Transcripts
1. Introduction: Hey, my name is Lily feet and I'm an old painted
from Phoenix, Arizona. I've been paying for many years now and I've made a few classes. But in this one, I wanted to focus on painting
reflected subjects. And I want it to do so in a
long demonstration format. So you can see my challenges and successes throughout my
whole painting process. I'm gonna go over the things
that I use to enhance this process and go over the materials that
are used, of course. And also, I'll be showing you from beginning to
end that demonstration. If you're someone who
enjoys oil painting or likes realism as a subject, then this is definitely a class that you'll be
wanting to look at.
2. Materials & Set up: Let's start with the materials that are useful to this class. Softer, but I use a surface
that will reflect easily off of the light and
the subject that I've picked that will just enhance the painting
in the long run. Also, of course, you'll
need your metallic subject. And these are the five
paints that I used. I keep it simple, especially for this
demonstration. Burnt umber and
ultramarine blue, cadmium red, cadmium
lemon, and titanium white. And of course, liquid original to improve the
consistency of the paint.
3. Painting the Darks: Right here. To start, I already blocked in the
background and the foreground. So I can focus on
the main subject, that is the metallic subject. So what I did was I made the underpainting with
thin down burnt umber and then I just wiped it
away with the paper towel. And then I drew out the rest of the subject
with a small brush. And what I'm doing now is simply just putting
in the darks first. You'll always want to lay
down the darks first. That helps set the stage for the values
that'll be in there. Now what I like to
do is I like to find all the areas that
are black or near black and paint those first. And I know you what
you're thinking. You didn't see black on my palette or you didn't see black and any of
the paints that I had there. All you need to do to
make black or a dark value or dark color that's
similar to black, is just mix. Burnt umber and blue, french ultramarine blue,
and even proportions. It doesn't matter what Blue. Actually, it doesn't matter what Brown you can do it with. Burnt umber and blue. You can do it with
yellow and purple, you can do it with burnt sienna and a more saturated blue. It doesn't really matter. But what I use is that for umber and ultramarine
blue combination. Also, that picture on the left there that
you're looking at is not exactly what I'm looking at in real
life, but it's close. What I like to do
is always paint my pictures in from life. So having the subject
in front of me. Because when you take a picture, things become sort of the values become
sort of distorted. There's things you
have to worry about like overexposure and, you know, colors being a little
different on cameras so that they're on the
left is a picture, but I am painting it from life, so my painting may be a little different in the end then
how that picture looks. So what I'm doing here is still pending in the
darkest values first. And again, that's just to
set the stage to build up lighter and
lighter from there. Now let me kind of go over with you the mindset that I
have going into this. So when you paint something, a subject like metal or glass, something that's
sort of an illusion. When you're appending it
on a surface like this. You want to think of things
in terms of spots of color. You want to think simplified. Because if you're just thinking, in this case, reflective
and you're thinking shiny, that may make you want to
lighten things up or put white where you don't need to or maybe make things
darker than they need to. And that's just not
going to be good for if you're going
for realism approach, it won't be accurate. So what I'm actually doing here is I have the
subject in front of me. I sort of mix a color that
looks like a color on there. Again, starting
from dark to light. And I hold my brush
up to the subject, not like right up to
about where I'm sitting. And I kinda close one eye and
see if the colors match up. If it's too light to dark, it's too cool to warm. And based off of that is how I get to the
color that I need. And I don't do it. Pinpoint accurate. I get as close as I can, but if it takes more
time than it needs to, to get to that exact color. Again, I'm only using
five colors here so I can get very close and
that's good enough for me. It won't be noticeable in the
end if you're off slightly, just make sure you're
in the ballpark. Also, you're probably wondering what's going on on my palette. I'll show my palette at
moments throughout this class. So you kinda see the mess
that I create on there. I've never been a premixed. Someone that just
mixes all there are a lot of their colors before they even start painting. And I've nothing against
is just, for me, I like the subtleties of just mixing the colors
to what I see in real life, rather than having a set of colors that I can just
pull from in place down. That's just the way
I like working. But you can premix if you want. If I were someone who premixed, I would put the
darkest color first. So I make a black again out of that French ultramarine
blue and the burnt umber. And then I'd slowly, I'd make like a dark green or
whatever else is on there, make the dark green. I'd make a less dark green
but still in that dark range. So for that left part
of this cup here, this tea kettle or
whatever this is. And then I'd work up, I do those made greens
looking colors. And then I add, move up to those pre
highlight colors.
