[Opening credits] *Cinnamon: Hey everybody, it’s Cinnamon Cooney your Art Sherpa. LIVE, which has been a while since I’ve gotten to spend the day with you and paint live. On the mic today is my husband, John. *John: Hi, guys. *Cinnamon: This was one of the images that was voted on on the Art Sherpa official on Facebook. Had a gazillion gazillion votes of the Summer paintings. Then I just decided to do all the summer paintings because I was able to get the license for them. So today we’re gonna be doing the dock with Sunset. I’ve got an eleven by fourteen canvas. I’ve got my paint out. I’m gonna update our materials list and of course there’s gonna be a traceable but today I’m going to show you a couple new things for your landscape painting. I’m gonna show you an easy trick to to lay in a landscape, even if you’re not that much of a draw-er, but hey, this is totally optional This is just something if you want to know it I’m gonna show you this cool thing. And we’re also going to begin this with an acrylic color ground. Which just basically means I’m gonna paint it all one color. But I like to say acrylic color ground. And of course we’re not gonna under bind it. *John: Wow. Mmm, so I have a question though. Well, so what if you showed up and you were a Sherpazoid because there’s only- Already 350 people in our room. We’re just like crowding in here. *Cinnamon: I mean- So it used to be like if we had 300 we do this little thing. We’re like We are sherpa, and then we do a little dance. [music plays] But now we realize some of you dance along. And so then you’re Sherpazoids. [John laughs] *John: And we have a lot of people here to see our painting today. So it’s pretty exciting. *Cinnamon: This is gonna be a great one, and I’m really gonna show you a lot of just amazing tricks about landscape painting that I hope will translate from me to you and make things easier for you in your art journey. This is gonna be kind of a fun day. Fun day. *John: Looks like we’re gonna
have to jump right into here. *Cinnamon: I got my sippy sippy. *John: Do you? Well, while you’re at your sippy sippy We’re gonna- We’re gonna- I’m gonna say hi to everybody because we have a huge crowd of people here. We’re almost at 400 people right now! *Cinnamon: Y’all are ready to paint a dock, right? *John: They’re still piling in the room.
They’re ready to paint. *Cinnamon: Well, since we’ve got 400 we can do our wishes. On live classes, if you’re brand-new here, if you’ve never come to a sherpa live before, we’re gonna get to painting in a second but if you’ve never been to a sherpa live before, we like to put wishes or intentions on our canvas and paint over them and hope that that positivity goes into the universe. And I have some wishes that I collected up before the show. Kari has a wish for healing. *John: Mm-Hmm. *Cinnamon: Esmeralda is looking for a wish to find her empowerment again. Just her personal power to feel strong and just confident back in her own shoes in her own life. Elizabeth has a really touching wish for her husband to be pain-free. And then there has been a general wish for all of the sherpettes and their family members who are currently battling cancer. We have a lot of people who are currently in some part of the battle of cancer. And so we’re just wishing healers for you, the recovery for you and the strength that you guys need. And then there’s been a lot of wishes for a deeper understanding of anxiety and depression, and that’s just definitely one I agree. I just would love to see the whole world recognize this is- This is just something that needs more compassion, more understanding, more treatment, more support. And then this was one that really really got me, which is a battling for those, uh, strength for those battling with eating disorders, which is a type of Depression itself as well. And, I think probably one of the least understood conditions, and I would just wish that if you’re going through that just know you’re brave to be in that and it’s rough to not be in a good space with your food. It really is and you deserve compassion and understanding in that struggle and I really hope you have the support teams around you that you deserve. So I’m gonna paint in my acrylic color ground. *John: Mm-hmm. *Cinnamon: Over here.So I got my eleven by Fourteen canvas This is canvas board, and it’s pre-gessoed. They come pre-gessoed so I don’t really need to re-gesso it. I have put out the optimistic colors, titanium white, Indian yellow. You could use australian Sienna or any cad yellow deep. Cad yellow medium. In this particular case, I did raw umber. You could do burnt umber. I’ve got some yellow ochre here. Some Mars black. Some cad red light. Ultramarine blue. Alizarin Crimson, and then as a weird backup, just in case I’m in the middle of it, and I realize I need it, I put aside some burnt Sienna and some diox purple, but I don’t think I’m gonna need those. These are just here if I get into it, and I’m like, you know what I do need them! And I just heard thunder, which is never a good sign for the broadcast. [John chuckles] *Cinnamon: Mr. Cooney! [both laugh] *John: I’m- That was Texas thunder too. *Cinnamon: Yeah, Oh, no! Alright, so let’s Paint fast. So the first thing. I’m gonna do is just cover my whole canvas in Raw Umber. *John: Hmm. *Cinnamon: and I’m going to take a bright to do that. This is a- Actually, I might even- I think this is gonna be a big enough brush. *John: I’m gonna pass on that- *Cinnamon: You know I’m gonna switch to this brush. I want a slightly bigger- See how this is just slightly bigger? I’m gonna go slightly bigger cause I wanna get it done. *John: I want you to know that Teresa here has put a wish in her canvas for you to whip your thyroid problem. *Cinnamon: Awwweeeee!! Thank you very much! That is- *John: I thought that was very sweet. I just wanted to let you know. *Cinnamon: It would be nice if they would just be like, “Hashimoto’s no more!” [John laughs] *Cinnamon: That would be very cool. So, this is just a one inch stiff nylon, and I’m gonna just- I have a little water on it. What’s nice about the synthetic filaments is they don’t over soak in water. So I get the right amount. And this is a lot of the mystery of why my canvases cover pretty well. Is the brushes and the paint I use and the amount of water. It’s sort of a little dance. So I’m just gonna paint this all with this very neutral umber *John: Mm-hmm. *Cinnamon: Now listen, if you only have another kind of brown, just use the other kind of brown. It’s okay! [both chuckle] You know sometimes you have to be very specific. You know when you’re you know doing certain types of color mixes and certain types of paintings, but a lot of times, more than the actual hue, it’s the value. So what I’m saying is more than the color. It’s the value of the color So you can have real issues with your hues and be really great at your values and still be okay. And I’m just- This is a pretty thin coating. Not so thin it’s gonna under bind. Which means I haven’t added so much water the paint won’t work. *John: I have to say our community is so awesome. They opened up the Houston Radar. They’re like, “it’s the cells north of us!” So we’re probably gonna be okay! We just got- [Cinnamon laughs] *John: Gotta watch the weather, so. Everybody’s got good wishes out there for us. *Cinnamon: And our community has a hysterical weather app to. Janine showed it to me where it like gives you the weather like in sarcasm. *John: I think that’s just great. It’s one
of the funniest things. *Cinnamon: Is pretty good. So I’m getting this in. This is gonna help my paint cover better. This is going to kind of glow through. Because it’s brown it’s very neutral. *John: Mm-Hmm. *Cinnamon: Right? And… It’s going to give my painting a more professional finished look. In the end. So it’s a nice little trick. I don’t always do it. Sometimes you can just do an underpainting. Sometimes you can do a ground. Sometimes you can just rough this stuff in. No one way to paint a painting. Just a lot of different ways, and I’ll show you a couple. Alright. Now I’m gonna do that- whhhhoohhhooooo! Behave!!! Alright. Rinse this little sucker out. I’ll lay it flat to dry. I’m gonna have to hair dry this and sip my coffee, which leaves John to his very favorite, talk to the community part of the day. *John: I do! I have to turn down the volume. [Cinnamon laughs evilly] *John: So I actually I’m really excited cuz there’s a lot of us out here today guys. Oh my gosh. There’s so many people here! I’m gonna go over here. I’m gonna like put on….. Some background music so that there’s, well…. Something- Something! Make it work, please! [music starts]
John: Oh! There it goes! Let me turn it down. So hey! Wow! There’s a lot of folks out here today I wanted to say thank you to all you guys because, I mean, this is really just nice to come back. We’ve got like almost- It’s like over 460- 470 people here right now. Thank you! Wow! Oh! I can’t wait to see all your guy’s paintings. It’s been I’ve been looking out over this last shark week and there have been so many exciting paintings and then we had the bubble witch came up and bubble witch painting was really really nicely. Saw all those, and Man, it’s just been it’s been really fun to see all of the paintings that have been coming up so thank you guys for sharing all those and I’m looking forward to seeing more as- Cause Cinnamon’s got a whole bunch of plans for this fall and like I’ve been excited about seeing some of the paintings and like you know with space week coming up and we’ve got all of our eclipse paintings coming. So I’m really excited about seeing all of this stuff coming up in that she’s doing with you guys the community. I just- because- We’ve been seeing so many paintings. *Cinnamon: -participating in shark week so much. I know. I had a little moment there. *John: I’ve seen so many good paintings come back in and it’s been so exciting to see some of those, so. *Cinnamon: Space week is gonna be awesome. And we’re gonna keep doing these summer paintings. *John: Yeah. *Cinnamon: So it’s lots of fun stuff. I’m gonna show you a cool, kind of… You know we like to use the word art hack, but mostly because it’s trendy. This is just like something artists do. [both laugh] *Cinnamon: So… Let’s call it an art hack so we can be like on point with this. So basically what I’m gonna do is I’m going to grid my canvas into four parts Right, so I’m gonna come down and say, I’m gonna divide my canvas in half so if this is an Eleven by fourteen Half of it would be about at the seven inch mark. Right and then the other half of it would be… At the five and a half inch mark, right? Right here. So when you line those up all the way and I actually did it pretty good by eyeball there, almost. You’re going to be dividing your canvas into four parts. Now, I am using a t-Square because…. I don’t have that straight of a line. That helps me a lot. And these are very inexpensive. I get these for…. These are by Westcott and I get them for just a couple bucks. *John: Yeah, I want to say it’s like under five bucks on prime. *Cinnamon: Yeah, and they have them at Michael’s too, and they’re just not- They’re not gonna break your bank. *John: Yeah. *Cinnamon: And then we’re gonna pull out our reference photo that y’all picked. And notice what I have done here cuz- Let’s see if it shows on the robot cam. I folded it. I printed it out. *John: Yep. *Cinnamon: And I just folded it in half. And then again in half. *John: And in half again, and then you….? *Cinnamon: And now I have a way to lay in my painting even if I’m not a draw-er, So that my proportions are accurate to my reference. Let me show you how I can do that. *John: So now we have picture in
