Introduction to Studio Painting | Mark Hill | Skillshare

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Introduction to Studio Painting

teacher avatar Mark Hill, Fine Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (54m)
    • 1. Introduction to Studio Painting

    • 2. Color Study Transfer

    • 3. Color Study

    • 4. Underpainting

    • 5. Starting the Painting

    • 6. Continuing the Painting

    • 7. Finishing Up Final Thoughts

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About This Class

In this class I'm going to show how to approach a long studio painting from beginning to end. I'll discuss beginning procedures from transferring a drawing, doing a color study and underpainting. From there, you'll get to see how I tackle a longer, more developed painting. I won't be going over 'style' or 'technique' per se in this class as everyone will have a way that they enjoy working. The main idea behind the class is sharing an effective approach of working on a painting or project that requires several hours of time. 

Meet Your Teacher

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Mark Hill

Fine Artist


I'm a traditionally trained artist currently residing in New York City. I specialize in traditional mediums from graphite and charcoal to oil painting. I've studied in several places in Southern California, and recently finished my studies in New York at the Grand Central Atelier. I've taught everything from drawing to painting for several years, both publicly and privately. Looking to share what I know and help others on Skillshare!


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1. Introduction to Studio Painting: Hey, everyone. So today we're gonna be talking about developing a long studio painting. And what? So what this means is is we're gonna be focusing on a single piece, and it should hopefully take you several days and depending on your schedule, sometimes even weeks. And what I'm going to be going over is just sort of like a step by step approach about how to start and develop a procedure. That way. By the time you get to the finish painting, there's a very sort of step by step progression that will hopefully ultimately lead you to a successful finish that you can be really proud of. So we'll discuss at first how to transfer. You're drawing that you'll xerox, um, and then taking that approach and applying it to a ah color study, which will fully developed first. And then after that, we'll go ahead and move on to the long painting. When we first start the long painting, we're going to start with just a simple under painting just to cover the canvas. And then, from there you will watch me slowly developed the painting from basically start to finish and just going step by step by step, and by the end you'll see the finish painting on and what we end up with. So take your time and follow along and more importantly, give yourself plenty of time, which each of the steps it really is more about, you know, sort of a marathon approach versus a sprint. And so I feel like by taking your time with each step, uh, the end result will be that much better. So it doesn't matter if it takes you days or weeks or but the end result is really over after here. And so by following, you know, a nice and sort of simple, methodical procedure, um, I feel like you're going to get a better result in the end. Thanks for watching. 2. Color Study Transfer: so before we actually get started painting just like anything else, we always have to begin withdrawing. So this is essentially my finished drawing for the painting to come. And this is kind of where you want to be before you start doing any sort of color study, um, or anything else as we move forward to painting. Now you can check out my other videos on drawing, and I kind of go over multiple ways of tackling a subject matter. And so this is kind of the final result before we get started. So I have here just basically a loose scrap of canvas to do my color study on, um and I put him in just yeah, using a loose, a loose scrap, a canvas panel, Basically anything you have lying around that way you don't have to, you know, really use good quality canvas for the exercise. And so what I've gone ahead and done here is I've made Xerox copies of my drawing, and I shrunk them down. That way I can transfer them over to the smaller piece of canvas here, and then I'll have multiple ways of, you know, depending on how big I want to do the color study or anything like that, I can kind of have a choice of scale toe work at and then ultimately, I'll do this the same fourth finish canvas as well as I'll make another Xerox copy and transfer that on. That way, I'm always preserving the original drawing on. And I don't have to worry about losing that or referring to it by, you know, transferring directly from the original drawing. So now go ahead and show you how to transfer this. So I basically have my Xerox here, and I'm gonna go ahead and just take some vine charcoal, and we're basically just gonna sort of scribble along the back, and that way we leave a charcoal imprint on the actual canvas. Once it's transferred in charcoal on the canvas, we're gonna then trace over it again. But then this time we're gonna go ahead and use some India ink. And so I have this little quill pen on some see Peotone, India ink. And essentially, we're just gonna trace over the charcoal lines. And what that does is it will leave a