4. Dark to Light: What makes painting
metal so cool for me is, is all these colors so close in? They'll do they just look so close and they're all
right next to each other. And that gives the
illusion of metal, if that makes sense. So I have a bunch of
different colors of the same value or darkness. You know, different style may have a little more red in them. Some may have a
little more blue. Maybe more on the cooler side, maybe a touch lighter
here it says darker here, alright, next to each other. And all of those subtle value sits right next to each other. In one close area. Hosts to give that
illusion of metal. It's not always all about
that final highlight. It's a combination
of the highlight and all the subtleties to make the base of whatever
you're painting as well. So there's not really a
fast way to skip the, I call it the dirty
work of this process, which is blocking in the color. But in the end you'll
be glad you did that. Here's something
that some artists don't think about when
painting shadows. So on the left there of the mug or whatever you wanna call this. Or even in the shadows. The shadows aren't always black. You have to pay attention to
the warmth of the shadow. How cool is this shadow? Especially with
metals, because metals reflect whatever's
on the surface. So it was good that I picked this a warm
surface to reflect off of this sort of cool, kind of made green color. Because as you know, red and green are complimentary
opposites. So in the left there, it may look black in MA, kind of blend into
the background there, but there's a hint
of red in that. If you can see in
the darker places, there's a hint of red and the green that I paint it there. And that just gives whatever surface you're painting
more character. When you include the warmth
of the temperature of that's in the shadows rather than
just leaving it blank and kinda dead when it
doesn't need to be. Also another thing you
want to be on the lookout for is when a color that you've already mixed is also present in another
area of the painting. For example, one of the darker
colors that I've painted, or even the code that
I'm painting now was present in let's say
some, another area. I just stay with that color, look around first before
even ditching that color. And I'll put it where I see it. That'll save you a lot of time and will save you the hassle of single
color somewhere else. That's even if it's not exact, but it's very close. Like how I put that
little spot of green in the pouring part
of this of the subject. That one spot was present there and also present
in the main body of it. So even if it's something
as small as that, be sure to look around and
place color where you see it. It's kinda hard to, when you're first starting out, it's kinda hard to see a little subtleties
of color and everything. You kinda just see a
big green metal thing in front of you and you're like, Oh, maybe it's just two or three different colors that
I have to use here. But, but know is, it's a little more
complicated and now your brain wants to simple, simplify things for you. But in this process you have to break things down
into their simplest form. And honestly this is probably
the most challenging part, is just building up from
dark to light and getting all these colors in and blocking in is probably the longest
part, the longest process. But again, the satisfaction
that comes from it will be worth it when you're laying in
those final highlights, which is probably
the favorite part for any artist when
finishing a painting.
5. Blocking in: There's a lot of
different strokes of paint that go
into this process. Just in the shadows alone. There were probably at least
four different variations of color that I used to
fill those parts in. So again, you're going to want to break things down into what, what colors are
present in the shadow. Not just think of this
shadow as just one thing. How many different colors
are in the mid-tone? Don't be don't think that
you're gonna get away with just using maybe one
or two different colors. If you're doing this type
of painting, at least. Now there is a time
and a place and styles for very simple, very abstract ways
of applying color. Best far as realism goes, there's, there's
not many shortcuts. There are some that just, just not as many as with
different painting styles. Now, my painting already looks very different
from the picture, the reference picture
you see there. That again is why
I paint from life and because mine seems a lot warmer than what
I'm seeing there. And if you can't paint
from life for you don't have a setup than is fine. Take a reference photo, but I strongly suggest that you find a way to have
something in front of you. Now only does that help
build your skills, build your ability
to mix colors, but it just gives you a
better feel of painting. The more, the more
you do something, the more of a fill
you have for it, the more you can adjust. And overtime for me
painting from life, I've been able to it's helped me to paint from a reference
pictures better. Honestly. I'm continuing to blocking now onto the handle. Oh, and also one thing for this, for the entirety
of this painting, I only use two
different brushes. Sit, I said at the beginning
with the materials, but I used a filbert size three, I believe, and also a small
maybe a filbert size one. Long. For the smaller areas? I yes, I have fallen in love
with the filbert brush. I don't really use
many other brushes. I occasionally use
around here or there, or a detail brush. But filbert is so
versatile that you can, or at least I can get away with doing a whole
entire painting with just feel Brits alone and even doing the whole painting
with just one brush alone, which you have to
keep cleaning that. So if you find that annoying, the cleaning of
