[opening music starts]
[Hello my friends, the time of day is here] Cinnamon: Big Art Quest! Hey everybody, it’s Cinnamon Cooney, your Art Sherpa. On the mic today is my very adorable and sweet husband John, who tracks me with a multitude of cameras so you can see everything I’m doing up close, and also he’s kind of your voice… He’s the voice of the community because I can’t see the chat, but he can see the chat. So he’s gonna be reading comments and things. If you see this on the replay, that’s what’s happening. That’s why there’s a disembodied voice talking to me and talking to you because he is the voice of the live community that’s here. Hi everybody that’s live who’s here. John: Hi guys. Wow! There are so many people here. Oh they love your beanie! There’s lots- They are lovin’ the beanie. Cinnamon: Well, the doctor’s in… The cloud doctor. John: The cloud doctor… Cinnamon: I’m a cloud time lord today. John: Are you? Cinnamon: Yeah, I really am. This is the first of many cloud lessons. Buckle up, kiddos… So many clouds! John: Ok! Cinnamon: So many clouds! John: They’re all ready for the clouds. Cinnamon: Clouds John: So I’m gonna say a big high five, art hugs to all our moderators who who are here to help us out. Everyone don’t forget to like, comment, subscribe, and share. Especially hit those thumbs up because try to hit three hundred by the end of this. Make the Sherpa dance! I’m gonna say those plugs real quick at the beginning of this so we can get on to the clouds.
Cinnamon: [laughs] Make the Sherpa dance. This is not a dancing video, and you will see why, if we hit three hundred. But I’ll do it anyways.
[John laughs] I will do it anyways. It’s like I will in a club. I’m kinda like Elaine. John: I’m starting to make little plans… for events where we hit three hundred. I’ve got special music. And I’m gonna get- Cinnamon: At some point, he’s gonna hit me with a water balloon or something horrific. John: It’s gonna start being party time there. Cinnamon: Clouds. John: Ok. Clouds. Tell me about them. Cinnamon: Clouds!!! Clooouuuudddssss!! So, um, yeah. Clouds are really hard for new artists, aren’t they? Big Art Quest, gotta cover it, gotta make it easy. I’m gonna talk about this as much as it takes for you guys to like, have it unlock, and release, and flow for you. It might be this quest, it might be another cloud quest, HANG IN. Just know everybody gets clouds. John: Yes. Cinnamon: If you just hang in and are dogged and determined enough to do it. Something I want to say about clouds. John: Mm-hmm. Cinnamon: They are mentally confusing, but they are just like painting a rock… [John chuckles] Or glass. Everything is just like painting everything else, but sometimes, what happens is it’s like an optical illusion. It’s like a twist on your mind, and your brain just kinda… I don’t know if any of you ever felt it where it’s like you can kinda actually feel the gears go kachink, kachink, kachink. [John chuckles] Cinnamon: on an idea. And the reason is because clouds are intangible. They are in the sky. They’re fluffy. And here’s the other thing that messes up most artists with clouds, is they’re in perspective. Now a lot of the clouds that I’ve taught to you up until this point, are what I like to call “technique” clouds. John: Mm-hmm. Cinnamon: and… if that is… Maybe you don’t know what I mean by that. but what I mean is there’s… In art, there are techniques that create an effect that lean to an illusion of a texture or a feeling or something. Right? And then there’s painting what you see. And these are actually weirdly two different things. John: Mm-hmm. Cinnamon: Right? One is not better than the other. they’re just two different skills. That’s all. And I’d like to show you the second skill, which is gonna be a lot of fun. And also kind of hopefully, gonna put your head in the clouds. We’re gonna be doing white fluffy clouds, today because I think that’s the first cloud anybody tries to do like maybe if you’re brand new to painting and you wandered into this, this is a lot like a class, but it’s not a class because it’s a quest.
[both laugh] Cinnamon: But, who needs a class? We all just need to quest! Right? But we’re gonna talk about that first fundamental place, where all of you might have stopped on your cloud journey. And I think the number one cloud everybody paints is that white fluffy circle, that goes like that John: Mm-hmm. Cinnamon: Are we familiar with that cloud? John: We are. Cinnamon: Have you done it? Everyone’s done it. Sometimes you do it intentionally. Back when I was in art licensing, you might do that decorative cloud on purpose as a design. So it’s not bad. Nothing in art is bad. It just has purpose. So for this type of cloud… John: Mm-hmm. Cinnamon: do you see this nice bank of cumu-, these are cumulonimbus right? John: I don’t know… Cinnamon: I’m back to earth science. I feel like they are, so I’m gonna say it. I’m sure the internet will correct me if I’m wrong. [Cinnamon chuckles] Bless the internet. Yeah, I’m gonna say these are cumulonimbus, and they are over a nice desert valley. John: Mm-hmm.
Cinnamon: Right? This is a cloud we might see, we might be inspired by, we might want to talk about. Right? But how do we make these amazing billowy, airy shapes? Well the first thing I want you to think about… I might need a ch- I might need a harder pencil. John: While you’re looking for that, I’m gonna say we have huge number of new people with us today. Lots of them!
Cinnamon: We do? Hi new people! John: Lots of new people.