permanent line on the canvas and then so that way, once I start painting, um, over the India ink if I need to. For whatever reason, remove paint or just get rid of things. I don't lose the drawing, and there's a number of ways to transfer and can't certainly can't cover all of them. But this is essentially a a surefire way so that I don't have to worry about scrubbing out my transfer, drawing or losing any information. So I do like the permanence of the India ink, and so that's kind of what I'd recommend. But if you have a preferred method of transferring, obviously go ahead and do what's most comfortable for you. Um, but if not, try this out and see how it works out. All right, so I have my blank canvas here. I've went ahead and I've rubbed charcoal along the back of the Xerox, and you can see here. So now all we got to do is we just got a tape it to the canvas, and then we're simply going to trace over it, and that's going to give us an initial transfer line. Um, so think about the placement and where you want the orientation to be on the canvas. Um and then go ahead and tape it accordingly on then from there. Like I said, we're gonna go ahead and do an initial trace over. So I'm using basically just a ballpoint pen That way the lines into being a little bit darker than the Xerox so that I know exactly where I'm going to have lines left over. And one thing I will say is that there's a lot more detail in the in the actual Xerox, and I'm not really going to try and account for all of that. And you'll see basically now here with the transfer lines, these air, the charcoal lines and you can see how much detail I've left out. And now the reason for that is, is that the color study is not meant to be a detailed painting. It's really just a meant to be a ah simplified version of what the final painting should look like. So even in the transfer stage, I'm trying to omit some details. So that way I don't get too caught up in trying to put in all these little tiny things, cause it's just not that important, and you can see sort of in reference here, Uh, that, you know, the back to the Xerox is how much more detailed that Xerox looks relative to the transfer lines. So keep that in mind. And again you can You can transfer everything you know, if you prefer that way, or depending on the subject matter, you can put all the little details in, um, but just keep that in mind is that the color study is meant to be a really simplified version of the final painting. So try not to get too caught up in little tiny things. Save that for the final painting. So I went ahead and I traced over the charcoal lines with the ink. And so now I'm just gonna rub over the excess charcoal just with a paper towel, and you can see now I have some very clean inked in lines. So this will be a great way to get started with the color studies that all my lines are fixed and permanent, and so that as I start painting, I don't have to worry about losing them. Uh, if I need to use turpentine or just scrub paint off or anything like that. So that is the benefit of doing the India ink because of its permanence. So something to consider before you get started 3. Color Study: before we get started. I wanted to spend just a few minutes talking about my palate set up and just some general ideas to think about before you begin painting. Now, when we're doing a color study, I basically keep my palette open ended, meaning I may start out with a handful of colors and just basically casually glancing at my set up in having sort of a new idea of what I want the painting toe look like. But I may end up finding myself having to ab colors to my palette. Or if I noticed that I'm not really reaching for certain colors, I may end up taking them off my palate. But ultimately, this is just a way of figuring out when I begin my final painting, I have a very set idea of what my palate is gonna look like. And that way, when I do the final painting, I don't have to add colors. I don't have to subtract colors or anything like that, but I explore all of that in the color study phase. That way I can figure those things out and not have to guess later on when I'm in the final painting now. This will vary depending on your set up and everything. But, you know, keep that in mind before you start. So here I have just a titanium white, a yellow Oakar. This is a cad, Lemon, followed by a vermillion. And then I have an Eliza in crimson here and then next to that is an ultra marine blue. And then this is burnt number and then ivory Black. So, no, I may end up having to add more colors to the palate as I go along, like I mentioned, but I'm gonna go ahead and start with this and see where I met, you know, So I don't necessarily know offhand, but I may end up having to add some colors. I may take some off, but all of this will very depending on what you choose to paint and what you're lighting situation is looking like, um, as a general rule, I will suggest try to use a more limited palette. In general, I find that it's a lot easier to make choices that way, versus if you have ah, massive palette of, you know, 10 15 colors or anything like that. It's it becomes very easy to get caught up in, um, sort of decision anxiety, if you will, so keep that in mind. But I would always I always would say, air on the side of using less colors. Then you feel like you need to know if you do feel like you have to add a certain color because you just can't get it from