in a sensitive way that communicates the structure and texture again there's slight variation in the surface and the colors that I'm using here to communicate the form there's a little bit of ultramarine blue coming through with burnt Umber and this is going to form the basis of some of these darker marks that I'm adding here one of the ways that we can communicate texture is to adjust our shadows and highlights but also alternate them in such a way so here I've applied some Shadow color with a bristle dagger number two and I'm going back and applying with around to the front end of some of these depressions a little bit of lighter paint this ends up communicating a slightly more pockmarked surface and a little bit more texture and roughs up the goat skull a bit the impostor medium will retain some really high pointed brush marks in any of the areas that might cast a shadow on the surface or provide a little bit of a distraction I just go back and smooth these down with a bris dagger number two we're going to work into the flower with exactly the same strategy as we just talked about with the goat skull and gradually manipulate the surface with our tones but first I just need to establish where the center of the flower is going to go this has been blocked in with burnt Umber and yellow oxide with a touch of titanium white and ultramarine blue to form this subdued green that you see here then around this with the dagger number two I manipulate the petals with adjustments in my tone with a little bit more titanium white here and there keeping the surface wet I blend one Brush Mark into another to create a little more softness here with this flower I'll be applying a little bit more blending to round out some of the forms of the petals but also as the surface dries I'll be glazing over the surface as well to subtly manipulate my tones I've noticed some of the areas need to be adjusted and and the edges of the petals need to be trimmed I can do this with darker tone and a synthetic brush and then I reapply where the edge should go with my dagger number two upon closer inspection you can see here the accumulation of very small and sharp brush marks I'm paying attention to the angle in which I Orient the brush and the direction I drag the paint this will really help communicate that three-dimensional illusion of the petal coming towards the viewer with a very fine synthetic round with some stiffness to it I can apply the high points to some of these individual aspects of the stam I then work between these marks with a fine pointed round but this time loaded with dark paint to separate some of these individual components I'm manipulating the surface of the pedals with subtle glazes here the glaze is predominantly titanium white and I'm using a dry brush technique to round out the the forms getting back to the horns and again saving my tonal Best For Last I apply some lighter marks with a number two bristle dagger brush again the modeled surface is totally dry as I apply these marks so I'm not picking up any of the underlying color in addition to the bristle dagger I'm also using a round synthetic number zero I'm just applying some lighter marks to where the Highlight would occur along lead edges and this turn is increasing the three-dimensionality of the form in some of the areas we're going to have this situation or Effect called light transfer where light shines through the object Illuminating the true color underneath this allows a little bit of a yellow mustardy color to come through which is given by aerolin lemon and burnt sienna some of the edges need to be cleaned up so I'm using a synthetic filbert here along with my neif ramp round the sharpness of this shape allows the form to come further towards the viewer there was one element that was missing from this vanitas painting and I think that is something that communicates the passage of time an extinguished flame would do this well the 17th century Dutch paintings that have inspired me to paint this still life always had some extinguished candle somewhere within the composition this will add a really nice ghostly Vector that comes up from the left hand side of the painting and wraps its way up towards the center like with the Petals on the Magnolia flow this is applied as a glaze I'm using the broad side of a bristle dagger number two brush and scumbling across the surface my paint to medium ratio here is pretty critical and I'm using a medium that is not going to yellow in impasto medium made by language is perfect for this because it's going to dry incredibly stably and it's going to retain the brighter tone of the smoke I then go back and rework this pattern with some darker marks to separate out the lighter tone and this gives a really nice soft and wispy effect it's often the case with dark toned paintings that the surface can vary from matte to gloss so we must even this out a little bit I've allowed the painting to dry for 2 weeks before applying this retouch varnish made by langrage this is a temporary varnish coat to go on the painting to protect the surface and it will still allow the painting to breathe through using long linear brush Strokes I coat the surface as evenly as possible making sure that I don't have any dry patches I make sure I smooth out all the areas that I've worked and then leave this for about an hour till it's touched dry retouch varnish can be applied to the surface once the painting is touch dry it is by no means a final varnish layer but it will even out our tones this has been an epic project with so many different elements I really enjoyed the process of detailing each and every item in this painting Not only was it a lot of fun but I learned so much in this painting this was a really involved study to see how light and texture and form interact with one another personally I feel that the lessons we learn from painting from observation can then be applied to other subjects like portraiture and Landscape now that this piece is finished I'm already thinking about my next still life well that does it for another episode of the great art Adventure I really hope you've enjoyed it and I've tried to make it a little bit longer and cram a bit more information in here for you if you liked what you saw make sure you hit that like button and if you want to come back for more and not miss another episode of the great art Adventure or my Quick Clips hit that subscribe button too if you'd like some more in-depth information and instruction on painting then why not check out my DVD or downloadable tutorials on my website currently I have the Southwest Seascape which is a 2hour demonstration all about painting the Seascape check out the five-star reviews also if You' like some information on painting portraits then my latest portrait painting tutorial is available now this one was about painting the sculptor Russell petherbridge and the paint maker Mr David Kohl's and this together is combined three and 1 half hours of detailed instruction all about painting portraits or how about check out the Stockman which is an in-depth tutorial on painting my friend olle and a horse and I think you'll find that this is going to be jam-packed full of information as well so check those out now at ww. Andrew tier.com sshop and I'll make sure I include that link in the description below now next time we come back to you with another episode of the great art Adventure we're going to be filming from a very special location I can't wait to tell you all about that one I hope to see you soon

Channel: Andrew Tischler

Views: 428,773

Keywords: Andrew Tischler, Painting, Still Life painting, painting tutorials, painting a skull, how to paint, vanitas painting, vanitas, how to paint in oils, full painting tutorial, still life, oil painting, how to paint flowers, how to paint a still life, goat skull painting, how to paint a rose

Id: 5-WDwf24QsM

Length: 41min 29sec (2489 seconds)

Published: Fri Apr 21 2017