How Painting What You See  Will Change Your Art Forever!

How Painting What You See Will Change Your Art Forever!


join us on our website at www.TheGrandView.org do you think homework assignment is kind of interesting I love those honkers that’s part of my fan club yeah I know they’re applauding they’re going yay so this works this week’s homework assignment is kind of a variation of the homework assignment that we’ve done in the past using foil the issue with it is that periodically it’s kind of good to revisit what we’re doing throw in and say okay let’s just try to do this again a lot of you when you first did the homework assignments originally didn’t do so good and so some of you would go God if I could just do it again with what I know now and some of you this is the first time you’ve done it and you would go and you’re like going what in the world is he thinking oil of all things and a lot of times remember we had the bubble wrap that we did we had the chicken wire that we did and we do foil we do mylar balloon we have all of these different homework assignments that are kind of avant-garde and different now why do I ask you to do those why in the world do I ask you to take a piece of foil fold it very carefully around a really bright item huh yeah it’s difficulty but ultimately what I’m trying to do is teach you how to actually look at things paint what you see now what’s interesting is that in this particular exercise we’re looking at foil and then we think well what color is file and if you sit there long enough you ask yourself so what makes it look like that I mean so many people when they’re painting they don’t really ask that question so like you’re working on that silk material and you’re like does that look like silk and I go not yet and she goes well how do you make silk and I go well you have to look at it for a while you know there’s no difference between all of these materials except subtleties and so silk looks different than cotton cotton looks different than you know velvet ok so all that so you ask yourself what makes it look like that now I often times students come into class and I have not a clue of what you were trying to paint you’ll bring in something say hey I want to paint this and it’s not like at some point in my life I painted that in fact most of you bring in stuff I’ve never painted before in my life and if something should ever happen to me you being in my classes I want you to be able to go on and be the artist that you can do that’s my family I love painting here because of them looking they’re both standing looking at the window there might be okay so what I want to do is train you to paint what you see this is Google insky the most important key of two painting is painting what you see because I can’t teach you everything I don’t want to teach you everything but I want you to start looking at things and be able to do them yourself doing something that is avant-garde and different like a foil you have a preconceived notion of what that is and if you follow that you’re going to fail because our brain doesn’t really see our eyes do and oftentimes what we see doesn’t register with the brain it just all of a sudden just kind of sits there and so we look at foil and we assume we know what foil looks like but it’s a totally different thing when you actually look at that so I’m teaching you to look at things and not only just to look at them to actually see them Leonardo da Vinci once said now we look at a lot of things but we never see Joseph says we eat a lot of things but we never taste it one of my favorite things to do with students like the newbies like you my favorite thing to do with new students is to show them what they’re missing in their life I mean I sound like a preacher right now but that’s it it’s like but the thing is I’m not showing you you know promise in the future I’m talking about like right now like leaving this classroom and looking at trees differently for the first time actually seeing how they look and when we start working on trees and colors ago oh my god I never noticed that their holes and trees I never noticed how beautiful colors are shapes or forms so the whole idea is to try to have you start looking at you never you will never see anybody in your life until you start painting so once you start painting portraits all of a sudden you start looking at people and they go what are you looking at your Flash colors so dark but that’s the beauty of it you actually get to see things that are actually there people who start painting portraits at the very beginning paint portraits way too white every artists and I have like in my night classes John’s in my night class he’s a schoolteacher he’s he’s kind of like a by gosh by golly painter and he nails it nails and nails are tons of paint he’s a newbie and he paints successful successfully all the time and now he’s doing a painting of his daughter and it looks like a Barbie and I go is that the color that’s actually there and he goes yeah uncle really and so what I’ll do is I’ll to pick up a little bit of flesh color off of his and I put it on here and I go is she really that white and he’ll like look at it and go well he’s not as dark as you are and I go well but the things does that look human like the little tubes that are the flesh color that you you know you put that on your skin and I was