mixing. Go ahead and do that. But if you finding yourself adding you know more than, let's say 10 colors, you may want to either. A reconsider, Um, but keep that in mind and just try and keep things simple for yourself, especially if you're just getting started. So I'm initially just starting to put in the background and you can see from the picture of the set up. I'm working from that. I'm going to deviate from what is actually in front of me just so that I can kind of get a little bit more of an atmosphere in the background now, as faras, the colors go on, you know, oftentimes all kind of just kind of put something out there and really, I kind of have a general idea of how I want the light effect in the painting toe work, so but I'll start with a background and kind of just put some information in. And none of this is really very committal, you know, especially for a color study. It really is more about just kind of putting some paint down. Seeing how it looks and kind of making a decision is whether or not do I want to keep this ? Do I want Teoh make some changes? What kind of changes do I want to make? Is it a value relationship? Is it a temperature relationship that I want to make a change to? So these are all just things to keep in mind as you're working throughout the color study and just the main idea being that as you work on this, it's really just to get a feel for how the painting is gonna take shape when you begin the final project. So you're really just kind of getting your bearings with color choices, and you don't really have to feel committed to anything at this point. Andi, I would actually encourage anyone. Really, when you're doing the color study is to just kind of have fun. Maybe try some things you know, in terms of experimenting with color choices that you might feel a little sort of apprehensive about in the final painting. And realistically, you may end up doing more than one color study. And depending on how complicated the project is, often times I would encourage that and actually say it's kind of a good call. Um, you know, depending on again how complicated the final painting is going to be and how Maney elements are involved in thes air. Just things to kind of keep in mind. You know, if it's a simple, you know, kind of simple, still life set up like this, you may not really have to do more than one color study. Not that again. It's a bad thing to do multiples, but really, the goal is to just kind of feel everything out, Um, and see how things look in the end. Now, as you may have noticed, I generally have a strategy of working from back to front in the painting, and that's just kind of a good practice I would recommend, if you feel like uncertain as far as where to start is. And that's why I started with the background first aan den, the next object that's closest to the background. And then I just keep working my way forward as I add and start painting more more of the objects in front of me. Um, it's really just kind of a good, simple strategy. If you feel kind of one in doubt. Where to start is, start with the background on, then basically just start working your way forward. And the reason behind that is really so that as you're painting, um, each objects you're always painting into something that was is behind it, and it makes it a little bit easier to kind of to get them in a overall sort of relationship to one another versus just kind of arbitrarily starting, Let's say in the foreground and then working your way back. But there is no right or wrong, and it's really just a matter of preference, and you can make things work however you feel comfortable with. But as Faras, if you're if you're just starting out and kind of wondering where to start, I would recommend just starting with the background, so I just kind of keep filling in the rest of the objects here again. A lot of it is just putting down color notes and just kind of seeing how they feel in relationship to one another and just kind of making just really simple decisions as I go along. Um, and you know, I'm a kind of put some things down that I may not like in, um, I'll make some changes after the fact, but it will be one of those things where you won't know until you actually put a piece of paint down. And that's why I would encourage you to just kind of experiment with maybe some of the color choices as you put a piece of paint down and the overall effects that you're trying to go for. And realistically, I would say for me in this painting, the kind of the fun part that I wanted to capture is just sort of the, uh, the purple kind of eggplant color of the shoes and some of the highlights on the tips of the toes in some of the details in the soles of the shoe. And for me and also like the glass bottle, and for me, that was kind of what I wanted to try and capture the best that I could as I was doing the painting. And so you'll find areas in your set up that, you know, kind of what inspired you to paint these objects in the first place and what you know, particular things. Interested you and to actually set them up and put them in front of you to go ahead and paying them. And this is this is, you know, the same for it, whether it's still life for a portrait or anything else. Like a landscape is finding those things that are interesting in the subject matter and trying to capture them the best you can in the painting and really with the color study as faras. Its purpose is