picture of a picture. *Cinnamon: Picture in picture of picture. [both laugh] *Cinnamon: It’s inception… Alright. Probably not that exciting but… Still. So one of the things that I can see is that… *John There are birds. *Cinnamon: What? *John: There are birds! *Cinnamon: [laughing] There are birds. *John: I see there are birds. *Cinnamon: My… My pier, right? It’s gonna stop just a little bit below… Below my little halfway mark, right? And I just want to proportionally kind of put it in about the same amount of space. Right. So I’m gonna make a nice little soft line here. It could be a little bigger than I think the end of the pier is going to be. Right? And then I noticed that this comes from… This corner comes from just inside. Just a hair inside this little line. And it’s going to bisect. It’s going to get smaller, tapered up here. Don’t do that! Hold your ruler much more firmly and authoritatively than I have. Right? And this… never…. Draw this in this way. *John: Hold on… *Cinnamon: What? *John: Cuz the intertubes are giving us trouble. *Cinnamon: Oh no. *John: It is one of those things, but hold on! It’s looking like it’s going to be okay. *Cinnamon: Is it? *John: Yeah, so it’s- It’s chilling out. I’m watching… *Cinnamon: I’m gonna do this because I can’t get a good angle on my…. *John: While you’re doing that I’m watching the… The buttons over here. It’s a little… A little choppity. I’m gonna see what I can do here to unchoppity it. *Cinnamon: And a little perspective. See what we think of that. Look at that dock. *John: Yeah. *Cinnamon: In a vanishing point. These are just not natural proportions for what you think you’re gonna have. Right, and I can even narrow this a bit. If I want to, but if you look at this like how deep does this go versus how deep…? I’ve got to leave room also for this ropey thing. Right? So I’ve got that here. And then almost at the halfway point, between my bisecting line… And the top of my canvas is This sort of Horizon line on the canvas. So I can just sit there and kind of eyeball that in. I don’t have to be that exact. I just want to know that right about here… I have that. Now once I have all this in, I can even come back later to help get my posts in. I can use my square and my chalk pencil. And so I’m not relying on my ability to freehand something. *John: Yeah. *Cinnamon: Right? This is really about my ability to sort of like go, Oh, okay. Well, if this is divided in quarters, and this is divided in quarters, where is this going to all work out at? And weirdly, when it’s all done It should look, in theory, pretty okay. If I can get my little lines correct. [whispers] Which I never can. But you guys get the gist. You get the gist right? Just did my… My jam here. And what’s interesting is like when we come through we can also- It can help us lay in our boards which can be really a challenge, on any of these foreshortened pieces. Right? So now and you don’t really think of this when you’re looking at this. Look how much of the base of this paper this takes up. And if you were to take this to the end, you can see how much of the base of the paper this takes up. *John: Yeah. *Cinnamon: So that’s just not something your brain naturally wants to do when it’s translating three-dimensional objects to this space. Now I’m gonna come in. I’m gonna put out- I’m gonna sippy sippy my coffee. Because you know it’s not like y’all give me ever like a super simple challenge. Where you’re like, hey, here’s this phone and in picture [both laugh] *Cinnamon: Never! *John: We’re gonna be dancing through raindrops today *Cinnamon: Are we? *John: Yeah. *Cinnamon: Is it like…? *John: It gave us a little static here a little bit ago, but I think everything’s going well now. *Cinnamon: The good news is as
long as I keep going… *John: Yeah. I’ll just keep resetting it. *Cinnamon: Generally the whole thing keeps going. So I’m gonna put out my- What I perceive, I think my palette of paint is gonna be. And you’ll notice today I’m using different brands and really that’s about that this is just who had a full tube today, and sometimes I get asked if people can paint different brands of acrylic together and you can see these are all definitely different brands of acrylic. They’re all pro . *John: Mm-hmm. *Cinnamon: But they’re all definitely different brands of acrylic, and I could have student paints in here. wouldn’t affect it. Acrylic paint should technically work together. I’m using some alizarin Crimson. I could use some naphthol. I’m just needing two colors of red. A cool red and warm red. *John: Yes. *Cinnamon: And that’s what’s sort of going along, and I’m using a couple values of yellow. I’m sure… I’m gonna need some Indian yellow. I know for the sun and some of this area here I’m gonna be putting out some cad. I don’t need that much, and for this painting, I’m really saying hey, I’m gonna do real cad because real cad glows. And hue, while it is the same color, doesn’t glow. Go figure. So I’m put- I’m gonna have three yellows, but this is really actually part of my browns. [John laughs] *Cinnamon: I heard that. *John: Yeah. *Cinnamon: I heard it, and it made me nervous. And I don’t need any black for a minute. Right, and really I’m gonna be looking at, do these two make a purple that I like? Because if they don’t then I’m gonna get my diox purple as my emergency thing. Paint colors are really about what colors- This is about doing that color chart from the big art Quest and sort of knowing what your paints will do together. And relying on it. *John: Now could you use a black canvas for this painting yeah? *Cinnamon: Yeah. You can use a black canvas. You’ve got black one lying around, you can use a black canvas The only thing that you might find is that your yellows struggle to cover the black and you may need to paint them white first *John: Mm-Hmm. *Cinnamon: Just… That’s all. Just depends on your paint, and how it likes to behave. I’m going to get my number ten Bristlon bright out. Then get it wet. Again, this is synthetic filaments. Not every brush I have is synthetic filaments but I do like them quite a lot. And I’m gonna start putting in my sky, and the first little bit of my sky that I’m gonna start getting in, I’m gonna get just a smidge of my… Alizarin over here. Into the sky, and hopefully it’s gonna… What I’m trying to do is gray this blue a titch. Like you, and I’m gonna put out some glazing liquid. I don’t like landscape painting without glazing liquid in my studio cuz my studio is an easy-bake oven. *John: And what does that do? *Cinnamon: This is gonna slow down the drying time of my paint and improve blend ability. *John: Gotcha. *Cinnamon: Now, your sky. Probably the lightest object generally on your painting, and lighter than you think. And I feel like I’m gonna drop my Horizon line down a bit. *John: Okay. Why are you doing that? *Cinnamon: Cause I’m looking at the picture and I’m looking at this and I’m like that’s not that same! There’s just a hair. *John: So, clearly as… The host of the show you should put something in your mouth, so we can clearly hear what you’re saying. *Cinnamon: Uh-huh. Yes. Yes. *John: I see. *Cinnamon: This is my other hand. [both chuckle] *Cinnamon: So I’m going to- oh yeah. I like that. I spent a lot of time looking at this deciding what blue to use. Did I want to have phthalo, and I just kept going, it was gonna have to be a cobalt or an ultramarine. If it was going to be… A sort of dusty blue like what I felt like I was seeing in this painting… I just felt like that was just gonna have to be its thing. *John: I will put a list of all that all of the…. *Cinnamon: Every material. Traceable, everything in the description. So what happens on YouTube is after a live event YouTube has to think about what you did. *John: Right. It processes. *Cinnamon: It processes it which is why sometimes you guys can’t see a video right after we do a live. And once it’s done thinking about it, having to think… It will generally put the video up and during that time I update descriptions and other kinds of things. So you’ll notice that the brown paint is showing through, glowing through. Being part of this composition. I am rinsing out my brush. Now I’m feeling like my cad red… And… My Indian yellow are gonna be the jam here. I’m gonna let a little of my phthalo dust into my brush to gray this. This is interesting because I don’t want anything too bright. And I’m gonna start trying to lay in this more orange part of my composition. Which is fun for me! [Cinnamon chuckles] *Cinnamon: I hope it’s fun for you, too. Just kind of putting this layer in. *John: I think it’s fun. We’ve got over 500 people here with us, Cinnamon. This is so wonderful! I can’t tell you how awesome it is. *Cinnamon: I would love if y’all were painting too. *John: There are a lot of people who are painting with us. You know I see a lot of our new friends. A lot of old friends. I see Cheryl and KimSim. *Cinnamon: Hi KimSim, Cheryl. *John: I think I think I saw the CPG here earlier. *Cinnamon: CPG came by? Oh my goodness! We’re celebrities if we got a CPG visit. *John: And so it’s you know, it’s just nice. We have all these folks with us. And it’s just wonderful to come out and have a painting day where we get to hang out with our community. *Cinnamon: It is! I’m making my orange darker and coming to my horizon line, and I’m moving my brush to the edge of the bristles. And I’m using some directionality in my stroke to Imply this sky. And you can see how the brown underneath is creating a warmth. [whispers] Which is really helpful. Cause I need it to be warm. *John: So how many hoots do you think this one is? How difficult is this? We say hoots. That’s a- We used to refer to things on a scale of one to three hoots of owl- *Cinnamon: We’re gonna have to up our hoot levels. Cause a bunch of you’ve grown your skills so much. Now you’re like, I’d like a workshop, please. So basically it’s one to three hoots. Things that are one hoot and under are really accessible to Brand-new painters who have either never painted or haven’t picked up a brush in a really long time. Two hoot paintings are, you’ve got some paintings under your belt. You kind of figured out how some of this acrylic stuff works. You’ve got some dry brushing, some blending. Some understanding of blocking and skills, and you’re feeling a little confident. You want to try something more challenging than the really simple paintings. And then three hoots is that you really built up some skill. Maybe you’re 25 paintings in. And you’re looking for something more challenging. You’re looking to take on a more challenging painting, but you’re finding that…. Regular painting classes are not that informative. You guys might’ve noticed that it’s sort of a- I’m gonna stand here and paint and you absorb it by OsMosis. *John: Hmm. *Cinnamon: Which is really at that point you shouldn’t have hoots. It should be just like you just know how to paint. You’re just hanging out with your art friends, stealing their skills. [both laugh] *Cinnamon: So, it’s- Three hoot is like you’re not really designing everything on your own, but you’re getting there. And I would say this is definitely closer into three hoot because we got some forced perspective. We’ve got some layers. BUT even if you’re brand brand-new, watching it is gonna unlock stuff for you. I’m gonna get my brush a little wet cause I’ve sat there and monologued like a villain for a second. *John: Did you? *Cinnamon: Yeah. Why not? We get so many notes on that from YouTube. You talking! Yeah, I know. I talk when teaching class. It’s crazy! [John laughs] *Cinnamon: So I’m just pulling this. I really picked the Indian yellow for this because I wanted a warmth to this part of the sky that would be luminous. *John: Did you tell us how many hoots this was? *Cinnamon: Three! John: Three. Okay. So I was like- I was like, I know you monologued about like what hoots were. *Cinnamon: I’m- Hey. Call me on it, man. I could forget to mention the point! *John: I just but I- You know. *Cinnamon: John is totally allowed to like… If anybody knows to be like, hey Sweetie. You got lost and wandered around
in a circle for a second. I just thought you might wanna know. He’s the guy to do it. He’s just been here. We’re coming up on our 20-year anniversary, so. *John: Yes! *Cinnamon: If anybody can tell me I have Lost my way. I’m just trying to create this- If you look at the picture. There’s some beautiful striation to the sky, and that’s something that I definitely want to keep in this. There’s a bunch of special stuff happening right here. But getting this warm glow… It’s mission critical to the finished piece *John: Mm-hmm. *Cinnamon: Mission critical to the finished piece! Did I put some cad yellow out? Yes I did. So in this space, there is a mild glow of cad yellow and there is nothing but light- Only cad is like cad. *John: Right. *Cinnamon: It’s one of these weird colors. They make it chemically. Don’t eat it. *John: Chemically created. *Cinnamon: Yes. I like cad yellow medium, me and Bob Ross and Thomas Kincade all big fans. You know, and at least I’m in good company. *John: Oh, there’s a little rainbow on your palette! *Cinnamon: Is there? *John: See right there? I just saw it. The orange. Yellow, blue. *Cinnamon: So I’m gonna do a little bit of a glow here with this yellow. When you used to go in the Kincaid galleries, and they would turn in all the lights and paintings would glow, the reason that they glowed is because he painted with cadmium yellow. It’s not radioactive or anything. It’s just it’s an optical effect. So see how this is just really really bright in the space? And I’m doing these little brush strokes across, pulling this out, creating sort of some unevenness and making sure that in this part of my world…. This is pretty darn good, right? So now I’ve kind of got this. Because we’re going to do a little light effect right here that we’re really into. Gotta get that in. Now, I’ve got a little more work to do here to pull this part of my sky into the other part of my sky. So interestingly enough, I’m going to take this into my blue. This orange that I made into my blue. I still want it to be blue, and they get quite a lot of white. And I’m going to try and seam this cool blue part of the sky into this warm yellow part. *John: They’re asking why you why you go through the trouble of doing the brown background if you’re just painting over it? *Cinnamon: Well… Honestly even though it’s painted over, it glows through the paint. Paint is- Some of your pain is transparent It this will create a warmth that permeates through the painting. *John: Ah. So it’s this isn’t just