Cinnamon: We learn art here real easy, John: Yeah, and- Cinnamon: That’s what we do. I explain it until you’re, like, “I get it!” John: We have lots of our- Lots of our… Our brushes who have been here. Our Sherpettes who have been here. I saw Honor come in here. I see- Cinnamon: Hi Honor! And hope Isis is with you, so hi everybody. John: I see- [chuckles] It’s been really nice. There’s a lot of chat going on,we’ve got over two hundred people out there with us. Painting along. And they wanted to say, by the way, Diet Demon there was just a topic. you got him hiding over there. Cinnamon: He’s doing good by me. He’s keeping me on task. John: They wanted to say congratulations. they see that Diet Demon’s been working. He’s a rough rough rough rough task master and he stares at me at every meal John: Mmmmm. [Cinnamon chuckles]
John: Diet Demon… Cinnamon: Sometimes you need a rough coach. John: Big hugs to all our community out there. Love to you guys. Alright! It’s about…. Clouds, oh Sherpa! Cinnamon: So, do you see this little line here, of land? Do you know what that is? That’s our vanishing point. That’s our horizon line. That is the stuff that’s distant and far away. So if I were to sit there and want to talk about this, like on my canvas. Right? I’m gonna draw this quite dark, you know, so you guys can see it. I’m doing my little land line here. Right. I know I’ve got a little road straight across underneath there, if I were to say be doing this landscape. So if I were to say that these clouds were in perspective, which means that the clouds that would be further away would be smaller and foreshortened. I would sit there and I’d make a couple lines. I’d make a line to where I feel like my vanishing point is on the horizon. The point that I can view. Right? From the corner to my center. This is just a little guide I can give myself. This is just something I want you to think about. Since you’re questing. Right? John: Yeah. Cinnamon: And I’m gonna sketch a thought- A couple of thoughts in and you’re gonna go oooooh. Sooo, the big clouds. That feel closer to me on the horizon, right? John: Uh-huh. Cinnamon: Right. Let’s say I’ve got this nice little cloud shape. I’m sure I can paint this out later. Like, say it’s here, right? John: Yep. Cinnamon: But as they get closer here, they- They layer and they will get smaller. John: Ok. I’m gonna have to see- You have to- Cinnamon: I- Ok. So- John: So there we go. OK. Cinnamon: Can you see it? John: I can see it over the other shoulder. There I can see it. Cinnamon: They’re gonna be disappearing and getting smaller and narrower as they come down. John: There I can… Cinnamon: And they actually get more bunched up here. When you master the vanishing point of clouds, Then you can paint like somebody like say Tim Gagnon. Who’s very good at clouds. John: Ooohh. Cinnamon: Right? Because that’s what he’s really mastered. He’s mastered his vanishing point. He’s very good at saying what if I were not standing here, where I’m implying that I’m standing. Right? Looking down at this point. What if I was up here? He’ll even do a raised vanishing point. Then you get that incredibly deep atmosphere. Have you guys ever seen a painting where it looked like it went back for an infinite number of miles? It was just so deep, even if it was abstract, it felt deep? John: Yeah. We’re gonna go back over to the other camera. I’m gonna switch over to camera 2, and what I want- What I’m gonna try to do is- Can you explain what creates that vanishing point down here? Cinnamon: Well. This right here, and we’re gonna go over perspective much more deeply on another class. Right? John: Ok. Cinnamon: This is where my eyeline can’t see anymore. This is my vanishing point on my horizon. John: Now that’s created by the mountains or the ground? Cinnamon: Right. These little lines here, that you see coming out, and there is some math to this that we’re gonna cover another time. John: Ok. Cinnamon: Cause I will need to have my sheet with me. [Cinnamon chuckles] Cinnamon: Cause math was never my strong suit. Right. And you can even- You add more, and then there’s a thing really good artists will add lines that are closer together in the incremental, make them wider. John: Oh my gosh. I’m on the wrong camera! See! Oh my gosh! That’s what’s going on. Sorry guys! That’s what’s happened here is I’ve been switching cameras… Cinnamon: On the wrong camera? John: No! The main camera hasn’t been switching. Cinnamon: It isn’t? John: No. I’m so sorry. So let’s go back. Cinnamon: Ok. John: Let’s go back here. I’m so sorry guys, that the switching hasn’t been happening. Cinnamon: Ok. There we go. John: There we go. Now you can see it. Cinnamon: See, if the sun were right here, right? John: Ok. Cinnamon: What if the sun were right there? Cinnamon: Well the clouds here would be hidden by the clouds in front of them. Right? And as they go further down they get further away. Now on an image like this, it gets to the point where all you see is the bottom of the clouds. The dark shadow. John: Yeah. Cinnamon: So that’s the first thing I think that confuses people about clouds. And the other thing that they’re not thinking about clouds is in the technique based clouds a lot of timed what I’m trying to do is help you do is make sure that you’re painting, that your underpainting is showing through. To show that the cloud is made of mist, and it’s airy. But, when you’re actually painting something like this, this is about a tonal study. When I say tonal study, I mean from dark to light. Right? John: Yep. Cinnamon: The grayscale of it, which is nice to print out clouds in black and white when you’re practicing painting them. John: Yeah. Cinnamon: It is. It’s totally nice. So when you’re practicing painting a cloud, right, for this, you’re wanting to practice a tonal study you can do that in black and white. Like we’ve done in the past, like a grisaille. Right? Before you add the color to it. John: Ok. So- Cinnamon: So do you see these like little highlights here, these hard edges? John: Yes. Cinnamon: Clouds are made up of these very hard highlighted edges. This very strong light source coming over here. These shadows underneath, and then often they have some very fluffy and undefined friends in the distance. John: So-
Cinnamon: Hmm? John: Miss Pageant would like to know, can you offset your vanishing point? Does it need to be dead center or can it be off to one edge or the other in the- In the focal plain? Is that a more advanced…? Cinnamon: That is a more advanced thing, and I’m trying to think of how to answer that simply. because, this is the reason why I suck at cars… [both chuckle] Is complex vanishing points. John: Oh! Cinnamon: And complex perspective. It’s what makes me suck at cars. I’m real good at street scenes because it’s simple, kind of two point. Perspective. It’s super simple. Everything else, I gotta sit down and like get my rulers and t-squares out, and I have this really fantastically awkward time. [John laughs] Cinnamon: With it. But I can recommend some great resources to help you through. Cause, I mean, again. We’re not all things in art. John: Yeah. Cinnamon: Right? That’s an important thing to know. We’re not all things in art. I’m not all things in art. There’s a whole bunch of stuff about oil paints I don’t know. But there’s some people in oil paints, that they are really all about oil paintings and they don’t know anything about acrylics. We don’t have to be all things in art. When I am not strong in a subject, generally what I do is I have resources of people who are fantastically strong Hogarth being one of my personal favorites on perspective. I use a lot of comic and Marvel references because they- We’re gonna do some- We’re gonna do perspective, but you’re gonna get to see me be like… This is in the mess! John: Ooh! I heard some thunder there. Cinnamon: So we’re gonna get going. John: We’re gonna jump on this, cause I think we have some thunder. Cinnamon: Yeah. We’re almost out of- We had some thunder. John: I think that diet demon may have called some friends over.