just to explore those a little bit more and maybe deciding how you emphasize those certain things in the final painting. So, But again, the nice part about doing the color study first is Teoh work on a smaller scale that is very noncommittal. And so, you know, we're not really at the finals final painting stage yet, so we can really just kind of play around and just feel things out. So as more and more of this gets developed. You can kind of see how simplified Ah, lot of the objects are in the color study versus the actual set up and again, that's really the whole idea behind Doing this in the first place is to really just ignore all the small things and just look for the larger patterns. Ah, value and color and just kind of make big notes. Um, that you can kind of look back to when you start your final painting so that you know, if you feel like you're getting lost, you always have some sort of reference in the color study of the idea that you were trying to capture in the first place. And so you can see how simplified a lot of the information is, um, in the painting versus versus the actual set up. And that's really just sort of the goal in the beginning is that just capture a very large effect. And to get a sense of how the painting, hopefully when you begin the finish what it will look like in the end, but just doing it on a smaller scale, it's a little bit more manageable, and I would say that. You know, if you feel like you know, by the time you finish the color study, if it's maybe not quite, you know what you wanted, you know, are just kind of maybe doesn't feel kind of what you were after in the first place is due another one, you know, and I would just I would say, do as many as you feel sort of comfortable with. And don't settle on the 1st 1 if you just don't feel good about it, you know? And so everyone will kind of have their own sort of interpretation. Um, as far as doing that. But if you kind of just feel like you know what, maybe I should have tried something else color wise or value wise Or just, you know, maybe just something doesn't feel right. Go ahead and do another color study on And just cause keep in mind that the the overall goal of the classes toe how to develop a longer painting that, you know, sometimes the painting may take you several weeks. Um, you know, maybe several days are you know, we're just however long, but you always want to have a clear plan going into a longer painting. That way, there really is sort of no guesswork. In the end, you really just want to be able to start the painting and just keep going until it's done and basically get to a point where you're not second guessing yourself as's faras choices go. And that's kind of what the color study serves its purpose for. So hopefully this makes sense and you get an idea of what you should sort of be striving for before you begin the final painting and we'll go ahead and finish this up and then move on from here. 4. Underpainting: all right. So here you can see the finish transfer drawing on to my final canvas, and I went ahead and did the same exact method as the color study. And so but this time with the thinking, I did all the details. So again, the whole point was is that I will have a very finished drawing toe work into. And then if I need to wipe things away, I don't have to run the risk of losing my drawing. So I'm gonna go ahead. And because this is just another painting, all we're really going to be doing is we're thinking almost think about it like we're laying down washes of color. And, um, this paint is gonna be very diluted with turpentine. It's gonna be very transparent. And the goal overall with an under painting, depending on how you choose to look at it, is I like to treat it as I'm making sort of like, um very washed out version of what my color study is, and so I'm gonna really dilute my paint down, and I'm gonna try and just fill fill it in the best I can and try and get the overall color effect that I achieved in the color study. The other part of the of doing the under painting really is also to just kind of just kill the white of the canvas. Um, everyone is gonna have their preferences as far as how they approach the painting. But I've always found for me just painting directly onto a white canvas. Um, not the most pleasant thing to do, only because the white of the canvas is so bright. Um, and it's very it could be kind of become very jarring. And so, by just kind of covering it up with a little thin layer of paint, you know, it just makes it a lot easier to work into, um, and then also to the benefit. Is that because these colors that I'm putting down are so transparent? If there's certain areas where I wanna have transparency show through in the final painting , I would kind of put it in at this stage. Now it'll again depend on the subject matter and kind of the overall effect you're going with in terms of the aesthetic of the paint medium itself. But that is something to consider. Depending on what looked you're going for overall in the painting. And especially, I would say, if you're doing figurative work and say like, portraiture figures are anything like that, you often see a lot of people will use transparent passages, especially in things like shot like deep shadows and stuff like that. But, um, I really don't want to, like, sort of steer anyone towards a particular style of painting or anything like that. I really just more concerned about the