covering 100% over that. *Cinnamon: No, it doesn’t. And you shouldn’t expect it to, I don’t know if the robot cam is picking that up. *John: I can zoom in a little bit more so that we can see a little bit more but as you zoom in you’ll see that there are- There’s a lot of that brown that actually shows through. *Cinnamon: Even as a layer layer layer, it’s still gonna have some of that. You know. Going on. I’m gonna get some more of my orange in here. As you do. *John: As you do. *Cinnamon: Because we’re creating a space where these two parts of the sky, you know, are optically bleeding together, right? And it can be complicated at first, when you’re beginning to understand, how does that ombre happen? You think it’s- You know, at first you’re like, maybe it’s a blending I’m not understanding. Maybe it’s a- But it’s not. It’s just about understanding how these layers will pull together. And then how these paints look next to each other. I’m gonna do a little more blue here because I want this to range a little titch more- Ooh! That makes me so nervous, Mr. Cooney! I hear the storm! *John: That’s rain. That’s just rain. *Cinnamon: That’s true. Alright. Now you can see I’ve taken this more to the blue. This kind of landscape… Is a lot of fun to paint. It used to be, before photography that you’d have to go out, catch a color study of this real quick and… Really try to capture it later. *John: Mm-hmm. *Cinnamon: Kind of a challenge, if you’ve never done it. But now that we have photography, it gives us a chance to really sit and spend some time with the atmosphere. *John: You’re using- Are you using a blending medium? *Cinnamon: Umm… Only- This is actually blending because the paint is wet into wet. I do have the blending medium here, which is the gloss glazing liquid. It’s just keeping my paint from drying out on me, really really fast, in these conditions. *John: Gotcha. *Cinnamon: Cause these are rough conditions. *John: So you may not need it at home. *Cinnamon: Yeah. *John: Depending on your environmental conditions. *Cinnamon: Now, I’m gonna scumble some light cloud effects and start scumbling some cloud effects into the sky. *John: What do you mean by scumbling? *Cinnamon: I’m gonna demo it. So this is a number 8 cloud and I actually have this brush made so I can scumble easier, but you can use…. Any Bristle brush at the corner and I have a ton of videos demoing that. I’m gonna get a little of my blue. And this white together. I don’t want a pure white, but I want it to be white enough to show- Read as white on the… Canvas. Can you see how that’s sort of off white from the white? *John: Yeah. *Cinnamon: And I’m going to come here. Hopefully this is dry enough. The trick about scumbling, which is just sort of a dry scratching motion on the canvas, and you’re just leaving little Scuffed up bits of pigment. I think I need to dry this again. It’s got to be dry. *John: Oh, ok. *Cinnamon: Gotta be dry! *John: Dry it down. There she goes. Okay, so while she’s doing that I’m gonna say thank you guys. Man! Huge crowd of people come and hang out with us today. And, you know Cinnamon doesn’t get to see the chat. So, uh… Cause when she does she just- She reads the chat and doesn’t paint and So I generally try to read the chat to her so she doesn’t get to see all the wonderful comments you guys are making, so thank you so much today. Really appreciate all of that And… Oh my gosh the people all over the world with us. I see everyone. There’s just so much love right here, and it’s very nice. Oh yeah! Don’t forget to post up your paintings! Check us out on “the art sherpa dot com,” where you can find out more information about- We have space week coming up this week, which I don’t think we have too many pictures up yet, But we should have some up soon Check back on our calendar on the website for that. We’re gonna be updating that here today and tomorrow with a bunch more information. *John: You know. It goes out once a week and our days are kind of moving around. We’re not sure what day we’re gonna settle on but we we get that newsletter out about one- Pretty much once a week and It has an update of all the videos and things we do during the week and… *Cinnamon: Cause we put so much stuff up you might miss a couple things. *John: Yeah. *Cinnamon: I am now dr- So something you want to say about scumbling and dry brushing. If you’re using glazing mediums it is very easy for your canvas to become tacky and sticky. And this can fight your scumble, so I’m trying to scumble in an upward angle. I’m adding a little more drama to the sky. This is my artistic…. Privilege because I want to create more action line. This piece is actually pretty static. You know the birds and all that, it’s weirdly still static so adding these little elements of drama can help it read more action-packed. While still remaining very serene. This is a good piece if you’re trying to give somebody something to help their well-being or their mental calm and I think this would be a really good piece to paint for mental calm. Anytime you have a road, or anything leading to a sunrise or sunset, it helps generate a feeling of optimism. I was reading a bunch of stuff on that and they were saying these are good pieces, and I’ve done some Artwork for hospitals and stuff and they had some really interesting guidelines about what you want to give people. So if you’ve got a friend or somebody that’s just trying to… Feel good this could be a good piece to do for them. *John: Mm-hmm. *Cinnamon: This is a good good way to spend your time yourself. Just kind of chillaxin and letting… This is like the opposite of technology Even though we’re doing it through technology. *John: Well, you know technology, when done right should be invisible, like magic. *Cinnamon: It should- Oh, now we got into John’s Soapbox. So I’m gonna add in the distant hills and- And kind of buildings and stuff and I’m gonna put out a smidge of black. Sometimes people- In landscape painting you’ll find people have very strong opinions and one of the strong opinions that they’ll have is that you can never use black in a painting. That you can only use chromatic blacks, and that is kind of true. That’s really a preference though That’s a- That’s an artist preference. Sometimes artists, when they develop a very strong preference, They get the impression that it’s a rule. And I think we all fight it. I fight it. Every artist fights it. But there isn’t really one. Isn’t a real rule. So I’m gonna just put some of this back, and when I’m looking here, I’ve got some very distant hills and distant colors that are quite soft. And then they pull forward and one of the things that I’ve got are these clouds. Now the clouds to me look as if they are a little of this alizarin Crimson. Yep! Don’t need the dioxazine purple. See? Woohoo! And this blue and it’s going to create this sort of deep, grayed purple, and I’m going to actually switch down into a smaller cloud brush. [John laughs] *Cinnamon: You just look at things, and you’re like, I’m gonna go smaller! So I’m gonna- I’m gonna load up this little- This is a number four if you’re painting a bristle brush it just might be- If the corners too big, you’d want to just do the corner of your bristle brush. You know, the other way, and I’m gonna add some little… Let’s just say up here there’s some light, little… Wispy guys. Right? *John: Wispy guys… *Cinnamon: Little, distant…. Bits of fluff. And then there’s some interesting fluff- I’m gonna try to make my fluff a little more interesting than what I have here, but there’s some interesting fluff across the sky. And… When you look at clouds, and they’re in shadow, sometimes it kind of blows your mind because you think of clouds as light, white objects, when they’re kinda really not. Mostly shadows with some highlights. So see I’m just kind of squiggling my brush around? I’m pressing. If you’re using a deer foot stippler similar process just into the foot of the brush. Dry brushing it. See how there’s so much…? There’s like a dusting. *John: Yeah. *Cinnamon: This is another way to blend acrylics. So there’s wet into wet. And then this is another way that you can do it. So I’m gonna probably focus my sun here. I’m gonna give myself a mark so I don’t get lost in my cloud making. Because I could totally get completely lost in my cloud making and be like, what? Wait! *John: Just gazing off into the clouds. You know, that’s the thing that’s changed the most since I’ve been watching you paint. Is that I look at the sky differently. *Cinnamon: You do, actually. John asks me all the time. He’s like, “What do you think we’d use to paint that?” What colors do you think those are? That’s a really neat sky! They’ll be really interesting to paint. I like those highlights there! They’d be good for the show. *John: Yeah, I like the clouds that won’t translate into paintings. Cause they have real weird figure foreground reversal because the lighting that happens. *Cinnamon: And I’m always like that will make no sense in a painting. People will think you’ve lost your mind. *John: Yeah. Try to paint a tube of clouds and it just looks weird. *Cinnamon: So I’m sort of doing what I talked about earlier, which is creating… I have this guy here, which you guys are seeing the reference photo, but I actually, again, I’m thinking of you know the Sonora desert. I’m thinking of… Different kinds of skies I’ve seen that I really personally enjoy and I like it when there’s this sort of- In there. Now I need to put in another low bank back here. A couple little low banks of stuff and distant stuff. And then I’ve got to warm up the bottom side of these clouds and around them to make them very dramatic. I’m gonna just come here and…. Just add some. *John: And you know we’ve gotta- Just so you guys know, there’s been a little thunder. There’s little bits of like that. If we have any trouble, I will be on top of the stream. *John: -stream and see if we can get it to straighten back out, but it just… It sometimes requires a little patience. *Cinnamon: Just running this little cloud here. See, there’s little bits of this, and sometimes it’s just about putting these little soft stories in. Just saying, wiggle wiggle wiggle wiggle. I love to tickle the cloud stories. [singing] Floating away in the clouds today takes everything you’ve got! [both laugh] *Cinnamon: Yeah, I did that. That happened. Those of you that watched Cheers went, “Oh, nooooo!” Why did you do it? I don’t know. Happens. So now I’ve got this cad red light and this kind of alizarin. And… Phthalo purple. So I’m going to take my purple here, but now I’m going to come in and add a ton… Of my cad red. Well, a smidge really, I guess. A ton would be like all of it, and then… But what I’m doing is I’m warming it up. And I’m gonna even get my Indian yellow in there. And I’m gonna come to the underside of this. And warm up this cloud. Warm it up. On the bottom. This one can have just a little warmth. As well. On the bottom. Isn’t that interesting? Not all of them have this but where they do, you need it. It’s not an option. Not optional. Maybe I’ll put a little here. So I’m just adding that warmth. And I’m going to come in with some yellow. Some of my pure cad. And I’m gonna come on the outside edge of some of this. And just add…. See how it’s nice? You just need a brush that will let you do this on a precision level. I’m just gonna come to the edge of this. Edge of it. See how we’re just like at the edge of it? You can even come on the underside. We’re just… Haloing these… Here, in this intense… Yellow. I’m even coming here. I know I’m gonna be… On the outside here, haloing out this yellow. Look at that! *John: Yeah. *Cinnamon: Getting that glow… To show. Really tough to get the glow, glow, glow. Glow, glow, glow. I’m just making sure that these all have a little bit. Just- Even up here. What does it need? It needs a smidge of this. [Audio breaking] Indian yellow as you go up…. *John: Now if you don’t have one of these brushes you said in the past use like an old brush, that’s kind of stiff. *Cinnamon: A stiff bristle is fantastic. Ummm… Let me show a small, like … Like anything in this size. -actually for these, what you’re looking for in your bristle brush- A bristle. -Great. You can use any bristle brush as long as it’s dry. *John: Yeah. *Cinnamon: Most bristle brushes when they get wet, get soft. If you have a bristle brush like this one here has a blend of synthetic filaments AND Natural Bristles, so you can dry it back out really easily and keep working it. So, and I have so many cloud videos where I made a point of just doing it with different brushes because it’s really- I love my tools, but it’s never the tool. It’s not the tool. It’s not the paint. It’s you. *John: Right. *Cinnamon: You know, you can come through here with a toothpick. Be like, I toothpicked this whole painting. *John: Or Q-tip. *Cinnamon: -this time. Huh? *John: Or Q-Tip. *Cinnamon: Or q-tip it. That is I- Some of what his-