Cinnamon: Uh-oh. Alright.
[both chuckle] Cinnamon: Maybe we’ll go real fast, right? John: Well, I think we’ll- We’ll definitely go- We have, uh…. We may have a window… Here, so lets, uh…. When I’m doing clouds personally, I really really like graying them with their complement, which is like a burnt sienna, because orange is a complement of blue and that’s an alternative to using black. You could do this whole thing in black and white. John: Yeah. Cinnamon: And if you’re not feeling really strong in color or tonal, I would say you could even do black and white. Now on a sky like this, one thing I want you to know is generally true at around noon, it’s gonna be darker at the top, lighter at the bottom. That’s because of the curve of the earth. John: Ahh. Now I have a color we have not- John: What are you using there? Cinnamon: I was gonna tell everybody was I was using here. I have a color we don’t often use. It’s cerulean blue. John: Cerulean blue. Cinnamon: Cerulean blue, but this is used by many, many, many landscape artists. John: Gotcha. Why is that? Cinnamon: Because it has this blue, that I’d like to say it’s amicable. It’s agreeable. John: Hmm. Cinnamon: This board is so “bendy” today. John: So Rebecca asked- Cinnamon: And absorbent. John: Is it? Oh, that was one of the… Cinnamon: One of the soho boards John: Yeah. Cinnamon: Cause I ran out of canvas. Has that ever happened to any of you? So I’ve got this. This is going to be my darkest color. And then what I do, is I just lighten my blue and if you’ve painted with me a bunch you’ve done this a couple of times. I’m gonna have to put out… Some, um… I’m gonna use the Acrylic Glazing Medium by Golden, because it’s a retarder. John: Oh yeah? Cinnamon: Doesn’t dry very quickly. This one. Only that one. [both chuckle] Not all the other glazing mediums. Those dry fast, but the Golden one dries very slowly and does glazing and so it makes it a very good tool. John: Gotcha. Cinnamon: And this board is so thirsty! It’s like looking for gossip. That’s how thirsty this board is. John: Whoa! Cinnamon: It’s a thirsty thirty board! John: So I’m gonna give you a- We just flew right by two two two. Cinnamon: Did we go by two two two? John: Yeah. So Alex is new here in live, I saw that in here, and say happy birthday to Savannah, and light & love to Heather. So, she just needs some big hugs and and some beauty, and we’ll put- Cinnamon: Oh! Big hugs. John: We’ll put wishes into the canvas for you and your family. So- Cinnamon: Alright.
John: Love to you. Cinnamon: See how this blue is akin to a very nice summer day? John: Yeah. Cinnamon: I think this is why this is such a popular blue. You can do any blue you have in your kit. Ultramarine will go purple, Phthalo blue will go psycho blue which I love. Ya’ll know I love that! John: Mm-hmm. Cinnamon: Umm… Cerulean blue will just take on a perfect summer blue. And again, when you paint with it… Like Phthalo blue, I like powerful pigments, but the cerulean is a softer- Again, it’s more agreeable. It’s like, eh. I’m here but I don’t need to be insane about it. I put a little too much blue there but see how well that blended out? That wouldn’t happen as easily with, say Phthalo. But you paint with what you have. Right?