procedure of ah of starting a longer ah, longer painting. And so I'm just gonna continue to just fill in the entire canvas, and and that is really the main sort of goal of this is to get the whole canvas covered with just really light, transparent washes. But I want to keep the color notes very similar to how I developed my color study. And then once, you know, once everything kind of gets filled in, well, just wait. We kind of just wait for the everything to dry so that then we can actually begin the very first pass of putting paint down. So but I wouldn't recommend spending, you know, a decent amount of time on the color painting. Um you know, you're you are kind of filling in your lines a little bit from the transfer process, but it's just a way of getting started. But I don't treat this any, you know, as sort of. I don't treat it lightly, basically, in terms of just filling it in to get it filled in. I still want to. You know, I'm still trying to be careful with how I feel things in and trying to keep the painting fairly clean, and the paint is just been enough so that I'm not entirely losing my drawing. Um, I've had that happen in the past where I maybe get a little too crazy in terms of opacity with the under painting, and I end up losing my drawing, and I ended up getting lost when I go into the final passes of the painting. So keep that in mind as you're feeling things in is trying not to go too opaque with your paint. If anything, err on the side of having the pain to be a little bit thinner, because it's always easy to add more after the fact than it is to to go back. If the painting is too thick because then it involves, like scraping and and just kind of it kind of always for me, it makes the surface feel a little bit different in terms of when you put brushes and new paint on. It always kind of affects the overall feeling of it. So I would err on the side of caution and keeping the paint really transparent. Um, but again, just treated like word. We're taking the color study, except now we're doing it on a full scale size canvas, and we're just kind of almost painting in watercolor, you could say, but it's, you know, just really thin out oil paint and you'll see by the end kind of the overall effect starting to take shape. And and that's really the whole idea of doing this under painting, so that then when we make the final pass with opaque paint and everything is that we already have the large effect established, and now we're kind of just going in and we're going to start filling in the details. So as I get to really small tight areas, you know, around here like the laces and I will kind of slow down quite a bit and just feel them in a lot more carefully again, because the overall idea is that I don't want to get rid of the drawing that I spent all that time establishing. So I will take my time and really in really small areas of fine detail, and I recommend doing the same thing as well on your painting. You know, with the larger areas like the background and and larger objects, you have a little bit more leeway. But once you kind of get down to maybe like the focal points of the painting, or like the center of interest, you really, really maybe slow down and take your time filling those in carefully that way. You know, when you really go in there for the final pass and painting that everything is really just kind of very neat and tidy and on and everything is kind of accounted for. So it's just a good working habits, so that, as you kind of develop the painting a little bit farther is that everything remains in a very controlled, you know, sort of sections, if you will, and then that way, just it just makes painting it a lot easier so that you don't have to go back and worry about making corrections in the drawing because maybe you were a little careless and the under painting, Um, and it may may end up happening, you know, regardless on and it just kind of means that you have to spend a little bit more time working out areas and maybe having to go back and resolve some of the drawing. But personally, I just prefer to just maybe take the extra time in the under painting to just be really careful and preserve the drawing because I already spent hours, you know, doing the original drawing and then transferring it. So there's a lot of work that goes up into this point before doing the under painting and everything. So just really try and take your time and make every little step count, because I think in the long run it pays off, and it will actually save you time in terms of how long the overall painting takes you to complete from start to finish by just really with each every single step that you do throughout the process is just do it very focused and very in a very controlled fashion, and it just what it does in the long run is it makes the just the workflow of, you know, doing the painting. I you know, not easier per se, but I think maybe a little bit more proficient, um, so that, you know, hopefully there's less mistakes that are made along the way. Um, but you never know how these things are gonna turn out until you actually begin painting. But I guess again, the overall idea is just to really take your time with each step and, um, and try and feel good about each stage of the painting that you go on and finishes that try and, you know, do it the best you can before proceeding. So we're going to just keep going here and just filling these things in