[John laughs] *Cinnamon: Like, what with the Q-tip? I paint anything with a q-tip. Watch me go. [sings] Watch me work work. Watch me nay nay. So, umm…. I’m a weird person. Just saying it. *John: Can you recap the colors of paint you’ve got out there? *Cinnamon: So right now. I have alizarin Crimson. Ultramarine blue. I have Raw umber, but you could use burnt umber. I have yellow ochre. I have a smidge of Mars black. Titanium white, glazing medium. Cad yellow light, cad yellow medium and indian yellow, which you could use Australian Sienna or any yellow deep. *John: And they were wondering we never did find that disappearing smidge of yellow. *Cinnamon: No man! *John: They were- There’s been several people asking, did you ever find that missing yellow? *Cinnamon: It is still missing. We’re very sure the dog didn’t eat it. *John: Yeah. *Cinnamon: That was like our next fear. We were like, did the dog eat it? *John: That’s a big plop of yellow. *Cinnamon: I know I’m spending a lot of time pushing this little bit here But this little bit here, it’s gonna matter. I’m gonna add a little dusting of it. So it feels believable when it carries down, but I may end up…. Alright, so once I have that, and I’m feeling pretty darn happy with that. In fact, I actually kind of like it a little better. Watch this cool trick. So I’m going to take this small bright. You may want to use an even smaller brush. I’m gonna get it wet. And I’m going to pull out a little of my white. I might use a smidge of the indian yellow, but I want it to really be white. The yellow in it is just to keep it from being a bright bright white. I’m gonna come on the edge of this. On my edge. Curling it up. Here we go. And that’s how I’m gonna get that in. Isn’t that cool? *John: Yeah. *Cinnamon: You’re like, man! If I just knew this in grade school… I would own sun. See? So, that’s how we get that crazy little half sun in there. And once you have that placed in, then you can you can come in and I like to combine the Indian yellow and the cad yellow. And just on the inside of this brighten this, just a smidge. See? *John: Mmmm. *Cinnamon: Ahhhh! Just a smidge. Oh, that feels really good! Let’s put in some back far away hills. I’m gonna get my alizarin and my ultramarine. -And it’s gonna make a nice dark color. I’m gonna come along here. I’m going to just…. Make a horizon line. -Very soft. These are far away hills. *John: -It’s pretty exciting. We have- We have- Watching with us. *Cinnamon: Really?!? *John: Who’s 7 is watching along with us too. *Cinnamon: Hey, Adam! *John: He’s pretty excited about this. *Cinnamon: Thank you for joining us today, Adam. *John: Yeah. *Cinnamon: I appreciate that a bunch. *John: So we always like to have little brushes along. *Cinnamon: -Just a smidge of black, over to my purple mixture. Because this particular bank, this particular form, is much more solid. Now I can look at how far away from my center point does this landmass go? See? So if I was just having a little trouble thinking about where do I end it? This little quadrant-ing makes a huge difference. Look at that. Just gonna pull that down. And you can see already how just having the layer of paint, besides the fact that everything’s sticking to this very well, it just creates that warmth. And I need my warmth. And probably hot coffee. [John chuckles] *John: I think that that solves all your questions. *Cinnamon: Always hot coffee. *John: I need some coffee… *Cinnamon: I’m gonna switch over to the corner of my brush so that as I press down these little strokes, there’s like this subtle, soft unevenness in some of the space, and that’s gonna make it feel like maybe there’s a…. Some plants or something in the distance. Woohoo! You watch me work. [John talking off mic] *Cinnamon: Oh, I’m just getting more of the same color. I’m just- I’m just- I’m just doing this little… Doo-doo-doo Doo-doo-doo tap tap tap tap tap. I told y’all I was gonna actually show you how to paint this today. So, we’re actually doing it today. So it’s a painting party style painting. It’s just not a painting party painting. It’s a little more challenging, but the same principle works. You just explain the steps. See, I’m just up and down, up and down, up and down. Back and forth. And now I found this space. And then you just evaluate. Are you happy? [John talking off mic] *Cinnamon: It’s okay. You just evaluate. You’re like, and so here’s something that you can do that I can’t do easily. Which is step back. As often as you can, do two things. Step away from your painting, and it’s sometimes nice to take a picture and look at it really small. Make it small. Step back. And that will help you see, like, if you’re having some trouble with your values. If you’re having some trouble with your lights and darks, you know. *John: So yeah, I know that- *Cinnamon: I feel like I’ve lost some of the warm red I need to have around here. And that’s such an easy fix. Look at this. I’m gonna take out a little of my Indian Yellow. And a little of my cad. Cad light is the Jam. And a little glaze. And just very easily…. ….the back evaluate…. And if you need to, pump the warmth. See that pumping? *John: Mm-hmm *Cinnamon: I think there’s a lot of myths around painting which is not true, which is that, you know, acrylics…. when….. Either acrylics are easier than oils or oils are easier than acrylics. I don’t think that’s true. They’re just different mediums. And, you know, that acrylics do or don’t blend or- Like crazy crazy mythologies that you can see around paintings. I don’t think those are true. Let’s build in our waterway. Right, so we’re gonna want to build in our waterway and we’re doing that because our dock is our foremost object. You see how this is in our foreground? So really, how this is gonna go is we’re gonna build in our waterway, and then our next object believe it or not, are these plants. We’re gonna get these in. We could also get the birds in about when we get the plants. And then we’re gonna put in our dock and our poles, and we’re gonna really focus on the lighting around our rope. *John: Gotcha. *Cinnamon: Cause it’s very important to this piece, believe it or not. Big Bright Number 10! *John: Yeah, we had some pixelation that was happening there for a little bit while you were- While you’re talking, but I think it’s coming back now. It’s like, I think I’ve got it. *Cinnamon: Do we need to re-upload the lesson? *John: Well, so, it’s been it’s been pixelated on and off throughout the lesson so far but nothing that has Been able to stop it from going. *Cinnamon: Okay. *John: Which is why I haven’t completely pulled the plug and reset it. *Cinnamon: You’re like I would pull the plug, but I’m not ready to pull the plug…. *John: Well, what is is that just- ….Which is- It’s still working. We’re gonna keep it going. It’s not- We’re not losing the stream. *Cinnamon: Works for me. *John: Yeah. *Cinnamon: Alright. So I’m just putting this farthest away water. And try to think of water as… A mirror. I will be reflecting the colors that I see in the sky. And I’m gonna be building that all up. In some layers. This is maybe a little lighter than I would like. So that’s the alizarin crimson and a little of the…. The phthalo, and I’m going to be coming back to some of the other sky colors, more of the peaches and stuff like that up into this. And these weird spots. But right now I get this across here. To build up from, if that makes- Getting it in right now and then we’ll come back and- *John: Yeah, I think that, you know- What I’m trying to do here is keep my water line as level as possible. If I was doing this painting like for sale, I probably would add tape. *John: Oh, to make it super level? *Cinnamon: To make it super level. *John: Hmm. Just to be sure sure sure, that you know, that’s good good there. I’m gonna work this up here, which is, again, sort of in these blues. It’s very similar to what I had up there. Right, so just a smidge. Of the alizarin. We still want it to be blue and we’re definitely, definitely gonna…. *John: Now do you keep saying phthalo. Did you mean ultramarine? *Cinnamon: I do mean ultramarine. Thank you, darlin’ *John: Ok. Brenda was like, you keep saying phthalo. -Those mean what you think they mean. [John laughs] *John: So that’s probably why everyone’s like, wait a minute! Say the color again. Because you say- but you- So which one is it? *Cinnamon: This is Ultramarine. *John: Cause- use myself. *Cinnamon: There is a really unusual color up front here, and I’m- -thinking. – feel like a green value up here. *John: Yeah. *Cinnamon: And so I’m wondering if I grab some phthalo green- I feel like if I grab some phthalo green and worked it into my ultramarine, It would be like- I have some fluid right there. An ounce or two, so I’ll just let you- And I can also- Let me test the Indian yellow into the- I think the Indian yellow is gonna do it. Sorry, babe. Okay, so what I did is I grabbed a little of the indian yellow. What I’m thinking about is I’m thinking about color theory and I’m just going… -Army green but with the- -Green Yeah, that’s why I like to have two ranges of yellow. It’s why I do it. See? Now we’re in that… Kind of weird blue that was there and that’s why I was like, hmm… Ah, there we go! So it’s a weird thing -and what blue do I think that that is? I’ve got a lot of water ripples to work with here. trying to get in this range of blues. *John: Well you do you do me a favor? Take a little sip of coffee here. I’m gonna- I’m gonna try to- To- To fiddle with some stuff here because the stream is just not stabilizing. So give me just a moment here. *Cinnamon: Ok. I’m gonna stop what I’m doing. *John: Give me just a second. *Cinnamon: I have to work it out anyways. We can reupload if we need to. *John: I think it is back! *Cinnamon: Is it back? *John: I think it is now. *Cinnamon: [sings] The Sherpa’s back and you’re gonna be painting. *John: [whispers] We hope. *Cinnamon: So yeah, just I’m loving this up here. I’m sure you’re loving that at home. I’m laying- There was just this slight green value to this close water. It’s a reflection of the sky, but it’s still going to have some more of that aquatic depth that’s going to be affected by those things underneath it, the way the light’s reflecting, and so it’s nice that we can catch that. I feel. [John chuckles] *Cinnamon: What’s funny? *John: Nothinh I’m just watching the- I’m watching everyone in chat and everyone is like, yes, it’s back! And I’m watching the stream, and it’s nice and stable now. It’s not all erratic. So, things are looking much better. *Cinnamon: So really there’s gonna be a thing actually, and I might start reflecting it. Where the current is kind of coming this way. *John: Now, could you repeat what you said about the green now that every- You know. *Cinnamon: Oh. So what it is, is that In the sky right the sky reflects in the water, but up close I’m also dealing with different reflections things under the water, other things can impact the tone and value of the water. And it’s going to be more saturated up close than it is far far away. And I’m starting to change my directional brushstroke because there’s this weird sort of angular… Kind of current that’s coming here and through here. Get a little more of my ultramarine blue. Get a- See this is why I’m like, I love this color. It’s a good color- Too green! Sometimes you do, be like that’s too green. That’s like the deep deep ocean, not this really cool lake. Maybe the lake’s just having an algae bloom. You know, so it’s just good to think about. You know, some of those things. And so this is what I’m trying to do is just lay in… This first sense of… The blue that’s here. I’m just letting the brown and the blue… And I’m gonna put a little this color here. We’re just starting to put in these values in these colors, and they’re gonna get… Thought- Like I’m gonna stumble back and forth, right here cuz I’m just putting down some paint and it doesn’t need to be…. There’s a little blue that works it’s way out in here. So I’m just- What’s happening here, is this is just a dusting. Pull this out pull it out with the wide of your brush, and pull this out with the wide of your brush. And then dry brush that in. So we’re just pulling these colors in. Dip my brush in the water. When I dip I just get the tip of the bristles in and then take off the extra. That is one of the reasons that my paint goes as far as it does. I have a lot of authority on my brush. Sure, we’re gonna be…. This is one of those paintings that wants a lot of us. *John: Yes *Cinnamon: It just does. I’m gonna rinse this out and let this little buddy have a rest. I’m gonna have a sip of my coffee and have a mental rest. You guys like to pick these, like, *John: It’s a- *Cinnamon: Art challenges for me. *John: It’s a challenge. *Cinnamon: Yeah. *John: It’s a very… *Cinnamon: Well, you know, I noticed that was one of the things that you guys picked. In almost every painting you picked is you guys were like, You wanted paintings that were challenging and visually rewarding and would give a lot back to you, artistically. And I really loved the last one we did with the moon and the wave in the sunset I know this one is going to come out really amazing for you guys, and so these are totally worth doing. *John: Yes. I don’t know what y’all were thinking with the houses, but you know, I’m gonna actually, in this particular case, get the