like going into them said because there’s a darker in here but on the inside and then ask yourself does anybody walk around looking like that and if I would isolate a section on a portrait and really get down like it there with you today really get down to a shadow color you’ll see that those shadow colors if we just isolate those colors are actually like dark people like like black people okay and you go all I can’t paint my daughter that color that’s black but the reality is that’s the color of the flesh as it goes into shadow you can take the ugliest color in the world and use it as a shadow color in a portrait and just by how you handle that in comparison to the highlight and particularly the chance the the color in between the highlight in the shadow as it transitions from highlight to shadow that little strip right there is the only strip that’s actually flesh color and it might only be this white and this long a little tiny hint of it and the brain will automatically fill in the rest the highlight color on it on flesh is the color of the light hitting the flesh the shadow color is just a shadow color going into shadow there’s no association to those two spots on the face that’s flush color at all the only flesh colour that you actually see which we call the local color the local color of the object without lights or shadows is where they transition and where is a light and the shadow meet right there you’ll have a strip of the local color and that’s all that’s cost color and the brain automatically fills it in and pretty much when you’re painting fruit or a vase or flowers it’s always the same the shadow color has nothing to do with the object it’s the highlight color has nothing to do with the highlight the highlight color represents the color of the light that’s coming into the painting the shadow color turns away from the light and becomes warmer and darker so it’s only a little strip so the biggest problem like with your portrait is that you painted the whole thing flat and then when I go we’ve got to put in shadows you’re like oh I can’t go that dark and it’s like yeah you can and one of the best colors to make flesh is stay low yellow green and alizarin crimson Daler yellow green and alizarin crimson those two colors mixed together and add white the most beautiful flesh color you can almost paint an entire portrait but those those two colors and a lot of people are like what what’s it what’s a good color for palette and I have Daniel Greene’s palette which you have to set up a big huge palette with all these different colors and almost every color he gets you can find in those two colors so you work perfectly you might introduce a little bit of blues or maybe a little bit of yellow to kind of tint it but pretty much the main body of that portrait colors those two colors fela yellow green and alizarin crimson so if you want to do a portrait the other yellow green and alizarin crimson you mix them together and you add white no that’s the yellow green that really bright lemony apple green you know granny smith apple those in crimson those two colors make the most beautiful portrait color I mean it’s like whoa and at that’s a hint but anyway so I digress we’ll go back to here so the whole idea is to actually teach you guys depending what you see actually look at the thing now part of the homework assignment was to take a piece of foil and very carefully work the foil around your object so that you would get as much reflection as possible because it’s not about painting crumpled up foil it’s about actually painting reflections on foil in such a way that you can actually get it because the more you come fill up foil the less reflection to get so you carefully have to fold the foil around to get continue that and then hopefully in that process since you’re modeling your your subject here you want to fold the folds in a way that you get to my magnets so how you fold that is part of your practice I’m trying to see if you can get the folds to kind of have something in common to bring the viewer around remember the eye magnet so what we use to keep the viewer inside the painting so I don’t want to have a strong fold leading you out and like LaVon was saying earlier she said well you know I remember this this this this and all of a sudden I forget that and that’s one reason why we end up repeating things a lot because there’s always that one thing remember when I say I went to perfect portrait or perfect painting of this and I’m looking for I magnin sense or focal points and what was the thing that you had forgotten yeah so like is blowing it up because in her head she thinks having a line that leads you out of the canvas is not good because the I magnin should lead you out of the canvas and so she remembered that from another talking she because oh yeah we can have that we can tone that down but we need to think about pushing things off the side of the canvas not just kiss them and force them in the edges so repetition is really good but above all painting what you see is the secret to painting and if you guys could paint what you see you almost don’t need a teacher yeah you hear yeah you still you yeah it’s like oh that just lost the student right there she hasn’t even signed up and she’s like already gone I’m going to go home and paint what you see so it’s really important to get get that thing it’s