the brush process, then I wouldn't
recommend that for you. Maybe have a brush for darks, have a brush for mid tones and have a brush for highlights. So you can kinda
keep the colors in the same family as far as value is concerned
and stick to that. That's one of the ways
I've found I can get better using a limited palette, like the one I showed you using burnt umber
or marine blue, cadmium lemon cadmium
red, and titanium white. And also limiting my
brushes to filbert, which Others won't probably
may not recommend, but it's worked for me and yeah, that's my thoughts on brushes. Another thing that
you'll have to think about when
painting metal is that it will never look
like how you want it to. Well, most paintings don't look how you want it to in
the beginning processes. But especially metal because it kinda needs to be everything
needs to be together, like I was saying, all the different
values close together, all the different colors. It just it looks honestly just looks like a bunch of different
colors when it's not complete and is
still blank canvas showing it doesn't look like one solid piece
until it's done. So don't get
discouraged by that. That's one of the trials and tribulations of
the painting journey, I'd say is starting out. You, you're enjoying it. You're like, Yes, I
can't wait to start. This is your line down
those first few colors. You're you're,
you're in the zone. And then as you get closer
to the middle slash, that sort of beginning
middle area, it doesn't look quite
like how you're going. You think you're not going
in the right direction. Things aren't looking realistic
or how you want them to. You're just going to have
to push past that power, especially for a
subject like this. It just will not look complete. During the vast majority of
the middle of the process. You have to have patients when
doing something like this. Because as you can see, I've went down for
different colors, like a lot of times
for something that's all one color
when you look at it. And it can get discouraging. You might want to
take shortcuts. You may think, well maybe I don't need to do all these different
things in here, but trust me, just push
through it and you you'll most likely get to the
outcome you want as long as your processes sound and you know
what to look for.
6. Blocking in Continued: Also, I do not paint this fast. This video is actually
on 1.5 speed. So no, I do not pay abnormally
fast or and also no, you do not have paint
abnormally slow. This video sped up because well, you don't want to watch
almost two-hour video of a single painting
or if you do then, you know, good on you. But I just wanted to make this
easier to digest. I'd say. But yeah, for sure. This is for service,
but this painting took me I want to say to
be safe for hours. Maybe less, maybe more somewhere around
that four hour mark. I but painting this subject itself was probably
somewhere around three. So in total, yeah, For I kept the background
simple simple black, which I'll go over that again
because it's kinda loosen, loose, kinda dull
and gray right now. So always go over
a black background again to make sure
it's set right. But if you're ever
thinking about a background color
to use for metal, black is a good safe option because it will make
it stand out more. It will make the highlights pop and you will not most likely, you will most likely
not be disappointed. So now I'm getting to those portions that are
getting a little lighter. Finally, those areas that are sort of that buildup
to the highlight. Almost there. You're probably, you
might be tempted to paint those highlights
in the picture. They're very bright
and very exposed, overexposed a little bit. So it kinda looks like is just white everywhere in that area. That lid the points the top part of the
lid to and the spout. They look very white and
those highlight areas, but you're tempted to do it. Don't do it. You're going
to want to build up those highlights with sort of intermediate color in-between
was already around it. And the highlights. What I'm doing now is kind of going back over
those dark areas, make sure they're dark enough. Sometimes when you
paint something dark, it'll make the
background, for example. It should be black, but it's not black because
it's that first layer. It's kinda dole. It needs more attention. You just go back over it with
maybe a smoother brush or that same brush but with another Passover will make it darker or more
paint on the brush, less thinner or liquid. And also speaking of
the liquid original, that was one of the materials that I showed in the
beginning that I used along with
those five paints. I'm using it throughout
this whole process. And usually when I paint, I put a good, decent amount of it in there. I would guess my ratio to be I guess since I'm painting this Alla
prima or all-in-one take, I would not use as much. I'd say I'd use 1 third of it. 1 third liquid original
to two-thirds paint. I may be off there, but that's my estimate. And that's what I use. Or maybe it's more 5050,
something like that. You can fill it out
when you're going but never use like
never overdo it, then there'll be too thin. Don't do it, do it, it'll be too thick
and won't flow right? But except for maybe in the
later parts of the painting, which is what I'm
getting at here. You want to, one of the principles of oil
painting is thick or thin, which is simply just having the thin paint at the bottom and building
up to that thicker paint. Which is a good
universal principle. But depending on what type of
painting you're doing this, I keep it kinda consistent with the amount I use of medium. Later in the end, when I apply the highlights
dozer on unaltered by medium, I just put the white or the light color directly on
there so it can stand out. In this opacity.