Cambridge. This is a number four Cambridge. *John: They think you should dance when you’re taking mental breaks. *Cinnamon: I should dance when I’m taking mental breaks? *John: Yeah. *Cinnamon: Okay. *John: From now on we’ll have to make you dance. *Cinnamon: I’m, like, not offended by that. [both laugh] *Cinnamon: So I’m gonna- A little of this green is actually in here, and I don’t mind. I’m gonna get a little of my…. Cad… Red and then I might even come grab a little the… Umber because I don’t want it to be so bright. I’m knocking this back a bit. *John: Now you used Indian yellow in that green mix. *Cinnamon: Yeah. *John: It was kind of little Patchy there. *Cinnamon: It was Indian yellow in that green mix. I decided not to go get some phthalo because I didn’t think it was necessary. *John: Mm, okay. *Cinnamon: Because the Indian yellow was gonna do something similar. So now I’m gonna come here. And I’m gonna start laying in…. So if I come up to this- This right hand side, I can see that there’s a bit of a highlight that comes in. Right across here. Comes back. Now, through here…. Through this waterway, we’ve got some stuff afoot. *John: Some light reflection action? *Cinnamon: Yeah, we really do. So we’re gonna talk about this a little bit. So, I’m on the edge of this brush, and I’m going to just… Patiently and gently stroke to the side. And I’m gonna start talking about my corridor of light. I’m gonna very lightly, over some of this. Just notice how it’s just dusting barely any pigment? *John: Mm-hmm. *Cinnamon: This is what we’re doing. We’re not even playing today. We’re painting. You can be like, I didn’t play. I painted on Wednesday. It was a serious biz! *John: Serious. It’s always serious up in here! *Cinnamon: Serious biz! *John: Serious painting business happening. *Cinnamon: Serious painting business happening. I’m gonna bring this down here, between these two fields. Dusting to the left. I’m gonna continue dusting over into this. So you can see I’m creating- I’m talking about these values of light. Like you do, and now it’s getting to be a thing, see? It’s getting to… *John: It’s a thing. *Cinnamon: It’s getting to be a thing. Paint’s also drying out from the heat. *John: I see little brush, Raylyn, is here. *Cinnamon:Hi, Raylyn! *John: I think I saw some other little brushes up here earlier but I was busy pushing buttons. I couldn’t- *Cinnamon:This is long day for a little brush, though. *John: This is- Yeah. this is a lot of painting for a little brush. *Cinnamon: This is a lot of painting. *John: I think a lot of little brushes- *Cinnamon: I say yes to you guys but I don’t ever say like hey, it’ll be super easy and don’t worry about it. *John: You know, I think a lot of our little brushes like to get the traceables and color along with us. *Cinnamon: Mm-hmm. This is gonna have a nice traceable. *John: Yeah. This is- So…. *Cinnamon: So I’m just pulling this down. Just pulling this down, but I hope you guys appreciate that there’s… There’s that way to…. You know, how you lay that in. *John: Regina and Raylyn are getting ready because Raylin, the little brush Raylin, they’re having a glow-in-the-dark painting party. [Cinnamon gasps] *John: So… *Cinnamon: Oh, the best kind of painting party. *John: They’re just getting warmed up, watching some sherpa *Cinnamon: Oh, I love glow in the dark painting parties. We haven’t done that in so long. *John: Well, you know we had to pull our bubble machine back out here, too. It’s getting serviced. It got left with some bubble machine stuff. *Cinnamon: Sorry about the layers guys. I should have said this is an onion. It’s like… *John: It’s an onion painting. It has many layers. *Cinnamon: This is beyond onions. *John: Many layers, and you know what we have over 693, 694 likes. We have almost seven hundred likes here, Cinnamon! *Cinnamon: This is so- I’m so glad that you guys are enjoying this. *John: They seem to like it. *Cinnamon: Let me tell you, if I had said people want to learn how to paint like this on YouTube, people would have been like, no! No. Show them how to like thread a bead or something. No! And so like I love that you guys are loving like these more robust paintings. So I’m just still throwing my light in. Here I gotta keep throwing my lights in. I just feel that there’s this…. Brown and this… Kind of red value here. See that right there? *John: So Laurie has a quick question here that’s actually kind of interesting cause I do this myself on occasion. *Cinnamon: Yeah. This is what I was looking for, the brown and the cad red light. *John: So if- You know how, like, sometimes I’ll go in and I’ll start washing your brushes out, and I’ll leave them with soap in them. *Cinnamon: Yes. *John: Okay, so… If like you accidentally took one that had soap in it and got paint on it, would that ru- *Cinnamon: It doesn’t ruin your painting. I mean a lot of soap is not ideal in your painting. *John: But it’s….? *Cinnamon: It’s not gonna ruin your painting. *John: Ok. So just don’t…. *Cinnamon: It’s why there’s a whole bunch of… A whole bunch of people who are like Oh, I totally add soap to my paint to improve flow… And it’s because it does not- It doesn’t…. Like outright just damage. The art. I wouldn’t do a whole lot of it, though. *John: Acrylic is an amazing, resilient material, but it doesn’t- It’s not bulletproof. So you have to take care of it. Especially when you’re trying to be…. When you’re approaching it from an artistic standpoint, where you’re looking at its longevity. Its color fastness. Its performance in people’s homes. You know. *Cinnamon: I’m just dusting this sort of… See that there? Isn’t that nice? *John: Yeah. So yeah, it’s not gonna hurt it just for a little bit to be in there, but probably not a good idea to make a habit of it. *Cinnamon: Yeah. And you gotta remember, when you’re watching videos on the YouTube. I mean, you can, just… it’s wonderful because anyone around the world can turn on their camera. *John: It’s self moderated. *Cinnamon: [laughs] It’s self moderated. Which means, somebody could be like, I totally paint with gunpowder! *John: And- But, you can! Do that. *Cinnamon: And you can! And he’s not even obligated to say, and you probably shouldn’t paint with gunpowder either. *John: But… Yeah, it’s like you you can do anything. *Cinnamon: You want to on the YouTube. *John: If you have a hydraulic press you can crush things. Doesn’t mean it’s a good idea. *Cinnamon: It might be a great idea but I’m just saying like there’s no oversight. I mean, so you kind of have to be like as a viewer sort of like… You know maybe the painting didn’t explode, but it’s still not a great idea. *John: Yeah. I like that hydraulic press channel. *Cinnamon: And nowadays the painting could explode, so. You know, and then sometimes it’ll be like, this guy’s like this master painter from Asia and he’s like developed this whole painting with firework powder, and you’re just thinking, yeah, but I’m not him… *John: There’s- You know, I’ve seen the guys from Asia who paint with gunpowder. There’s a couple of guys here from the states that are like… *Cinnamon: Really good, *John: Yeah. *Cinnamon: But I’m not them. *John: Yeah, they’re like- But they do very traditional American hunting images like deer. And, you know, wildlife. *Cinnamon: Doesn’t make it safe though. Just cause they made a video of it. I’m sure there was a lot of learning curve there. *John: Well, I’m sure they have some very practical safety measures that they take for themselves.
[both chuckle] *Cinnamon: Yeah. Would think so. So I just wanted to get this color into the water. You can see that happening there. That’s like just a color I really wanted to get into the water. And then I kind of really want to get… This deep color. There’s this deep, faraway color into this water too, and. And I’m going to just take this little brush. And I’m going to- I know this seems fiddly those of you guys that love fiddly though, you’re gonna be like, it’s my jam!!! We’re just gonna make these little, furtive… Brushstrokes. See these little furtive brush strokes? *John: Mm-hmm. *Cinnamon: Or, this is not dissimilar to van gogh’s dab dab dab dab dab dab dab. If it gives you joy say Dab dab dab. I’m all good with that. This is the dark color that you get with the ultramarine and the alizarin crimson. This is- Cambridge bright. If you’re not getting a nice dry- You can always switch to a smaller brush. I just want… To be- Let’s have it- Okay, they’re starting to show up as- This is a part of that composition. And I didn’t want to lose it….. For time. My- I’m- This is how I paint this painting. He’s like declared- Day. One- Had some time off. I need to do some painting, right? Lot of times- We’ve done live together. *John: Yeah. *Cinnamon: Live- Now I’m getting that sort of tonality that I need to get- Here, I’m gonna do a similar…. Dark…. I’m gonna just… If it gets too- add- -over softening the brush. I’m just dabbing little- Guys had to get some wonderful wood in here, and then I’m gonna show you how to paint this rope where you have some stunning…. Lighting. *John: Okay. So now it says it’s back. Hopefully it will stay that way. So I was- I was fixing and doing all checking, so it seems, okay now. *Cinnamon: It’s okay now? *John: Yeah. *Cinnamon: And we’re holding on. I’ll tell you what live is really trying to throw everybody off lately, isn’t it? *John: Yeah. *Cinnamon: It’s getting to be harder and harder to do the live and…. Have to wonder how that’s gonna affect all of us in the future. But as long as we can work it out We’ll keep trying to teach this way, cuz it’s a good way for you guys to learn how to paint. *John: Mm-hmm. *Cinnamon: So how’s everybody feeling with this piece? What’s their pertinent thought process, question or anything? *John: So far everybody’s really loved this. There’s no- What did you guys miss? You didn’t miss anything other than Cinnamon recapping where we’re at. So I just made sure that…. *Cinnamon: He made me stop. *John: I made her stop whenever I see it goes real bad and we reset. *Cinnamon: I’m gonna dust a little bit, just a smidge of this, into this little spot here because I want to show this reflection. Sometimes that’s what I do. I’m like and I see another one here I’m gonna just dust. So sometimes it’s about having these soft super-crazy reflections. *John: By the way, everyone would like to let you to know that they love it. *Cinnamon: I’m so glad. *John: They think it’s stunning. Wow! There’s a lot of people who think it’s really really nice! First of all we’ve had we had over 400 people who’ve been bearing with us through this. *Cinnamon: You guys are pretty great. *John: Yeah, and they- Honestly everybody’s really loving the painting. This is really nice. *Cinnamon: I love to paint like this. Ummm…. It’s very relaxing. So I have a thing. I feel like what we paint impacts, how we feel. And sometimes it can be an expression of taking how I feel inside and putting it out and so you might be painting different things. But sometimes it’s about taking outside feelings and getting them in. And a painting like this to me, like in this moment, it’s like taking this vacation, which I don’t really have the luxury to do, and so I’m taking this vacation, so hopefully you’re taking this vacation with me. That makes some kind of sense. I think. *John: Yeah, I think it does. *Cinnamon: Alright, so pull some more indian yellow out, and then I’m going to…. Smidge…. Smidge…. *John: Smidge? *Cinnamon: Of my ultramarine. I could have done my purple too, is another way of graying it. See? It’ll gray it. And then a bit of my…. Cad….. No, that’s my… Yeah! Cad red light. And I’m gonna start…. Getting in some of these highlights. In my water. Here we go. We’re just gonna- I’m very soft with my brush pressure through here. That’s what you’re gonna see me doing is being…. Pretty soft. Now right down this corridor…. I’m gonna take even some of this light color here. Pulling this out. You know, and you can even take some of this out into the water out here. See, into the ripples? But I’m just pulling this corridor. This is an important space here, down the water. Let’s get a little more white into our brush. Just dusting this out. You know, interestingly enough, there’s sort of a… Highlight dust here. And there’s a darker center. And I’m going to just… There’s this little space here where it’s kind of starting to…. Work together. We’re gonna be layering these into each other. Can you see how my brush is just lightly, lightly…. Releasing the pigment? Just lightly lightly. And then there’s gonna be some real…. Detail work here, but we’re gonna put in the groundwork of that. I might add a little of this. Here. Let’s come over here. Get a little of our yellow. A little of our red. Get a little of your purple. To gray it. Now we’re gonna just keep…. Keep keep keep….. Just layering this. Glazing medium is another really powerful, powerful tool. Right. I’m just going to… I’m going to have to come back and add some blue…. Definition here, but I’m just trying to pull this warmth. This band of warmth…. Here…. Needs to look right, and so we’re gonna have to just work it until it works. Work it till it works, chickadees. Warm