and you'll see towards the end kind of what we're looking at in terms of a finished under painting. - So as I'm kind of just filling in the rest here, you get a sense of just how the painting is starting to take shape and really just these early stages. And that's really kind of what the the under painting is supposed to establish for you early on is to just get a sense of you know, how things are gonna take shape as you begin painting into the rest of it. And so the overall color scheme is established. We have some, you know, for the most part, we have, like, a value range kind of loosely established. But more importantly, we just have the white of the canvas completely removed from the equation. And it will be a lot easier for me to work on top of a really thin layer of paint. Um, with some color and some value established you again. You can kind of take this under painting as far as you'd like, but for the most part, like I said, just really use it as a way of making it a replica of your color study. And then once we started the painting, um, you know, sort of for real, Then we can kind of start exploring the details and everything like that. So by the end of the under painting, like I said, just have everything covered on Ben. You kind of just have to wait for it. Teoh dry and andan. We can start the final, or at least the first passes of the final painting 5. Starting the Painting: All right, So here's essentially the finish under painting, and we're basically ready to start painting altogether. So the the whole canvas itself is completely dry at this point, and so you can really kind of decide where you want to start pretty much anywhere. However, I'm going to go ahead and just make a suggestion of working from back to front. And so, in this case, I'm going to start by just filling in a little patch of the background. And then that way I can start building into the cloth behind it. And then as I go along, I'll start adding, adding more and more into the background. Um, but the cloth is essentially the furthest thing away in the picture plane. So I wanna have to establish a little bit of the background first on and then that way I have some wet paint toe work into and from there, um, I'm just gonna begin painting the cloth and then sequentially, as I kind of fill in the cloth itself, Then I'm going to move on to the bottle, um, and then basically just worked my way forward. Now again, you really can kind of decide how you want to work and how you know, in terms of procedure on and things like that, you may have a system for yourself in place that you feel comfortable working with, and I definitely don't want to encourage anyone to deviate from that. But if you're just starting out and maybe this is the first long painting um, you're working on, I'm just gonna go ahead and say, Give this a shot as a suggestion, I feel it's it's a good sort of easy way to kind of get started. Um, and then from there, you know, as you kind of feel more confident, you can always go ahead and try different approaches, but at least it's a way of just beginning. So with the cloth filled in, I'm going to start moving on to the next object. But because of the cloth itself has dried. I'm putting just a thin layer of walnut oil around the bottles of that way. I'm working basically into some sort of medium, and I'm not painting directly into dry paint. Um, now, ideally, for me, I like to try and finish things as I go along. Um, hence why you see the cloth has been brought up to some level of detail. However, there's probably gonna be a lot of times where I may have to go back and make some corrections, and maybe or maybe add more detail or just kind of clean things up. And the way I'm working is I'm trying to just finish things as I go along with the idea that I'm not gonna potentially go back to them now. In an ideal scenario, I would not have to go back and revisit areas, and I try not to. But, you know, sometimes you just miss things or you feel like you can resolve things a little bit better once you get more of the painting established. And so you know it may turn out that I go back and revisit some areas once the painting gets fully covered and filled in, and I'll maybe either touch up some areas or add more details and things like that, and everyone will kind of decide what they kind of feel like they have to do in order to make it the best painting possible. So but anyway, essentially just continuing to build up the next object on then We will just continue on in that fashion, working from back to front and so you can see here just this things start to develop slowly . My general rule of thumb again is to kind of stay in in an area until you feel it like it's completely resolved. Aziz. Best you can now, depending on. You know, maybe you're painting technique and things like that. You may kind of in your mind put some information and wait for things to dry paint over them, and there's lots of different approaches for that in terms of doing sort of dry brush effects or things like that. But I prefer to try and work wet into wet, while the paint is still fresh on the canvas on Guy usually find its. That's when I tend to get the best results. But again, I don't really want to impart too much in terms of technique, but more of just procedure on so you can see here. Like as I'm developing things, Um, I just continue in a given section until I feel like you know that, you know? Yeah, that's