7. Blocking in Continued: Just continuing
the block in here, we're almost to
the point where we can start lightening
the colors up. Preparing for those highlights. There was just a lot of
groundwork to be laid here. One thing that I kinda want to emphasize here that
isn't really talked to a lot of bot and I
haven't really talked about it throughout this video
is keeping things loose. Now, what I mean by that is
making sure that you're not going too crazy with the with
making sure everything is like exactly the
shape needs to be or the brushstroke needs to be exactly how it looks
on the real item. I'm kinda just putting a color in the area, keeping it loose. Kubernetes, simple, keeping
the shape abstract. And that's what I mean
by keeping it loose. Now, little abstraction
in your painting. Even in realism. It always looks
good in my opinion. It depends on your taste, I guess, I would say, but a little looseness
in your painting. As more of a more, it makes it more interesting. Here's my philosophy on this. If you want a painting that
looks so hyper detailed, so realistic than then why, why have it as a painting? Why not just have the picture? I like keeping paintings. That you notice a painting, but you notice a
well done painting. But not so well done that
it looks like a picture, if you know what I mean. Like an exact replica
of a picture. Our nose. This part was kinda fun, adding a little bit of red there that you can see
visibly under the spout. You can't really see it that well on the
reference picture. But in real life when
I was looking at it, I saw that same sort of
red little tone down, but on where the handle attaches to the,
to the bass part. That's good contrast, right? That's good natural
contrast right there. Even if wasn't there, I may have been tempted to
put some red somewhere, but that was why I chose
this setup that I have here. That warm wood. It gives it a natural contrast, that complimentary
opposite color. That'll make the, the
rest of his stand out. Or finally, almost
done with the, the blocking in process. Putting our lighter
colors in there, putting our saturated, more
saturated colors in there. Which that is another
thing you want to think about when you're building
up from dark to light. Also think about building
from less saturated to some more saturated
and less, less muted. Some, some, I mean,
actually, sorry, more muted to less muted. Getting your brightest and most powerful colors
on their last, without even toning them down. In the mixing process. Now, to bridge the gap
between what's the highlight and what's not a high light
is just make a sort of a, like I said before, a lighter color
that's in-between, or a lighter color that's
surrounding the highlight. You can't really tell that well, on that picture on
the left there, but there's a sort of light green that builds
up to that highlight. Kinda what I'm implying there. It's not too light. Just still so the highlight his stand
out when I apply it, but it's definitely
there for sure. And it's a very crucial
part of the process. And that helps a lot in
seeing the final outcome. Now this is a smaller
brush that I was talking about that I was using. It's still a filbert
but it's able to, the beauty of it is
that it can blend. It can blend perfectly. And it helps with the painting loose that I was talking about. You can kinda just create marks and they'll
blend together. Something that you'll
want to pay attention to when I'm painting
something like a metal is not overworking. Now, overworking the paint, making sure there's
still separation between those different
colors and values. Even though they're all
right next to each other, makes sure there's still
a looseness to it. Or again, that's a
matter of taste, but you don't want everything
to be a blender, you mess. You don't want
things to get muddy, as some painters call it. Make sure you can still
differentiate the, all the different colors you worked so hard to
put it in there. And it will, it will read well from up-close or from far away.