John: Yeah. Cinnamon: I like to introduce new things to you, because I can do that and then you don’t have to go out and buy it to try it and see how you feel about it. You can see me use something and go, “Ohhh! That seems okay….” Right? I’m gonna come down here, See how nice that is for just a sky coming down? And by allowing my white to be streaky, what I am implying is in the sky already. John: Oh! We’re going to give Julie a big wish of good luck. She’s about to go take her Physics II Final Exam. Cinnamon: Ahhh! Sweetie, good luck John: Yeah. Cinnamon: Physics is so weird, right? John: Art high fives. Go kill it! Cinnamon: Kill it! You can own it. We believe in you. We got your back. [Cinnamon chuckles]
John: From the art department Cinnamon: From the art department! That’s actually funnier and truer for John and I than you would know. John: That was- Yeah. Cinnamon: Because the art department at our college was next to the physics department and I think it was because we were the weirdest group of people. And they thought we could just all be together. In our weird little worlds. John: It’s true. Cinnamon: I think that’s what it was. I think we literally got put in the basement because we were weird in a way that made people uncomfortable. John: But it was good because they put all the super powerful computers right next to the artists. Which turned out to be really good! Cinnamon: and the Physics department and the Artists liked each other really well, so. John: So, it was like you know, I was a high energy Physics major, and Cinnamon was an Art major. Cinnamon: I paint stuff that isn’t there. They look at stuff that isn’t there. It’s pretty synergistic. John: Well, yeah. We had a lot of fun. Cinnamon: Alright. So, when I get a nice background in, which I like to do with a flat brush, because that lets me get that nice streaky back and forth. I want to talk to you about cloud brushes. John: Cloud brushes? Cinnamon: Now I do still- Even though I’m not gonna do technique based clouds I still like a stiff, short-bristled round. And what I mean by short bristled, is see how this is slightly longer? The shorter these are, the stiffer the bristles will be, the fluffier it’ll be. You can also rescue brushes from sip and paints. John: Oh yeah? Cinnamon: Yeah. Cause a lot of times they get murdered. John: Oh yeah. Cinnamon: By the just- Yeah. John: Tortured… Cinnamon: Tortured brushes Now when I’m doing clouds, Right? I’m gonna do this little line of clouds here so I can just sort of show you the shading technique. Something you might not think of, and I’ll- I think I’ll paint it in white. If you can’t see it I may have to paint it in darker color. John: Rebecca has a paint question I’m gonna get to in just a second. Cinnamon: Hmm? John: Rebecca has a paint question I’m gonna get to in just a second. Cinnamon: Ok. I’m going to just- Ok. I’m gonna paint it in blue. You don’t do this! John: Ok. Why not? Cinnamon: Because it will not be good for your clouds. You do yours in white. But I need you to see mine, so I’m gonna work it out. John: Ok. Alright. You work it out. Cinnamon: I’m gonna make mine work out. You don’t do this. It makes it much harder But I’m gonna paint my cloud line in. One of the hardest things people have going on,- I need a smaller brush- Is that they have trouble with the random shapes of clouds. John: Ok. Cinnamon: Right? And so if you draw the top line, that’s the contoured line that you see here of this cloud. John: Yeah. Cinnamon: Right? You’re gonna actually start to learn these shapes. This is not something you should expect to get like the first time you ever did it. I feel like I am still and will be till my dying day, learning more about everything I paint and look at. John: Yeah. Cinnamon: I don’t think that this is a one and done kind of practice. I think we are- That’s why I like to call it a journey John: I will say one of the great gifts that painting and watching you paint and your mom paint has given me, is how I now look at clouds. Cinnamon: Isn’t it wonderful? John: Because it used to be I would look up and I would see clouds and I thought clouds were pretty. I would really appreciate a good sunset or a good sunrise, but but now that I understand that there are so many different kinds of clouds and that they come at different times of the year and how they come and go. Cinnamon: Their personalities. John: Yeah, I enjoy looking at them so much more. Even in traffic I’ll find myself just looking up and… You know. Cinnamon: So I’m literally looking at these little edges, these little lines and I’m just doing the contour of the line. And even here you can kinda see it’s a little cloudiness John: Mm-hmm. Cinnamon: This is very very cloudy. I’m treating the clouds as if they were a solid object or a landscape. John: Man, you did call the clouds in. Do you hear it? Cinnamon: What? John: The rain… Cinnamon: Yeah, I hear the rain. I brought the clouds in. Paint clouds, brain clouds. What is going on? Again guys, this isn’t the only one I’m ever gonna do, and I’m gonna look at your results and then as I see how you guys are doing with these, then I will keep changing how I’m explaining it til I start seeing clouds pouring in that are awesome-sauce! That’s my plan. John: So, yeah. We should- You know, we have people all over the world. Cinnamon: Mm-hmm. John: And i know we’re using this crazy blue because we like that, but- Cinnamon: Any blue! John: I would love to, in the comments, leave a comment what color the clouds are the clouds in your part of the world? What color do you best use to represent them cause I know that they- Colors are really representative of the environments, you know? Cinnamon: Yea and the light reflection and season and time of year. See how I’m mixing this Australian- Ooop, Nemo here… [both chuckle] John: The nautilus Cinnamon: The nautilus here. Is- If you guys haven’t seen my nautilus, I have a really gor-The best brush holder in the world is created by Richeson Paint and I have one now and I’m su- Like seriously excited about it! So, I’m gonna paint my clouds in, with this gray that I’ve made. And I love this gray that ceruelean blue and ummm… Burnt sienna make. Any brown has enough orange in it to sort of create this effect, though this is just color theory. If you’ve done the color chart in the rest of the big art quest with me, you know mixing complements makes gray. You can do incredible clouds with purple and yellow. Some of the best clouds I’ve ever made have been done with purple and yellow. Dioxazine purple and yellow ochre. John: Hmm. Cinnamon: People are like, “How’d you get that sky?” Contrasts. Just paint contrasts. Just painting contrasts. And I just want to demo this. Umm… This is a demo you know, that I’ve actually done and… I just want to share this concept with you. I’m using my glazing medium to slow down the drying time on my paint. Now you don’t need to have glazing medium. I do, I’m in a really hot studio that’s dry. Super dry! John: So, there’s a lot of questions- Cinnamon: I’m just gonna paint this in gray first All these little shapes need to be painted in gray and it’s okay that the glazing medium has kept the paint slightly wet on the board. Because as you paint over it, it picks up and it creates a softness you’re gonna really like. John: Now, Lynn was asking why don’t you suggest technique based cloud painting? Cinnamon: I do, that’s just one…
John: You do? Cinnamon: I suggest everything. Here’s my thing on art John: Ok. Cinnamon: Technique based cloud painting is one type of way to get clouds in. One-stroke painting is one type of way to get clouds in. I’ve seen people do it with their fingers and their feet. I’ve seen people do it with airbrush. John: Specialty brushes. Cinnamon: Specialty brushes. These things are not right or wrong. They’re just skills. John: Just preferences, huh? Cinnamon: Just… Well, and it’s just like, what kind of cloud am I painting today? How does this painting feel? I want you guys to have ALL the skills. And if on top of that you could leave this quest going, “Well, I don’t really see one skill as having a greater value than another skill.” John: Mm-hmm. Cinnamon: I just see them as tools that I can pull out of my little artist box. For this beautiful picture I just took on my vacation, I would feel like I had completely won. Cinnamon: Does that make sense?