it up. Warm it up. Alright, I need to look at my…. So I’m starting to pull that…. That warmth in. I’m starting to get that space in. Maybe, like, through here. And then we’re going to start… There’s these little…. So in water, directionality of a stroke actually really starts to matter at some point. So right now I’m not only worrying about value. I’m thinking about how these brushstrokes… Present…. In the space. I’m just…. Letting things be soft. Because I- Water is soft and blended. That’s one of its little jams So you’ve got to get that soft…. Blended space with it, or it just doesn’t… Pull together at all. Just keep pulling this down. And then I think I need a little more of my…. Cad red into it. Keeping right here. And often lighter than you think. This is what I find I’m contending with very often, is that I need lighter than I think. Lighter than I believe. And so I’m like working the cad red light, the Indian yellow and my white. And then whatever it’s complement is, so pretty much its complement is the purple I have over here or at least the ultramarine. Just keep…. Keep warming that up. Then I gotta look back. So I’m starting to get it. It’s crazy. How you get it, but you’re starting to get it. *John: Starting to feel it? *Cinnamon: Starting to get it. So I’m gonna put this down for a while. I’m gonna rest my brain from this set of problems, and I’m gonna work the details of this up through here. Because I’ve got to give my brain a rest from this set of water area. [both chuckle] *Cinnamon: No. It’s like, the thing I’ll do. I’ll be like, I need a break from that set of problems. So I’ll work this area of my painting. And I’m working, again, my number two bright. And one of the things I’m going to do is come right from the back of this canvas. With my cad yellow. And I’m gonna be just dashing, dashing, dashing these strokes. They’re not going to be like smooth strokes. Because they’re rippling on the surface of water, so I’m looking at the shape and also the texture. And here I’m going to be coming around. That will work. And being able to…. Express this is what’s going to pull this piece together for me in a way that I really like. See how that’s coming? *John: Oh yeah. *Cinnamon: So, a little brighter right here. Just making sure this dark doesn’t vanish. Even though that has some reflections that needs to actually have a little shadow. It’s an interesting thing. And then I’m going to get a little white. On the brush. And there’s gonna be a couple spots in my reflections that are heated up to the white space. This has got to be a super light touch when you’re doing it, too. See how I’m going? I was light. Is the touch light enough? I can’t see. *John: I think it looks pretty good *Cinnamon: It’s looking okay? *John: See there? Can zoom in on it and see it. It’s like yeah, it’s pretty good. *Cinnamon: It’s looking okay. It’s okay, it’s alright. We’re just working it. Working it, working it. Just pulling this… Pulling this, pulling this, pulling this. So one of the colors and interesting things is that we’ve got this sort of peach through here. Coming towards the dock, to about here. So I’m gonna get my… Indian yellow. A little of my… Cad red. Maybe a smidge. See how I just get just- Just that amount? It’s like I’m graying it out. I don’t want to lose it. *John: Mm-hmm. *Cinnamon: I’m going to just…. That is exactly…. The color I had been looking for here. Sometimes things look like they’re just simple fields of color, when they’re very complicated dances between val- Hues. And value. And so people kind of get into a painting and they’re like, “I’m gonna do this!” And then they’re in it, and they’re like, “Umm… This is so much more involved than I thought it was going to be!” So I took the ultramarine and added it to the peach. Because I’ve got these reflections that I’ve got to start talking about up here. And I need to start painting those… Into the water. Here, I’m going… Too much- Too white! Go back into the…. And that will happen, and it’s a real easy fix. I’m just going to come back with a little pigment over it. So see how it was the peach, and then I got enough blue into it to get it back into a blue green hue? *John: Yeah. *Cinnamon: And so that’s what I’m doing. I’m going to just… ….Dust…. And as accurately as you can I’m gonna take these down at an angle. Just a little of this water reflection. And then there’s definitely some. Right here. And then there’s some that’s happening. This is how the water is like a mirror. You’re painting, not water, not something that you see through. You’re painting what you can see, which is always the reflections. And you’re painting the reflections of the mirror. See, I’m just trying to talk about the mirror? I’m gonna come over here. This is a little more peach in my assessment, so I’ll just dust a little of that into my brush. I’m gonna come paint some of this right here. Very light dry brushing. You can just pull some of this in and it’s going to come at an angle. Downward. And so now it’s starting to seem like, oh, it’s sort of blowing. Okay, I got it blowing! There’s a wind blowing across the water because sometimes the wind doesn’t blow straight in. Wind does its own thing. Sort of rude like that. *John: Now you’ve been using that glazing medium throughout this because you have a really hot studio, right? *Cinnamon: Yeah. This is actually, for me at this point, it’s not even for blending. It’s because my studio is so hot and so inhospitable as to…. Really present a problem. I’m just trying to keep sitting here and messing and talking about the water and the… Look at that! So how are we doing? Sip of coffee. *John: Looking pretty good. *Cinnamon: I know it seems like we’ve been- The middle range is the one that’s like… The thing. Um, maybe can I get a cup of coffee and you can give me chat? *John: I can totally do that. *Cinnamon: John’s gonna give me the chat for a second, so if you’re here on the replay, this is live and I’ll be answering questions. When he makes me a cup of coffee so I can be powered up for the next part of this painting. Now this whole thing’s gonna look crazy! And we want the bottom half to be as good as this top part right, so…. *John: This button… And then I push… That button, and then I have to reach over here to this other button. *Cinnamon: Button Button Button Button button. Okay, there. We go. Okay. *John: Look! I got all of the buttons to work. *Cinnamon: Alright. *John: I have one more button. This one. *Cinnamon: Oh Alex Manix wants to know what a moderator. So Alex, we have a bunch of people who volunteer. They work with us to oversee the chat just to make sure that stuff is reasonable. Kind of family friendly, and a little bit on track. We’re not really that particular, but you know. Nothing…. You know. Stephanie’s like, Stephanie of Deliberately Creative’s like, I get to chat! I know, it’s always crazy when I get to chat. Gail is still here! Space week is so exciting. I don’t know. You tell them when they get back. John wants to make sure you guys know when space week is, so good. So… Laurie says, yes cinnamon stands in a hot studio for hours to teach us to paint. Tell her thank you so much! Well, Thank you, Laurie. It is my pleasure to share this. I love seeing the paintings when you guys have breakthroughs. It just makes it all completely worthwhile. Cinnamon, I will be tagging you in some luminary posts. I did a luminary bag for Honor this year for you. That’s Colleen. Thank you. Honor was a community member, and she’s left us, and it’s- It’s really sad. But we’re honoring Honor, so. Althea wants to know about the dragon fairy painting. Should be tomorrow. So here’s a little thing people don’t know. Tomorrow… I’m going to a youtube creator day as a panel speaker apparently. And so, that’s gotta be in the afternoon, so I’m gonna try to fit the fairy in, in the morning if I can. If not, I will schedule her soon. Christine says I look nice today. Thank you! Yeah, no the dragon Fairy. Well, we have the fairy face, right? The dragon fairy face, but now we’re finishing the tonal study. I was like in the middle painting it. My shoulder kind of went out, and so we’re like okay, we’re gonna work on our tonal study, and then come back. Jennifer says she loves the complexity of this painting. I’m so appreciative that you guys don’t mind when we do more complex project. I’ve got some simple stuff coming, but I love when we get to do some stuff. Emily Lau says her kido said hi, so I say hi, right back. And Moonshadow says, “You’re back!” [Cinnamon chuckles] In space weeks are there lives? I think this space week will try to have a live. Mostly be a VOD, but we’ll try to have a live during this space week. And Ash is like is it- It’s done. No just the tonal study is done and then we’re gonna do the fairy together. And using water in the under painting instead of medium or glaze, so it doesn’t under bind. Alright. So basically your paint will have, in it’s instructions, how much water you can add to it to modify it before the polymers fail. Generally, it’s about 30%. Some paints are less. Some paints take a little bit more, but that’s about where it is. *John: Okay. *Cinnamon: Is there anything more about face coming up? Yeah, hopefully tomorrow is an about face and then the next Thursday we’re gonna be back to kind of a belief face project. I was still resting. *John: You were still resting? Okay. [Cinnamon laughs] *Cinnamon: What is the hardest part about painting wood? Cristina, it’s the splinters! Seriously. *John: Oh, didn’t you- She was asking earlier. *Cinnamon: Definitely- So what I found is like if I want to be really rustic, it’s the surface. It’s the texture, and I need to get splinters need to get stuff. If I can sand it, it’s not that bad. And there’s now clear gesso. Which isn’t a sealant. It won’t protect the chemicals the wood from coming out, but it will help your paint grab the tooth, so that’s kind of nice. -like or use- Yeah, there is some good products out in the world. Just from tons of different paint companies all over. There’s good paint makers. *John: Mm-hmm. *Cinnamon: Umm… Mine looks totally different cuz I try not to copy everything you’re doing. You guys make of these art lessons what you need. You need to change it up, change it up. You need to change the colors, change the colors. You need to mash it up with something else, mash it up. It’s all good. It’s really up about your art journey. *John: Mm-Hmm *Cinnamon: Rachel wants know if Golden is my preferred brand. Yeah, but this is really because…. What I find is I have a lot of brands. I like. *John: Mm-hmm. *Cinnamon: Sometimes the issue is that I can’t- I don’t have access. To a brand easily. Like I know it’s a good brand, but don’t have a lot of easy access to it. Sometimes it’s just like I just like Golden because every tube I open is how I expect it to be. And I know if it were ever not- [chuckles] I could just easily contact them and send a picture and they would fix it. *John: Yeah. *Cinnamon: So that’s really all it is there. That’s the whole, and I’ll be all of it, but that doesn’t mean- Look, like my- Like other people like other brands. Passionately, and it they’re not wrong. Those brands are awesome, too. This is just my passion and so it’s all good. As long- – that stands by you and treat you- a good company. [Audio breaks] *John: Oh, yes , let me fix that. *Cinnamon: What can I use if I do not