8. Building up to Highlights: Painting something like metal, isn't it so hard
when you actually simplify it down to
its basic values. And I keep throwing the
word values around. Some of you may not know, but value is simply just means how dark or light the color is. That's the simplest
definition I can think of. But yeah, just metals is
breaking things down to its simplest values and colors and just putting them
where you see them. Artists, painters or
anybody know this, but one of them say, paint as you see, not what you know. And that's a good
way to put this. If you were to just look
at that picture over there and paint as you see it, you probably use like
three different greens. You probably, you know, make everything
brighter, like I said before, try to over, over brighten things to make it seem shiny when in reality, a lot of these colors that
I'm using here are very dark and wouldn't have known that if I were to paint like I thought
it would be in my brain, your brain will sort of lie to you and these
types of situations. And especially I
paint a lot of glass to as well as metal. Your brain will
definitely lie to you about glass if you
haven't taught it to. Paint, paint it as you see
it in oh, this is a glass. You'll probably want
to thin down your pay or make a lot of things
why that shouldn't be. Just one. Another tip
for you that I think is important to know when
doing something like this. So here's my palette. You see all, you saw
all those greens, like I was saying before, from dark to light, almost black with a little
hint of green and red in it. And also those warm colors of the reflections off the surface. Now a color that I use
the most here other than, of course, blue and yellow. And of course, my black
combination of burnt umber and ultramarine blue was to make
the green not as powerful. To use this complimentary
opposite, which is red. And I use a lot, I use the cadmium red
is a powerful color, so I didn't notice
I use a lot of red, but whenever I made green, there was definitely some red in it to tone it down to make it. More of that muted green
that you see here. So making sure, you know, sort of the color wheel helps
a lot with mixing colors. But when it, when it close
it clicks and when you know, you don't even need to
think to mix color, like I've gone to be
able to do, then. This process will
be very easy to you and you'll be
able to paint faster. You will have more
of a feel for it. And yeah, it'll just become even
that much more fun when it becomes easy
for you like that. I'm just painting in
the final little. I don't even know if
to call these details, but just the missing pieces of the painting that the
canvas is still blank on. Making sure everything's
blocked in first before moving onto any further
steps of the painting. Also, if you find
your edges to not be, you know, straight or
they're kind of blended. Don't be afraid to use the background to
kinda tighten those up. So when I go back
over the background with black to make it
more black than it is. I use that as a tool to
straighten everything out, make sure everything is
the shape that needs to be and everything looks
pretty tight on the edges. This is one of those
scenarios where you need tight edge, sharp edges. That plays into the realism. But often with a subject
that's metallic like this, there's going to be a
lot of sharp edges. As you can see in the sort of geometric shape of the
base of this subject. Making sure those edges
are right is definitely going to play a huge role
in settling the realism of whatever reflective
surface your painting. Say you're going to want
to watch out for that, not just ignore it. That's what one of those few
attention to detail things that I'll do with
something like this. But everywhere else
is pretty loose.
9. The Home Stretch: Alright, And just to
let you know how it's filling around this
time in the process. It was around this time
when I was like, Okay, you start getting more confident
again and you're like, okay, I've got all
the hard part, almost all the hard
part out the way. We're going to get to
the point where we're just tidying, tidying up things, adding highlights,
making it look shiny, making it look better. Something else that
is very important. There's, I'm starting
to see that there's a lot of things that are
important in this process. But what I'm getting at is
something very important. Important is making sure
your proportions are right. That, that is one
of the things that some beginning artists
struggle with the most is getting the
proportions right. Now, as you can see here, I can sort of fixed small things that I may have had errors
in when shaping things out. When I drew out my subject with the small brush with something
down burnt umber on it. But making sure that things
are proportionally correct. Very important,
Definitely, definitely, definitely helps
with making sure that whatever you're
trying to sell as like this is metal, whatever, it would not be as nearly as
believable if I didn't have such sharp angles and smooth whatever needs to
be curved as a smooth, smooth curve shape, it
looks proportional, it looks like something
that would exist. These are things you definitely definitely need to work on. You're already in if
you aren't already decent at having things
proportionally correct, is very important
to say the least. And is honestly quite hard to do when you're first starting out when you're
doing it from life. I don't really use measurements
are grids or anything. So I do it all by, you know, by psi and sort of using my brush handle
as a measuring tool. Like I'll kinda
hold it up next to. I'll kinda use relative
distance to measure things out rather than like a ruler or something
with exact measurements. Because it's about
how you see it. Not about what a
ruler can tell you. And you also want to
build those skills to. What I'm about to do now is fast-forward to where I already have blacked
out the background. To make it stand
out a little more. I've already sharpen the
edges and everything. So we're gonna get to that now. You can just look how
much better it looks with the background black DOT. And I worked on some of the
edges that weren't right, made them more
sharp, less fuzzy. Man, this is for sure the satisfying part