John: Yeah. Cinnamon: Okay.
John: So back to our painting there.. Cinnamon: That’s totally why, and I can’t- I would’t say like… You know, one is better than another. it’s just a thing. Sometimes artists get like that because one way was really effective for them and another was like maybe a harder to adopt skill and so they become preferential, personally and then they might speak more globally just from their personal experience but really what it is, is just a preference Gotcha You know how gamers get when they’re like, “I’m gonna play Laura Croft and I’m only gonna use the gun and I’m not gonna pick up any ammo and they act like everyone else playing Laura Croft just didn’t know what they were doing? John: I tell you what, in Halo, I live to use the pistol Okay, see but that doesn’t mean that there isn’t another way to play the halo, it just means that’s your way. John: No, you only use the pistol and if you are legendary and you do it with just a pistol, you are uber-legendary. So now you’re understanding the human psychology that drives “my way is better than yours.” John: So I have a question before I go off on the deep end of Halo. Cinnamon: Before you go off on the deep end of halo as I’m painting in this gray which is taking longer than i expected Thank you all for hanging in with me John: We have a lot of people here Real quick… So you’re using glazing medium, right? Cinnamon: I am. Now this glazing medium is also a retarder Liquitex glazing medium dries real fast, but this glazing medium by Golden does all the other stuff but IT dries real slow. John: Because Catherine was just asking, doesn’t Glazing medium dry paint faster… it does dry paint faster, UNLESS you are using Golden brand. Golden calls it glazing medium too, but in their brand it’s also a retarder That was an interesting thing to find out. I did some research on all the glazing mediums I could find, I found some I really disliked, and I found some I really liked, and that is just about what I’m expecting as an artist in my painting That’s all that is It’s not like really that one is better than another. It’s just like… I know for me, Matisse’s glazing medium and antiquing medium.. … man they never dry, and for what I wanted to do, that was a real challenge it doesn’t make them right or wrong. John: So I wanted to go back there was another question, and I think it was Rebecca. So she wanted to know… She is having some problems with her paint cracking as it, when it dries. “Crazing” It’s called crazing Yeah. How can she prevent that? Wow, and it’s acrylic paint? I have to tell you why that’s so unusual for acrylic paint and why I’m gonna give the next recommendation that I’m gonna give Acrylic paint is literally developed to be flexible and not to craze. John: Right Do you remember this John from the Golden factory paint tour? Yeah The amount of science and energy that goes into making sure that these products don’t crack or craze is extraordinary, So somehow a hardening agent… in my opinion., Given what you’ve just verbally described to me that I haven’t seen with my own eyes. John: Yeah Cinnamon: with that disclaimer in place Somehow, they’ve gotten a hardening agent or something has happened that has interfered with the flexibility of your paint. Now I can’t see your painting, so it would be very hard for me to know what that is, but I have an idea what it is. My recommendation to you is, if you bought from a well known brand, you can go to their website, they’ll have a help desk, you can hit their contact, send a picture, and in general the good companies, and there are many good companies will have their paint chemist look at it and tell you what happened with your painting and if it’s a mistake on their end, they’ll replace the product they can’t replace your painting, but they’ll replace your product Ummm, if it is an off brand paint… Ya know… my next advice would then be to go to Golden’s website and they have a huge amount of resources you can type in like what’s happened with your paint and at least then you might get an article that gives you an idea John: justpaint.org yeah, justpaint.org is a fantastic resource from Golden There are articles on crazy everything, because that’s all they do. John: Now, you’re using glazing medium I’m using glazing medium and this will not crack my paint. John: Now if you didn’t have the glazing medium you could use a blending gel? Cinnamon: You could use blending gel the only thing you got to remember about blending gel or retarders… is that you can’t glaze with it because you never ever want to glaze with retarders because then your paint might not dry and then you’re interfering with the property of the paint, so they have very specific amounts of paint to retarder on the bottles, generally about 30% So you wouldn’t want to tint or glaze, like you can with a glazing medium Which is why there are two products Golden never makes anything for hoots and giggles. Most paint companies don’t, because it’s expensive R&D. This is retarder, and this is glazing medium This is a glazing medium that extends the working time of paint which means I can tint it This is a retarder, this extends the working time of paint, but I cannot tint it because this doesn’t ever dry John: (Laughing) Well it does… not without Cinnamon: Not without, you get what I’m saying At the bottom here, I think I’m just gonna add a little more brown and again, I’m doing this without the color reference, the photograph and I’m going to start going back and forth here, at the bottom of what these fluffy clouds are back and forth. This is not blue enough, and if that happens, I will just pick up more blue and more white and just not worry about it John: Now do you need these mediums to do these clouds? Cinnamon: No. If you saw the easybake oven I’m painting in, you would go, “Oh” Those of you who have seen my Easybake oven that I’m painting in go “oh yah, I know.” you can use water, you can paint quicker a lot of times you guys aren’t in areas that where acrylic paint is gonna dry that fast in So it’s not necessary. Acrylic paint can be painted with and most of the techniques can be accomplished with the paint right out of the tube. So there’s two ways we use the word medium… if you’re brand brand new here… If you’ve