have cad red light? Cad red medium, naphthol red light. Doo-doo-doo-doo-doo-doo-doo. I’m gonna…. So I don’t know if John’s showing this but I’m gonna make a couple little chalk marks here very lightly. *John: Whoops! Let me see- *Cinnamon: I just feel like some of my reflections have gotten off scale, so I’m just giving myself a little level line. Are we good, guys? *John: Uhh…. It’s- It’s- It’s struggling! *Cinnamon: It’s buffering. *John: Yeah, it’s- We’re trying. *Cinnamon: Tina said she hadn’t time to catch a alive in a while. So what happened- So happened upon this. It’s so beautiful! I’m so glad you got to! Diane wants to know where I got my canvases from. Michaels. But Frederick’s is really good. *John: We’re still trying one more time here. *Cinnamon: Vid keeps buffering. *John: Yeah, it’s not giving me much. *Cinnamon: Generally if you’re on our webpage, and in our groups, I like to put things up ahead of time. On instagram sometimes I’ll put things way out ahead. Like, really because Everybody’s painting everything now, all the time and so I’m like I just like to get my paintings up as I do them so I can be like, called it! *John: Okay. It looks like we’re okay now. *Cinnamon: So instagram is a great place to follow and- And, you know, it’s just so that- So you’ll see things sometimes way out ahead of time where I’m like painting all this stuff. Alright. Let’s keep going. *John: I think we got it back. *Cinnamon: Alright, so I’m going to try to like sort of work out some of this stuff here. I’ve got- I’m gonna make a little…. A little super… Purple! More to the red though. All right. There we go. Yeah. Getting a little glaze in it so I can see it. So I’m going to come here. And I’m going to just… Add some of these little…. Reflections, and you can take these as… You know, as…. Intense as you want. Any of the reflections or shadows that you’ve got going, you know, so if you want to add the little shadow that’s here. Cause there’s some little shadows here. Different places, right and you can add those in. As you see fit. *John: Hmm. *Cinnamon: As you as you like. If you like. If you don’t like, I mean don’t worry about doing it. So there’s some interesting things here. There’s like this light little curve down reflection, and he’s got a little friend, and there’s not a little friend and then they… They kind of come like this. So you can kind of just see how they’re like, wind hits things, and you can talk about that. Let’s talk about that, like Rhett and Link. [John chuckles] *Cinnamon: So I’m gonna just keep… Adding these darker… *Cinnamon: Little dashes to the… To the space, and this is- I’m just trying to pay attention to my reference. *John: Mm-hmm. *Cinnamon: No, I’m not ignoring you, babe. *John: No no no. *Cinnamon: I’m just explaining my thought process. *John: No, you’re good. *Cinnamon: I’m just paying attention to my reference and nobody interrupts me teaching! While I’m paying attention to my reference. But that’s kind of what I’m doing is I’m trying to look at my reference, and how it’s talking about some of these reflections and…. Water is always so much more specific. Than other object. Skies are, you know, just like barely even a thing and then like water is like, No, you must pay attention to what we’re doing! I want this reflection to be cooler. The ones up front are cooler and the ones farther away are warmer. So more to the red. Just kind of pulling this through. And then I’ve got another really nice one that’s to the blue like that’s gonna be right here at the corner. So I’m gonna just make sure I pull this. If I need glaze to improve the flow, I’m gonna get that. And I’m going to- There’s a weird little highlight there that I’m gonna make sure I catch. Which is gonna be a little…. White and a little yellow. It’s just gonna be sort of over the top… And through some of these. See, just…. Just see if those came out as hoped. Adding little highlights here. Just working these. [sings] Watch me work, work. Getting the white into it. So I’m gonna just be… Definitely need that more blue. And we’ll add some of the… Indian yellow to it. So I’m trying to gray it out so it’s warm enough to fit into the space. This when I get it out there and it just pops or it stands out. I add the Indian yellow to try to push it back, which it just did. See it just grays it out, because some of these reflections are quite gray. Just trying to push this little water ripple. *John: So, there was a recommendation they just came up. It sparked something that you said earlier, that I was saying. Flamingos. *Cinnamon: Oh, so happy to do a flamingo. *John: We gotta do the flamingos! *Cinnamon: I’m happy to do flamingos. I’ve got a great flamingo I can do. *John: I know! It’s just been… *Cinnamon: And you know I’ve been wanting to do a flamingo. *John: Alex is like, John are we allowed to use a black canvas? *Cinnamon: Yes! *John: Alex, You’re allowed to use any canvas you want. Don’t let anybody else tell you otherwise. *Cinnamon: Try to use one that’s, you know, A canvas that stays on the structures. I just got my reference photo here, babe. *John: Oh! You- What? *Cinnamon: My reference photo is there. I can’t see the painting from full view. *John: Here. Can you see here? *Cinnamon: No, it’s still just the reference. *John: Oh. Oh. Sorry! *Cinnamon: It’s okay, sweetie *John: I know what you’re saying. You mean that. That’s what you mean right there. *Cinnamon: Yes, I need that. *John: You need that button pushed. *Cinnamon: I need that button pushed. Push some buttons…. Emily’s like, can we have some music? *Cinnamon: Can we have music? *John: Can we have music. *Cinnamon: Do we need to dance? *John: We always had music, but… *Cinnamon: No, we don’t want to have music on the whole broadcast. *John: No, but we should- *Cinnamon: For a little dance. *John: We can put a little music on. *Cinnamon: Are we getting through this thing? I can’t tell. *John: I think we are. I gotta turn- *Cinnamon: Alright. Well, look. It’s starting to have some water reflections. I think the area I’ve got a soften is from here through here. *John: Yeah *Cinnamon: That’s bugging me. It’s too….. It is pretty harsh there as well, but I just want to… I want to knock it back. *John: Yeah. *Cinnamon: I can’t help myself. I have to do it. I’m gonna put up some more of my indian yellow, which is not real. This is always going to be hue. Because nobody is collecting Buffalo Pee anymore. *John: No. Well, I mean, maybe somebody but…. You know, like, we’re not using it. [Cinnamon laughs] *John: That’s expensive paint. That we’re not. I’m gonna grab some of that blue I mixed over there to gray this. I’m gonna get some yellow into it. *John: And, you know, I will say that we’ve had a really great crowd out here with us today. *Cinnamon: I just want to soften this right here. *John: So thank you guys for coming and hanging out with us. It’s been really nice. *Cinnamon: It really has. *John: You know, we love the dancing and the carrying on and you know that’s just here because we’d like to celebrate being- Being with you guys and having a good time. *Cinnamon: It’s a nice way to spend some time. *John: Yeah. *Cinnamon: Alright. So hopefully- Is this softening it up a little bit? *John: Oh yeah! *Cinnamon: So what I’m doing here is I took this lighter value, and I’m just trying to soften, even though in my photograph I had kind of a hard line. Sometimes- I got to it see far away. Sometimes what happens is that when you’re looking at it, you’re like this line is too harsh, and I as an artist have to recognize that in my painting, unless I’m doing hyperrealism, I’m gonna have to deviate. Hardcore, from the painting. I’m gonna get a little more of my cad red on here. *John: Yeah. *Cinnamon: I’m just gonna make sure that there’s a nice… *John: They’re wondering how this would look with colored pencils. It would look- *Cinnamon: Beautiful! *John: That probably would look really cool. Probably in crayon, too. *Cinnamon: Yeah. Good crayon, good colored pencil, good all that. *John: So, you gonna sherpa dance for these guys or what? *Cinnamon: Oh! I don’t know. I guess I am. *John: You gonna sherpa dance? *Cinnamon: Ok. *John: They want to see you dance. They were- I’m putting Cinnamon on the spot. They were like, are you gonna dance or what? *Cinnamon: Pretty much, but- [both laugh] *[both]: Dance! *Cinnamon: Sherpa! [both laugh] *John: You know what though? Sometimes it feels like that. You know. We’re just, you know. We all have that sometimes where we just don’t ever mean to come across the way we do and that just is… You know we have those moments. *Cinnamon: [laughing] It’s ok. *John: But- You know it is. It is. It’s one of those days, you know, where it’s like, we’re all- *Cinnamon: I’m just trying to get us out of here before it’s five o’clock. *John: Oh no. I know. I know. *Cinnamon: It is a big painting. *John: It is a big painting. *Cinnamon: It’s a big painting, and we don’t do this very often but every once in a while we needed to sit back and do a more involved painting so you guys can see what goes into it. For those of you that are in that journey to take it to that next art place, it’s really helpful. *John: And I think what it is is for me is I’m capturing the energy from the room, where everybody here is- They’re all dancing. There- Just so you know, They’ve been dancing and having the party and they’re- And I want to thank you guys. Thank you very much for this. We really appreciate it and for those who at home who can’t dance, they’re wiggling their fingers, and they’re wiggling their toes, so they can play, too. So they’re telling me. So, we do have a long painting. so we’re gonna- *Cinnamon: We do! I know I’m like dogged on it. *John: No, no. You’re the painter. *Cinnamon: [laughs] I know, but it’s like- I’m like, we will do this painting *John: That’s what- We’re gonna get there! *Cinnamon: So I’m adding a little my Indian yellow to my ultramarine. Sometimes people will think that ultramarines don’t make beautiful colors, and that’s- That’s not true. The reason landscape painters use it is because it makes beautiful colors! It just might not make a kelly green with a cad yellow, and that’s all it is, but it makes a beautiful green. Kind of a marine green with an Indian yellow. *John: You know it’s also good that we have 20 years of marriage to be able to get to know that when I say, “Dance Sherpa!!!” [music comes on] You know what I’m talking about. You know. *Cinnamon: Yeah. [both laugh] *Cinnamon: Yeah. No, I’m pretty- One, I know where you sleep, so we’re good. Never worry about me. I know where we sleep. Well, you know, umm…. Yeah. 20 years! Huh, babe? *John: Yeah. *Cinnamon: Wow! Wow! *John: That’s cool *Cinnamon: I mean, that’s a beat the odds. Isn’t it? It’s hard. *John: It’s- Yeah. Well, I don’t know. It’s not hard. Just, it’s not easy. *Cinnamon: I think- I think there’s- I think it is very brave and… And hard to commit to family and… And to do kids. *John: Yes! *Cinnamon: I think it’s also hard to do single executive. I think it’s probably all hard. There isn’t one like that’s, you know…. Above and it’s just different journey. *John: Yeah. *Cinnamon: I am just moving this marine blue, different values of this marine blue through here. *John: Mm-hmm. *Cinnamon: Trying to show these gorgeous little… Water bits. I’m water bitting. As my paint is skinning. I’m water bitting as my paint is skinning. I don’t know what I’m doing. But do we like this? *John: Oh yeah. *Cinnamon: I’m doing this sort of brush stroke, and I really love this. This is just one of those… I was really excited. To give my mom these because I knew she was really kind of dig these because she does this like really- -kind of thing. It’s like, she’s really gonna love it. My mom was like the queen of like some stuff! [both chuckle] *Cinnamon: You don’t need any more info there, right? *John: I’m just reading over here in the chat. Just some- Someone was like, can I have the sherpas number? So I’ve got the sherpas number! I know what her number is… *Cinnamon: [laughs] Can I have the sherpa’s number. *John: It’s 8 6 7-5 3 0 9. *Cinnamon: You did not just do that. You’re a cheeky bugger. *John: But it is. [John laughs] *Cinnamon: See, I’m just increasing the blue down here. Now I know I’m gonna have a rope in front of here. I know I’m gonna have like a lot of detail. Right, and so I’m just thinking about…. Yup, yup, yup, yup, yup. The only thing I don’t like is that. *John: So, the little brown- *Cinnamon: So, I’m gonna knock it back is what I’m gonna do. Watch me knock it back. With a glaze [Cinnamon gives evil laugh] [sings] You bug me, so I’m gonna knock you back. *John: So they were just asking about the little brown- The little brown ones, and those are just some reflections of like some stuff in the sky. *Cinnamon: Yeah. It’s in the photo but when I did them, I did them, I feel, too, too dark. *John: Yeah. *Cinnamon: And then they became too prominent in the piece and so now I am… Just saying I don’t like you, so I don’t care that you’re here. You don’t work in my thing and that you’ve got to go. Ha! I’ll see how that’s…. Okay, much better. Okay. *John: Apparently that was Jenny’s number. *Cinnamon: Yeah, that was Jenny’s number. Actually it was somebody’s number, and now they can’t give that number to anybody, ever. *John: [chuckles] That’s true. if you were to look up the history on that number, it’s really quite funny. *Cinnamon: They just messed up that that number. That poor band’s like, “I think I got a good song idea!” and then the phone companies like, “You s*ck!” [John laughs] *Cinnamon: So much! *John: Which is probably why you can’t get that number! *Cinnamon: So hopefully that- See that pulled it back and so sometimes you look at something you’ll be like, I ain’t digging it! I am, however, digging this blue up front. Are you guys kind of digging this blue up front? I can’t believe we’ve gotten through this lake. I feel like I’ve swum through the lake to get here. *John: Hmm. *Cinnamon: Just saying. A little indian yellow and some ultramarine blue and here’s a color mix you just didn’t know you could do. Because it’s- It’s, you know…. It’s very interesting. Artists get real set in their palettes. Sometimes that’s why experienced artists will still take workshops with other artists, is because you get so set. This is too blue. So what I’m doing is I’m touching my canvas. I’m like nope, too much! Not enough! There it is. I’m like, oh there you are. And I’m gonna let this go into where I know I have my dock. Mostly because… I know I’m gonna be painting over it with wood. The wood’s probably gonna be the most relaxing and easy part. I don’t even want to say that because if I say that then it’ll turn out it’s not and then I’m just gonna be like, you caused it! You shouldn’t have said it was easy! So I’m just grabbing some more ultramarine blue, and I’m just pulling this. See how this is just sort of like a little brush stroke