looking, you know, not too bad so that I can kind of keep moving forward. And so from here again, we'll just kind of keep, uh, developing the area until I feel like it's suitable. And then we'll keep working from there. - And so now we have the majority of the bottle filled in, and I've kind of established a little bit of the top of the brush there as well. And so you can see the background has been brought up a little bit to kind of meet meet those areas together. And so that's kind of what I'm doing constantly is that I'm trying to integrate each object , Um, you know, together. So the background, the brush in the bottle all kind of need to have some level of cohesion in a relationship toe one another on. That's the whole reason for kind of painting from the very back to the front, which sometimes I find it's a little bit harder if you start, let's say in the foreground, um, instead of the background. But again, um, paint, uh, as you feel comfortable 6. Continuing the Painting: so you can see here now that that basically the right side of the painting has more or less been filled in, and so you'll see areas in the background that look sort of dry. And that, and that's simply because the paint has sunken into the canvas. And that's okay, because once the painting receives the final varnish, all those colors will come back up and everything will match accordingly. So before I get too far into painting the shoes, I'm gonna ADM or layer are add more paint rather to the backgrounds of that way. Again, I have something to ah toe work into, um, and right now is I'm getting closer to the left that becomes a darker, a much darker passage. A zit gets closer to, um, the left hand side where that shoe in the front has a lot of deep shadows in it. And so here you can kind of see everything as everything looks at this stage. And so now, as is really, as I approached the shoes thes air really kind of the focal point of the painting, and so there's a lot of little tiny areas that are really just going to require a lot of time on and sort of patients to fully paint and develop. And so you'll kind of see the these happening as as the video goes along, but on you want to be thinking, I, uh I would say depending on what your subject matter is and what you're painting, the focal points and the areas of interest. And you may sort of concentrate more details in those particular areas because that's really kind of what you want the viewer to be looking at assesses. They keep in mind. Um, and so in this particular instance for me in this painting, the shoes are really going to take center stage, which is why, in the end you'll see that they get fairly developed and will have quite, you know, a decent amount of detail in them, especially relative to the other objects in the painting. So, um, kind of again just keep plugging along and again to keep with the the rhythm of working from back to front. I'm starting with the shoe furthest back from the foreground, and so once that gets filled in, then I can feel comfortable moving on to the shoe that is at the very front, um, of the of the painting. - And so as I keep continuing along, I'm kind of getting down to, ah, some of the more detail oriented areas of the shoe. And in this case, I have kind of a number of highlights which for me, in doing this painting that was gonna be one of the fun areas is trying to capture the shine of the shoes and everything like that. But, um, one thing I'll say those regardless of what your painting is, um you know, whether it's a still life object, a portrait or anything like that, you know, for miss form. And I don't really try and get too caught up in the actual material of the subject matter. So in this case, like a leather or anything like that, I don't really try and focus on that. I really just consider, you know, which you know, the angles of the form in which they're turning their relationship to the light on. And then that way I feel like you could be a little bit more objective about what you're painting, and it really then it never really matters what the subject matter is because the principles remain the same in, you know certain. Certainly certain objects will have, like, textural things that are fun to try and capture. And there may be certain ways to approach that in terms of how you apply paint to the canvas and whether or not you kind of, you know, try and, um, use a certain technique to capture that that textural effect. But in terms of making something you know, sort of round or turning in space, the principles remain the same on DSO as I'm kind of working in these smaller areas, thinking about highlights and the direction of the light source. All of that is still basically following the same fundamentals of form, regardless of whether it's a shoe or ah, you know, ah ball or a portrait or anything like that. - And I'm so just gradually just adding little bits of information in this case, just kind of slowly building up the highlight on things like that, you know? And I think we'll say I won't comment on this. Faras like highlights is trying to get to go too overboard with these, um, you know, again, sort of written relationship to your subject matter, but I'm slowly building them up, and I really just want to hit a nice couple of strokes to really make them count. And so here you can kind of see the soul flushed out in detail and the highlights air there , and so that back shoe is now fully