been here a while you already know one is you’re talking about what you are making your picture with., that’s a medium. The other way I can talk about medium, is to say additives that I put into my paint to change its inherent nature. That’s what we’re talking about. and we use that word a lot. You know how some words have many meanings depending on context Which I’m sure, if you’re not from the US, and English is not your 1st language, makes it real fun I know this cause I lived in France, and those French words made it real fun for me. Language, just entertaining… So I’m just making sure that I’m streaking this back and forth because these clouds, I would see the bottom of them but I would not see their fluffy top. Even if I were flying over this in a plane, it would all be fluffy from on top But my perspective here does not allow me to see that and I, the artist, am telling a made up story about a made up place so I just picked up a little more blue and white, I just wanted to streak this a little bit clouds are also something to observe if you think about like, white fabric, white sheets, white anything what is it known to be? Reflective So clouds reflect the light around them, the color of the atmosphere. Just like water does. and then they do another interesting thing, they refract it John: Oh yeah So the light is also going through this water in the clouds refracting it, what is that? That’s crazy But it is John: 270 people hangin out with us. Big art hugs and thank you to everyone who is hanging out with us Don’t forget to like, comment, subscribe and share Cinnamon: How close are we to 300, or am I not gonna dance today? John: Oh my gosh, we’re really close John: I’m gonna ask everyone out there to give us more likes and hugs. So that you guys know, If we get 300 people in the room or 300 likes, we are sherpa, and we make the sherpa do a dance Cinnamon: and honestly, the likes actually help us on the lives, it lets everyone know you like what you see here, and also helps the algorithm …like the YOUTUBE side of things. it helps us John: We really appreciate that Cinnamon: You can kinda see where I’ve painted like these little shapies, which are starting to feel a little cloud-like I didn’t do this upper bank because we had some time stuff and I just wanted to show you another way of getting these clouds done Right, so… Now that I have this laid in, I have all these fabulous, delightful highlights to put in One of the tricks is, is I will kinda wipe my brush but not rinse it, because I want a little pigment on it and I’m going to take my little bright here which is a number 6 and I’m going to just come to the top of my cloud and dance in, or pounce in, or stroke in this is really up to your technique, and your style that you’re now developing all of you on the quest, if you haven’t figured that out now, you’re starting to develop your own sense of artistic identity John: So Honor has coined it the “Sherpa Shufflle” and we got to get 300 likes to see the Sherpa Shuffle Yeah, that’s kind, Honor is very kind. Get the Sherpa Shuffle happening guys John: I love it. Cinnamon: So kind I’m just paying attention to what i’m seeing in my clouds you can kinda see how that starts to come in and it starts to make the top of that cloud and that is so interesting, and then it’s got a little light… got picked up right here and I want to catch that Catch maybe a little light that’s happening right there Oh, I see a little light kinda coming here, and it dances down and this is really what this is about You can pick up some glazing medium so your white is a little more translucent, so it blends maybe nicer but you can also just do that with water. You can do that with mixing white The thing about art is, there isn’t one way to get a thing done. There’s a lot of ways to get a thing done. John: So many different ways Cinnamon: So many ways and it’s how we all find different ways of doing it that makes art so interesting i think… to me it may be interesting to you for totally other reasons. and that is completely okay. I’m gonna soften this edge here, see how I’m softening it? John; I am, I actually really like how it’s coming together, and everyone in the room thinks it’s so cool how the cloud just forms up like that Cinnamon: it does and I have to tell you, so good clouds… if you were trying to work out some good clouds it’s good to know for time management… like what to expect, but a good cloud is going to take you quite a bit of time like, a really great cloud, you know, they’re not gonna come in like an hour, they’re gonna come in like six hours When you’re really really getting your cloud on and you’re painting all these little variable shades, it’s fantastic and all i’m saying is It’s not that it’s not wonderful to scrumble, we’ll scrumble one up here maybe and I’ll show you that again but it’s also wonderful just to paint them as you see them to paint their lights and darks and realize, there’s as much gray in a cloud as there is white John: Bonnie’s come back in the room Cinnamon: Hi Bonnie John: Big Hart Hugs out there Love and thank you to all our lightkeepers and moderators in the room helping keep everybody in here asking questions and help me see what’s going on there in the chat We really appreciate that Cinnamon: Next week’s quest, is it next week’s? Yeah John: I don’t know Cinnamon: Oh, next week’s quest is a big one we’re not gonna talk about it today, but Next week’s quest is gonna be “how to deal with art bullies” That’s gonna be a really good quest. Believe it or not… Doesn’t happen a lot, but it’s good to know how to handle it when it does. I’m gonna come down here to this cloud and just add some of these lighter streaks into, underneath my clouds just creating that perspective of , what are they doing? getting closer together. Maybe I need a little more blue pigment and that’s okay that’s alright I’m in Phillip Franko voice mode today and I don’t know why Cinnamon: John hasn’t pointed it out, very gentlemanly… John: I, uh… Cinnamon: I think what it is, is I’m in a really good mood John: I’d say, yeah, you’re just in a good place. Cinnamon: I’m just in a really good place today I got a lot of rest John: Yeah Thank you John He got up with our son John: A rested sherpa is a happy