How to Classically Oil Paint - Part 2
Got some peaches set up behind me here, and I’ve started this 8 by 10 inch painting already. Done the undertone with the Burnham – Bernell twin blue. Started to paint a silver bowl on top of the blue cloth and a book, and I, I have the under painting for the peaches. So it’s pretty much set up, I’m gonna focus in on just how I go about painting the simple relationships of warm, cool, dark, light to suggest the illusion of light bathing these two peach. So taking a look at the peaches from a close up point, you can get a better sense of the type of light that is actually bathing these peaches, and. Now right here where I’m pointing, this is a, this is rim light, the light that just breaks around the back edge of the farm. So I’ve got my number six brush, what I did is I put my linear value scale down here so you get a sense of where we’re going. The tense that I’ve mixed up are for the most part towards the middle of the value range, and we do have this, this drift color that’s more towards lower key. But, when we look at the violet then the area where we added the red, we’re moving more towards the middle value. And what we’re gonna do with these, these peaches is start off more towards the middle then move a little bit darker and then end with lights. We’ll end with this higher key values for the rim light. So before I make the first stroke, I wanted you to see the actual spot that we are going to, I’m gonna paint on top of. This is, you can see the grain of the canvass coming through, and this entire under… undertone… under painting, some people call them, imprimatur, which means transparent layer, Italian. The lighter areas here are the actual, that’s just so burning through, and then… so starting off just scumbling some of this color right in here. Just a little bit of light, so I’m just placing that mark of a cad yellow right into there. I’m not going to go too deep with it, I wanna keep it right near the high point, just allow to grate it frost on top of the form. Noticing it’s a little bit brighter up here, so bit of the cad yellow. I’m show you how light often times is enhance by, by how colors and values interrelate. We’re looking right down at the spot of blue of the cloth… this allow to mix right on the surface. This is where magical things start happening. So I take my brush, just allowed that red to sort of slide around… and bring that down with violet scumble. So scumbling is where things start to really happen. It gives the color the shimmer, it actually gets the light to shimmer, coz color is light. I’m gonna take a larger number 8 brush and just sort of scumble in to what I have done with the smaller brush, just to model…