established. So now once that's and I feel comfortable, and now I can go ahead and start the other one and really dive into that and because that one's gonna have a bit more stuff going on. 7. Finishing Up Final Thoughts: So now that the first she was filled in Aiken start focusing in on putting the 2nd 1 And so because this one is the closest to the viewer, Um, and because you see more of it, there's gonna be a bit more detail that I'm gonna have to spend time working on. And, um, once I kind of get all that resolved, then, um, it really will become just a matter of relief, honing in on certain parts of the painting on and seeing what else could be fixed. Or, you know, we're kind of just doing touch ups after that. But we took a little bit of a jump here, and you can kind of see as I've already filled in that front, mostly because that that part of the shoes was tied to the to the shoe in the background. So that's why I started in that particular area. And then from there, I just continue along and work towards the back off the painting as the Huell of the shoe meets the background. So but again, still, just following the same procedure, and I'm trying to finish areas as I go along and try and resolve them the best I can. And hopefully, once I get everything covered, things will start making you know sense. And if anything, I'll get a better idea of maybe areas that I might want to go back and revisit or just areas that need touch ups in general. So but you won't know. I won't really know until I get the rest of the painting filled in. - And so was I find myself in little small areas like this, you know, again like I was saying, depending on what your subject matter is and what you're working on, if you run into areas where there's maybe, you know, lots of little details or anything like that, you know, I usually have a tendency for me to just kind of slow down and really think about the area that I'm in. And, um, it doesn't necessarily mean that I want to put in every single detail, but I do want to kind of imply, or at least try and suggest that detail without having to fully flush every single thing out. So but again, that also to becomes kind of a stylistic choice and how you wish to kind of represent you know the objects you're painting, so kind of just keep that in mind as well. But as I'm kind of working in these really tight spaces, sometimes for me, I also just want to slow down because I want to keep those areas clean. And I don't want to just rush and put too much paint down in an area where it might mean I have to go back and clean things up or, you know, or may just kind of from working too fast and they make mistakes. - So now I kind of have most of that front part of the shoe. I feel, you know, kind of pretty. You know, I feel OK about it, so I just kind of continuing to work back and then because the side panel of the shoe is a lot more simplified. I feel like I'm sort of out of the woods. At this point. I can kind of just continue to go along, and the forms get a lot more simplified and there's a lot less going on, so it just becomes a lot easier at this point. Once they get down to the sole of the shoe, then I kind of go back into a little bit more detail mode, but here I'll have some some time to just kind of fill in a large area. - And so you see, here is a gradually start building up the rest of the painting on, including now, the, uh, the soul details, Um, and kind of I had to build those up in stages because there's lots of little tiny areas that, um, honestly took quite a bit of time to work through. So I'm not gonna have you watch every single little thing like that. And so now you can kind of see that the painting is essentially fully covered. Um, and this is one of those sort of, at least for me, crucial points in the painting where I want to just reassess everything and kind of take a look and maybe decide what areas I need to go back and work on or just revise a little bit . And for everyone, this is gonna be different. And so you always run the risk of, you know, maybe going back into an area and maybe overworking it Or, you know, maybe you've spent so you know too much a long time on a particular painting and, you know, after a while, it can kind of wear on you, and you kind of sometimes maybe just decide. You know what I got as far as I could on this one. And I'm just going to try the next one. And in that way you get a little bit of a fresh start on a new piece altogether. So that's kind of, you know, up to you and kind of what you feel comfortable with. And sometimes it is to go back and revisit areas because you can maybe really speak. You know, hone in on a specific part of the painting that you can feel might be able to be painted better. Um, but again, kind of make those decisions depending on how long you've spent on this painting are on the potato painting you're working on. So just to give you an idea that you know, I did this painting over the course of probably about a month and 1/2 just because that's kind of what my schedule allocated. So, um, keep that in mind. And again, it doesn't really How long or how short of time you spend on it doesn't really matter. It's really more about the end result. Um, and I think more just anything about diligent practice. So hopefully all of this kind of helped understanding how to develop a longer painting and that you got a little bit of use out of it. And, um, thank you for watching.