Some Colors!

so as I've moved along here I've used cobalt blue and uh a lizin crimson and a little quinacridone magenta and a bit of white on these more distant heels you know rounding giving this rounding effect and allowing this to be a little lower in value to contrast the light bringing some drama and some strength to it and then as we come closer I dispensed with the cobalt blue and going to more um corrone magenta and then starting to little put a little bit of uh a little bit of cat yellow pale and yellow ochre into the mix as we get into these colors and then we come forward yet uh yet more and I've done completely away with the uh with the what azard and Crimson but stayed with hints of of the of the magenta and some yellow ochre and then coming into this area it's been straight yellow ochre and CAD yellow pale just to put some highlights on the bush there now I I always like this a slice of light across the distance Shore you know and you're within your focal area provides drama strength um so I've just laid some what is it yellow ochre ultramarine blue and I just picked up a tube of ultramarine blue anyway ultramarine blue yellow ochre and white mostly yellow ochre very little ultramarine blue because I wanted to I don't want to go I don't want a shock of blue uh um um from this transitioning to the Shoreline I would rather that the shoreline picks up light and against that Shore where that light is picked up it is a little closer close a little more closely related to the colors that are in the bush and because yellow ochre is sort of the dominant color uh within this mixture these two marry up well now as I go lower I'm going to go Bluer deeper uh a little stronger uh cobalt blue is a bit higher chroma well kind of depends on how you're using it I guess but it's pretty strong and I think what I might do is put some cobalt blue and white from here to here a little wider than this band and then after that we'll work into ultramarine blue I don't think I want the bands to be too strong but let's see maybe I do okay see that's garish right now that that strong blue against the yellow but on a small painting like this for some strange reason it often looks good I'm adding a touch of yellow ochre to my ultramarine blue you'll barely be able to see it but it warms it up it warms it up just a little bit I mentioned before I find Co to my taste cobalt blue is is kind of [Applause] cold I don't think I want a strong second line there I think we'll just paint right up to it I'm using kind of a small brush for this but given that I need to paint around some shapes so I'm not going to worry too much about it okay that's all right let's let's actually I'm going to leave what cobalt blue I have in the brush I'm going to leave that but I'm going to remove the remainder of the cobalt blue from my palette and we're going to dip into the ultramarine blue now yep that I think is Hy dorky for might just leave that light in for now a little more ultramarine blue now as I'm coming closer to us I'm the chroma I'm having less white in it so the chroma of the ultramarine blue becomes stronger it becomes higher so to compensate for that I'm going to add a touch of yellow ochre to bring it around to The Greener a little Greener and that will cuz I don't want the chroma to increase as a to come down to here I want it to tone down I want to settle in okay I think that's enough of that you know it's a small painting so I don't want to have riffles and rifles and streaks all over the place I think we'll get rid of this we'll just leave it as a mass you know we're going to have lots of lines here in the Rock so don't think we have to worry too much about the rest of it however I'm going to take a little bit of my uh yellow ochre and white and and uh ultramarine blue I'm just going to hit hit a slight color ciation there I would like to destroy this line a little more and just stand up and have a little look okay I think NOP NOP I'm tempted to poke holes in this so you can see the water through the tree then we get back into too much detail and seeing is I'm trying to always be aware of not putting into too much detail maybe we'll just leave it at that for now but we've established our background you know except for a few touches here and there a few minor changes you know that step six thing that I talk about the last bit that I do to a painting uh except for that well obviously I have to paint these trees couple of trunks ah trunks where they're showing and these rocks in the foreground I'm happy with it so far have some nice intense color is back there um let me just back the camera up a moment okay from the last video I hope that you did not take away from the stuff that I was talking about that I think that abstract is bad it is not there's good abstract there's excellent abstract you need to know how to compose with abstract you don't need to be able to draw realistically but you need to draw in the sense of dividing space knowing where your darks and lights are that's also a form of drawing you know where your lines are going to be um if it's just willy-nilly and you're just throwing stuff on canvas and it turns out fine good there are a lot of attractive articles that have been that have been done that way too but it doesn't speak to your skill it can it can speak to some experience because you've tried a number of different mediums a number of different ways uh which is great but we're kind of talking about an entirely different animal now aren't we you know it's almost like uh there's even a greater distance between between impressionism and Abstract than there is between impressionism and realism because impressionism is still an impression of the real of reality and realism is just that a mimicry an imitation of reality uh more or less so hope you didn't don't take me the wrong way but uh anyway this is good I'm going to square off the camera we'll zoom in so you can as I say kind of see it from my vantage point and then you can see sorry about this wonderful camera work but that's how I do that distant purples leaving some matter of the line here and there coming forward small painting like this the the shapes of those trees in the foreground and the rocks in the foreground are so are going to be so important you know you can't just take a a brush and start to willy-nilly dab trees in there quickly without thoughtful brush Strokes because those trees won't have definite form the painting really is about the shape and the character of the shapes of those trees in the foreground versus are just in colors are distant colors okay talk to you soon

Channel: grumpy artist

Views: 203

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Id: xhuWxd71k-I

Length: 13min 12sec (792 seconds)

Published: Mon Apr 29 2024