like peeing what you see but a lot of us don’t really ask pay attention to look at what’s there and if you can just focus in and the key to this the reason why we’re doing this again is the homework assignment is that you constantly have to improve now I have a lot of people that take on the whole homework assignment thing I have a lot of people who do the doodle books and I’ll do doodling doodling doodling doodling doodling and the last doodles are as bad as the first doodles a lot of your homework are as bad as the homework you did last year don’t point at yourself we don’t allow that in class so if you constantly want to improve constantly improving your work you constantly have to improve you constantly have to study you constantly have to take it to the next step otherwise you’re wasting your time I admire people that come in and do the homework assignments but if you’re not trying to up your game with every painting just doing what you’re doing over and over and over again expecting a different result what do they call that insanity right you see that with crazy people they think if they just scream louder they’ll get more attention you know they scream and scream and scream it’s the same thing with it so so if you’re not sitting there going I’m really going to step my game up with every painting you’re not going to get better just because you do it it’s good practice you’ve got it and you’ve got a paint every day you’ll find a way to paint every day even if it’s just taking one brushstroke and make a mark on the canvas just try to commit to yourself to try to do it every day and the power to create the homework assignments we do five things every week and somehow those students actually get that work done my students that I coach oh my god I cannot believe how good they do and I think part of the coaching that I do online their little half an hour segments and there’s no skype involved there’s no they just email me a picture and I they call up at 4 of 5 in the morning 6:00 in the morning and I’m half asleep and it’s they go you know one of my guys using Tim he’s like it’s Finland and he calls their 5:00 in the morning we’ve got a really dark deep voice first so I’m like sitting there with my coffee anticipating this wall of weight should be in radio but with every one of them that half an hour conversation of just ear to ear and looking at a picture on the computer screen is amazing it is amazing and I have beginning students that are now actually selling their work and they haven’t even been paying a year and and that’s the one thing that I have to say about all of them because they appreciate the opportunity to have a teacher that cares enough for them to get up at 5 in the morning and be there to do the coaching call and they have obviously they call me up because they don’t have any students and any teachers around them they are so appreciate my time that they’re so fearful of wasting it and so when I tell them something because it’s one on one they can’t hide like you can in this class like a lot of kind of it’s one-on-one and I go so what are you thinking what do you know and it’s really like they have to answer and we go into the conversation that they really stepped up their game from painting to painting to painting and it is just I open up some of those emails and I go oh my god I know where this person was three months ago it is really phenomenal the coaching because they don’t have me there they really have to absorb what I’m telling them and then they have to apply it so you have to really kind of make a commitment to yourself that I’m going to step up my game I’ve got to paint better every week I want to get my work to be the best every week now I appreciate any level in there but if I have students that are I’m not getting better it probably is because you’re not making yourself be better not that that’s wrong I appreciate you do the homework but we always want to see little steps of improvement from week to week and the only place that I can actually gauge that is in these critiques where I tell you go home and paint a ball and then come back to show me not just a ball but the most phenomenal ball has ever bounced on this earth

3 Comments

  • Robert Bates says:

    About a year ago, I started learning to draw. It's been very much an on & off thing. Since finding your videos about a month ago, I have seen significant improvement based on the advice you provide for painters. While I don't "doodle" the numbers of some of those mentioned, I have made it a daily practice to sketch. Thank you for providing these videos and for your thoughtful insights into learning to create art.

  • vivian anderson says:

    Love your instruction videos and have learned more from them than all my books and lessons. Thank you for your personal interest in each student.

  • H Max says:

    That was funny about the man painting his daughter, boy he wants that little girl to be white no matter what, "…she's not has dark as you are…"; "…I can't paint my daughter that color, that's black…" what a racist. hahahahaha! maybe he can turn her into a Geisha, they're very white. hahahaha!

  • AlonzoTheArmless says:

    Stefan, excellent video, as always. I'm having a hard time finding Pthalo yellow green. May I ask what brand of oil paint you use? Thanks!

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