sherpa yeah, he actually was really helping me rest today I’ve been painting, like I don’t know man, I got a crazy creative fire going on right now They happen John: yeah and when they’re going on So I just put some bright white here, Just puttin that bright white and then I’m gonna say, oh wait, get a little glaze and say there’s a little distant soft cloud happening here that’s sort of a soft soft cloud bank, and the bottom of the cloud’s flat if you’ve painted with my mom, she’ll talk about the bottoms of the clouds being flat. John: yeah You may need to come back, and be, like, oh, I gotta work this again and again and that’s okay and if you feel like, oh… it isn’t jelling? clouds are one of those things I can always go back and add shadow I can always go back and add some shadow to this cloud. I can always go back and lighten it up with a glaze see how I’m lightening it up right here? John: Oh yeah I can always go back. I don’t actually think it is that light, but I can… there’s no end to how I can continue to work this space in my atmosphere clouds on your canvas are not made of water, and they are not things you can fly through, your canvas is solid and this whole thing is an illusion that you’re creating and, it’s yours. it belongs to you. John: yeah Cinnamon: Which means how you painted it is your way, it’s a good way. John: Yep No meteorologists allowed to come criticize couds All clouds are valid. There is also no, like your first cloud, doesn’t have to look like my cloud, it’s your first cloud The first time I would try to jump off a trapeze and catch another trapeze you better believe I would fall screaming my head off to the net Be very hard to get me to get up there to try it a second time or a third time, or the number of times I’m sure it took every other trapeze artist to make that swing and catch that pole Art’s no different, and maybe I wouldn’t catch it as fast as other people John: (Laughing) Is that funny, or is it just funny cause you know how completely flipping out I would be. I think for John it’s just funny because he knows like if I was on a trapeze for any reason, somehow he would be in trouble. Both: Laughter John: I don’t know what series of events would lead to that. Whatever, I don’t know, like if there were some charity event like I was raising a bunch of money for St Jude’s or something John: Uh-huh I would probably go scare the crud out of myself to help people but there would be no other reason I’d be on a trapeze and even then I’d be like, can I write a check? John: What can you do to help avoid cloning there with your clouds? Cinnamon: Ah, thank you. That’s such a good question.I so appreciate that if you are very, very, very new so at this stage… and as you know I grew up with my mother and even though we painted in separate spaces Even though we painted in separate spaces if I had a bunch of cloned clouds you know she was gonna come by and say something John: If I may, A little bit of context here… Ginger Cook, is Cinnamon’s mom. She paints live on youtube too. She has another youtube channel, so they have an ongoing conversation about art that happens out here. Ginger Cook is my mom, she paints live on youtube too. There is an ongoing conversation about art that happens out here all the time. If you want to learn more about Ginger, we’ll put a link in the description below. What I’ve found helps really new people to see their painting… is, you can, I would say… almost every 15-20 min,.. and I only say that so you start to think incrementally… I’m literally arbitrarily picking an amount of time… almost every 15-20 minutes, either take a picture of it with your cell phone or hold it up in a mirror. The reason people clone, is they don’t see that they’re cloning That’s all it is. Their brain just isn’t telling them that it’s happening. and then I’ll get a picture and I know something’s wrong but I don’t know what it is John: Yeah A lot of times even posting it up on the internet will make people go, “oh, something’s not jelling ” in my picture the way that my mind, my creative inner artist imagined it to be By the way… that takes years… The guy living inside you that’s just painting happily, goin’ It could be like this he’s telling you this story, but it’s gonna be like this… and then you paint it… and you’re like, i didn’t like that you lied, I didn’t like that… and he’s like, no no… like this yeah, that’s a whole journey. maybe you don’t have an imaginary person talking to you but I do I do, laugh, John’s heard it John: I’ve heard it… If you get too close to her you can hear the voice The voices in her head can be heard (laughing) just getting near her Cinnamon: So the other thing that helps me not clone is, I’m working from a reference John: Yes, Paint what you see Yes, paint what you see. It is very difficult to paint what you don’t see or don’t know Right? Not that you should never ever paint without reference of course you should sometimes paint without reference You should break it up… change it up But when you’re trying to learn and get to know many different types of objects and get to know many different types of objects Having a reference in my opinion not the only opinion in the universe but in my opinion is a really really good idea. and I’m not startin’ nothin’ You know but there are artists they go to school they study for 8 years I’m not even kidding They dissect horses and Ya know Paint that, as they dissect each layer John: There’s some weird stuff out there Cinnamon: Well, That’s a Renaissance style school and it’s a very serious thing to study Which is why I have really avoided ever referring referring to myself as a master because I’m not one John: Those guys are amazing Both: Awesome Cinnamon: and they deserve nothing but my admiration and respect John: and when we say cloning… we mean repetitive Cinnamon: Sometimes what happens when we get painting and I call this the Bob effect I think this is how Bob got so mellow is you get in a walking meditative state and you’re painting and you starting talking to people, like “Happy clouds today” I’m floating in my sky because that’s where YOU are mentally. Who’s had that experience? Where you’re, like, “man I feel better” I was so tense, but now I feel better So, I feel like I’ve got some