of the painting. Applying these highlights. This is actually one of
those rare instances. Metal is one of those rare
instances where you get to use pure white
as your highlight. And it's great. So what I did here was I
used my small filbert brush and got some just
titanium white. I don't believe that I
put anything else in it. Maybe slightly, I put some
green or some yellow to make it less cool of
a color, if anything. Because the white tends to
have a cool tint to it. But I just took the white straight out of
it to put it on the brush. I mean, put the
brush in the paint and put highlights and
areas that needed it. It looks to me like the
highlights are from that picture, close to what I was
seeing in real life. So this part is going to be pretty
accurate to what I saw. But yeah, after doing all that hard work of
putting color by colors, shape by shape, This is loosely around, is very satisfying. Get into this part
where you can just focus in dial-in and put
those final highlights there. And this is important because I built up
to these highlights. You see those areas that are sort of lightened
up and ready for the highlights go in there
and it'll make it pop especially on the lit
there in the middle. I'm about to go after this part, but it just can't be
metal without highlights. It just can't. This really brings it to life. And if you were with the
whole painting thinking, this is missing something, your brain is telling you. Something's missing. You're wanting to stop. You're like This is
not how it's going, how I want it to go. Like I've said before. When you put on those
final highlights. And a lot of the time everything will come together,
especially metal, you put the
highlights and that's what gives it that
metal look in it. It just brings it to life. Now. Pay attention to what areas need something
other than white, pure white, and what needs, what needs more of a color? What needs a lesser white, like a more muted down white, maybe warmer or cooler. Essentially these things. Because even when you're
on the highlights, you may still need
to be building up. It's just that these
circumstances painting shiny objects like the
shiny object like this makes it easy to get past that process of having to even buildup highlights
within the highlights. Again, this is easily the
most satisfying part, the most, the most fun
part of the process. All the stress of blocking in and sit in there for awhile thinking, Is
this gonna go higher? I wanted to is it going
to look accurate? That's behind this already. Right there where I just went, I there's a lot of yellow in the highlights from my
subject in real life. So that's what I put there. That's what I was talking
about when looking at what colors are in
the highlight there, put a yellow, a little
bit of red so it wasn't too cool of a color. And yeah, a part of this that highlight
there to blend in just two. You can't tell, again because overexposed
and the picture, but you still want to make sure things
are blended, right? Again, don't overblow
AND still see some of the loose brushwork
up top there. But I for sure at to make
sure it still looks smooth. Down there you, you kinda see it in that
reference picture. How the lightest kind
of feathered out there. So I just took the
brush lightly, played with it a
little bit and make sure things were smooth. There's some areas that requires sharp highlights and
in some areas that require some round
shapes like this, that require good
dispersion of light. Now some of those more
subtle areas of light. One of the techniques
that I do is I have my white or whatever color my
highlight is on the brush. I wipe it off on the paper towel to make sure
it doesn't come off strong. So it's a faint like dry
highlight on the brush. And I just sort of
gently put it on there. That helps it to blend in better and makes sure your
highlights not too bright. And those areas where
it doesn't need to be is getting good here
we're almost done. It's already looking
pretty good. Again, Maya, in life
example, it looked a warmer. That's why you can see the little color
discrepancy there. But at the top here I kept having to
work that highlight. It. Kinda wasn't looking
right at first. It looked a little off. It wasn't the right
wasn't the right shape. It was too bulky, so I kept having to
play with that part. Usually get away with a
abstract shape there. But in this instance, I, it just didn't look right to me, so I kept working it. And again, with these
final highlights, you just all I do is I
go to glob of white. Like the highlights
are the brightest. Get a glob of y and
put it on their thick. And that'll make it
stand out the best. From my experience. Now I'm just putting
the finishing touches. Maybe there's little
hints of that feathering again because this is a round part of the, of it. And I want to give that
illusion or not the illusion, but I want to demonstrate
that roundness. The shape makes sure the
shape is more pronounced. And again, all of
this was done with just five colors if ending, and that's including white. So really for chromatic
colors and white, and I was able to
achieve a metallic look. So as I get to the end
here, what do you think? How do you think I did? Does it look realistic? Does it does it look
like a cohesive piece? Because that's all
that matters here. And hopefully, this long demonstration
was helpful to you.
10. Final Thoughts: So after seeing my process
in this hour-long class, what are your thoughts? What do you think about it? You can definitely leave
a discussion down below. Or of course, create
the class project. And for the class project, I just want you to try and create a painting of a
reflective surface itself. If it's challenging, maybe
just do just a flat surface. You don't need to
do a whole subject just to get the details, get the shadows, the mid tones, and the highlights
that I talked over in the, in the demonstration. So you can see how they
play off of each other. But of course, thank
you for watching this and see you again in one
of my other classes.
11. Check Out My Art!: If you enjoyed this
class and want to see my art work or get
to know my style better. Follow me on Instagram
at the toned canvas.
Jaleel Laffitte, Painter