of this sort of built up and I could do this even more in depth couldn’t I… even more… John: I want to say thank you to our great community out here because I couldn’t be able to ask these questions if you guys weren’t asking here in the audience I really appreciate it, you guys hangin out keepin me company Cinnamon: Not to mess this up but I’m going to show you what we used to do before I’m gonna just pull… a little of my kind of tinted white and my glazing and I’m gonna go like this and we’re gonna talk about how these are both valid, but different and we’re gonna have them next to each other in contrast and honestly what is wonderful about this is when you’re able to use both techniques together… John: Wait, you can do that? Yes. John: Won’t it be funky?Mixing techniques? Cinnamon: No, Any tool you have in your box, you can pull out and use on any canvas you want. at any given time. John: Well, Isn’t it kinda like mixing pointalism and impressionism? Go ahead and mix pointalism and impressionism maybe you’re gonna come up with something innovative people really resonate with… something collosal. John: Wait a minute I thought there were rules in art! Cinnamon: There are a lot of guidelines that clever artists always figure out how to break.. John: Yeah but seriously… it’s okay to just, like.. Cinnamon:Look how nice that all works together, so here, I’m just doing this brush this is what I would call technique based a brush based technique. I’m still painting it… it’s not like I’ve lost the painting I’m doing these little circles, I’m pressing the brush in… you can see how the brush is pressed in I’m going around, I’ve got glazing medium that allows the paint to be very translucent and show the canvas underneath. This is kinda what we did for The Girl In Red La fille en rouge Which I have gotten some of the nicest comments about from France, by the way John: Now, that brush…Tell us more about the little brush you’re using… Cinnamon: This little brush, I don’t remember the brand but, I can tell you how to find one like it John: okay Cinamon: what I like about this brush is it’s got a pretty short handle John; okay compared to… these are our Pro-Strokes and these are okay These will do this technique okay This is why artists get weird and twitchy they’ve got one brush that they hold on to with the fire of a thousand suns John; because you find one you love Cinnamon: Because you find one you love This is so old, I think that this brush needs to be thought of in terms of decades. Anywho See how these are very long in their bristles and they are not as thick maybe if I do it here John: There it goes The girth of this ferule is very hefty. Where as the girth of this ferule is not as big around, it’s not as hefty John: I can see that, yeah. The length of these bristles is quite short the length of these is longer These bristles have been trimmed John: Did you do that? Cinnamon: no, it came this way I don’t think there’s anything wrong with cutting bristles I just suck at it. so I don’t do it I’m not ready to do a tutorial on it because again, I’m not good at it John: I’ll go chop some brushes up. Cinnamon: John is actually quite good at this… but again, you do not have to be all things as an artist like, you don’t have to draw to be a good painter those things are not necessarily connected. So can we see these distant lttle clouds aren’t those nice? Those distant little clouds are so nice, and they’re so airy. and they look so beautiful. But you can see how this cloud is never gonna make this cumulous. It doesn’t tell this story It tells the story of lovely, light, airy clouds but how do you start to tell that story of summer clouds John: Yeah Cinnamon: I’m gonna put this in water which makes it much harder to use for anything after that John: It’s been really awesome as I watch the number of viewers and the number of likes we have has gone up 251, 252, 253, 254, 255 Cinnamon: Awww, thank you Because everybody needs to see me dance that’s what needs to happen John: Yeah, but it’s just, they’re both going up in unison on the dashboard… Which, you know live… is so awesome! Cinnamon: Now I’ve got a very nice, this is a filbert by Creative Mark It’s a small filbert, it is a number 6 and I’m actually quite fond of this little brush I use it a lot it often gets my care and attention and I like it comes in here and it’s nice and soft and it will let me do these nice sort of little details in my cloud where I’m trying to make this even softer and fluffier I just continually work it It’s about not being too satisfied too early John: Yep Not being too satisfied, too early I will go get glazing medium Again I could do this with just all Zinc White Oh, If the lady is still here talking about her paint crazing John: Oh yes, Cinnamon: Did she answer anything else on that? John: I don’t know, there’s been a lot of chat. Cinnamon: One thing I want to ask her, is please follow up with me on Facebook I’d like to know what the company says happened to your paint Because I’m very interested in knowing why the flexing agents failed. Because it’s an interesting thing. Look, if you make your own additives, which a lot of people do well then you might get some atypical results. and that’s cool that’s the fun of it that’s the joy John: We’re coming up here on the one hour mark. Cinnamon: I think we’ve kinda covered the feeling and what is happening here You know this cloud bank would take me a while. It’s not something I’d generally say hey let’s do it in an hour. and it might take you a while. but the idea is you can do it. We might come off here, we might just come back and you guys can watch me finish this if you want John: Yeah, we’ll go do that We’ll just go, then come back and you guys can watch me finish this painting. but you don’t have to It would be very nice to have you back to paint with me while I have to finish this I don’t know about you guys, but I can’t not finish a painting or it freaks me out Like afterwards I have to finish up, John’s like what are you doing, I have to finish this this painting its not finished up John: We’ll be right back See you at the easel real soon We’ll put a link up in the description below if you’re interested. Love you guys Love you guys Cinnamon: I’m gonna get a siip of coffee