and I’m just… Showing a little water. *John: Oh yeah. *Cinnamon: As it’s moving. Through the lake, as the wind is hitting it. Because that happens. I’m so happy to say that I get to do something super easy, like add these birds! *John: Get some birds in there. *Cinnamon: Do we want some birds? *John: I think we can put some birds in. *Cinnamon: Do you want some birds? *John: Some birds in it. *Cinnamon: I might have a sip of coffee, and then I’m gonna paint some birds. *John: Birds and a dock. *Cinnamon: Some birds. *John: Yeah, so how’s your coffee? Feeling better? *Cinnamon: Coffee always- Look. See, this is my mug. [John chuckles] *Cinnamon: Um, coffee always helps me. I- Yeah, coffee helps me. [chuckles] Mmmmm. Alright, so this black is clearly dried on me while I wasn’t paying attention to it. *John: It does look like it has cured. *Cinnamon: And that happens to me in my journey So I’m gonna pull out this black. *John: Put some fresh out. *Cinnamon: I could use my black gesso. And you can tell I haven’t been cleaning this correctly cause look. Peel that. Put that to the side. Press out, squeeze down, push off Close the cap inappropriately, I’m sure. [John laughs] *Cinnamon: All right. I’m gonna find a little detail brush. *John: A little detail brush? *Cinnamon: Yes. So this is basically like a number zero round. Except it’s short handle. And I’m gonna Load a little black on the tip here. I might… Just to make sure that this isn’t just super standing out… And so what I’m doing here is I’m dipping in the water, and I’m swirling around. I’m dipping in the water and I’m swirling around. And then I’m gonna roll off my brush, and this is going to improve the fluidity of my paint so I can pull a small liquid bead. And I’m gonna come here and for sure, I’m not gonna necessarily want every bird, but I would like some of these birds. And I don’t want them messing with my sky, so I’m probably gonna put this little bird here. Can be here, a little bird. So I’m gonna give a little bead for the head. And then I’ll take a little… Little body off. It’s got a little round sort of body. Oh, he looks crazy now! Right now a lot of people panic. Don’t panic. Then we’re gonna go a little tail. Flick flick flick. And then a little teeny tiny… Oh my gosh. I don’t even know if I can see this small. Smallest beak you’ve ever painted in your life. Bring up a little wing. A Little Wing. Eh, it could have been shorter. Actually, so I really feel like that could have been a little shorter, so I’m gonna get my brush wet, and I’m gonna erase. See how I did that? Now I’m gonna drag the water out of my brush. This is a little technique I learned from watercolors. That works on acrylics. So, the paint underneath is dry. And…. I can come back with clean water, and erase it and then use the absorbency of my brush to pull it back out. You might not have known there was a redo button on your paint! But there is. Cause I just don’t want such a…. There we go. So sometimes that’s like a thing. And I think I’ll just pull some little feather strokes out. I need some flight feathers, cuz you know. That’s how flight happens. [sings] That’s how flight happens. Alright! And I’m gonna come get a little more black paint. Now, the other wing is sort of interesting. I was like doing this little far one. It’s gonna come from the back of the head. I like to curve it a little bit forward. And there it goes. It flicks out. So I mean you could do the little m’s, if you wanted to. But I like to do these, too And I’m just trying right now to decide how many birds I want in my sky. One thing I’ll tell you is, if you’re gonna put a flock of birds in your sky, you definitely, definitely…. Want to make sure that they have sort of some different flight bodies. Alright? Okay. So there we go. We got our first little bird in our little birdy sky. He’s a little goof and I’m gonna put another little friend there, cuz I at least want two of these little guys. Have another little friend, but this friend is gonna be a little farther away, so I’m gonna pick this bird that’s a little farther away and higher up. And that’s actually just kind of this little weird body shape. I’m looking at that. It’s like a little sort of sesame-seed body shape. Then he’s got a little tail that comes off and a little feet that we can see. And his wings are sort of down. And then I’m gonna come get this and then maybe this wing is sort of like up and down. See. So we’ve got these two little birds. Flying in our far-off sky. Hey, Mr. Cooney! *John: Hello. *Cinnamon: So and you just put as many little birds as you want in there. It’s just really up to you. Now the other thing that I want to do is I want to put in some grass. [whispers] Grass, grass, grass, grass. So I’m gonna put in a little my blue. And you can even grab a little of your indian yellow to this. That’s okay. These hues, these undertones, which seem like they’re invisible to the eye are actually not as invisible as you would think. And you can come here. And you can make some nice little, like, there’s a little line coming to a joint. A little line coming to a joint. I like to get these first lines in with a more delicate brush. Just because it can be really hard. The brush I like to do the leaves with Might not necessarily always be the brush that I want to… Put the stem in with. So see how I’m just getting this nice, fine line? That’s all I need to do is get some nice, fine lines. And some of these can, like, cross each other. You’re just- These are some weird little grasses. Some weird little grasses that come up here and…. might grow, and when you have Grown some weird little grasses that you feel could grow, you can always come and…. Swirly swirly swirl. And then- Whoop! That didn’t happen!!! *John: What happened? *Cinnamon: The hair dryer fell down. *John: Okay, that’s ok. *Cinnamon: Yeah. Didn’t go in the water. That’s the big thing. So I’m gonna plant this brushstroke and then pull that out. I’m gonna plant this and then pull that out. So how I’m doing it is I’m pressing in, and then I just sort of release it. And that’s how I’m getting those different little shapes. Now I come here and make that little grass. So I’m gonna give this guy a bunch of weird little leaves. Cuz I’m ornery like that. And I’m gonna really enjoy this part of the painting. Actually more into this, weirdly, than the birds. Not that I don’t love birds because you guys know I love a bird. I’m gonna maybe break that leaf. See? You know, and you can come down here, and wherever there might be a little joint you can always even… Make different little leaf shapes. Make a little leaf shape. There might be a leaf shape in your heart that you didn’t know was hiding there your whole life. So another thing I’m doing is I’m scraping my paint, and rolling up my brush. See how it’s gotten up into the ferrule though? I don’t want to leave it there. It can really limit the life of my brush. I’m gonn get that out even right now as I’m painting. Another little bead. Some of these little grasses can be smaller. There’s just a lot of them. So that’s just what you’ve got to remember, is that you’ve got a lot of these little grass leaves to make. And that these are not even. They’re kind of crazy. Little bits. But isn’t it fun once it starts to come in? Grass, grass, grass, grass. You gotta love your grass grass grass…. And you can layer them over each other. Just enjoy planting your leaf. It’s really about pressing in the stroke and releasing it. You’re gonna get this within- You’re gonna need a good detail brush to get it. And you’re gonna need to have made your paint fluid enough to flow off, the brush which you saw me do with water. If you really have trouble getting that, you can always buy fluid or flow paint. How are we liking the grasses, John? *John: Pretty good! *Cinnamon: Pretty happy with those? *John: Yeah. *Cinnamon: I like just planting these weird little… Bits of things. Just enjoying them. Having these strange little sort of crazy little lines, and the rope! Oh my gosh! I’m so excited about the rope. Like, why is this girl so excited about a rope? I’m so excited about the rope like. I’m probably kind of excited about the… Wood, but you know if you want to be all excited about a rope. I am. Just adding all these grasses. [sings] These little grasses…. Growing up. Being weird. See? Just little grasses. Sometimes they… They’ve been down. Is the stream still going? *John: Oh yeah. *Cinnamon: Okay. You’re just so quiet. *John: I’m just watching. *Cinnamon: Usually you only get that quiet like when the stream’s not going and but you don’t want me to stop painting and so you’re like…. *John: Oh no. *Cinnamon: We’re all still here! *John: Actually everything’s going pretty good. We got all green lights, so everything’s looking pretty good. Stream’s pretty solid. Um, we’re just sort of… I’m- Sometimes I just get caught in watching you and reading the chat. [both chuckle] *Cinnamon: Just watching my grasses because they need to look, you know, kind of ephemeral and…. Kind of like a little musical notes in this composition. *John: Just little grasses there in the lake. *Cinnamon: Yeah. Kind of like a little reed. Who doesn’t like a little reed? Probably this guy that has this dock. The guy has his dock probably has such negative feelings about these reeds. [Cinnamon laughs] So true. I’m gonna put a layer of dark paint here over our deck so that I can…. Paint in the wood. So I’m gonna take what I have here. *John: Oh, I think that they’re saying that there’s a bear in the palette and I see it. So if you look straight down, there’s in your yellow, There’s the ear in the upper right hand corner. *Cinnamon: Oh, I see him! Hi little bear! [both laugh] *Cinnamon: You guys are so funny. You always notice this stuff. *John: I thought that was pretty- Pretty clever. I was like. Oh, look! *Cinnamon: That is pretty cool. So I’m just dry brushing down this dock. Right? You know, and this is going to be, even for me, this is the more challenging things. Getting these for shortened boards to the waterline. And that’s what we’re going to be doing. Getting the foreshortened boards. I’m taking my burnt sienna and my black, and I’m just making sure I’ve got the…. The darkness… Not the band, but the color. *John: Uh oh. It’s buffering! *Cinnamon: Buffering?
*John: It’s buffering *Cinnamon: Ok. I’m just checking to make sure that they’re foreshortening as I’m painting. *John: I’m gonna debuffer the buffering while you’re checking that. You- Give me just a moment to debuffer- *Cinnamon: I have a moment I could use some fresh- And I am pondering my foreshortened boards, which is always, you know, whenever you’re getting into perspective, you’re always in- Hey, can I have another jug of water? Oh, okay. That’s right. You only have two hands. I’m sorry. Two hands…. So much easier to understand. So we’re getting through this. We’re gonna have another vote coming up pretty soon inside the art shop official group. I think we’re going to talk about what we want to do over fall. You know get that sort of end because you guys always have a lot of suggestions, and how I generally do it is I…. You guys share pictures that you’d like to paint. Those that get uploaded a lot, we make into a final vote, and those that- Oh, thank you, sweetie. Those that are really really liked I turn into painting tutorials. Now, either I can license the image y’all found. Legally, and if I can, I’ll use it, and if I can’t I will design something in a similar topic and lighting and color scheme. That’s a whole different original painting. And it’s a really fun way to plan our content, and also make sure that in the middle of my Crazy Sherpa, I think I want to paint all these things, I’m doing stuff that you guys really want to paint as well. And I really like making sure I’m in a constant conversation with my community, just to make sure that the art that you’re getting is the art that you’re wanting. Otherwise it gets a little weird. [chuckles] Like shark week. I’m gonna keep painting in my thing. *John: Okay. We’re back. *Cinnamon: Do do do do. Do do do do do do. Do do do do do do do do. I’m just trying to…. I feel like- I’m gonna take my t-square here because I have this feeling, and I’m Gonna check my feeling. And I was right. What is this?!? That’s what’s wrong! Do do do do do do- So what I’m making sure is I’m making sure that my… Deck is square. Look at me go. Ha! That’s how I fix that. That’s how that’s done! And I’m just… Getting this darker layer of paint in. Because we’re trying to create some very rustic rustic wood. And I’ll probably come back with my ruler. Because I rarely trust myself to get that. And measure like, you know, I’m gonna have this wood and then this wood and… You know, there’s this piece and… there’s that piece and just make sure that we’ve got the wood going to…. The foreshortened pre-prescribed place. That it should be and it will put some upward-facing boards. Like you do. And then as soon as I have that done I can put in my poles and my rope, and the rope gets to be… Something that really shows the lighting . On the scene. So that’s why I’m kind of excited about it. Is I’m excited to show the lighting on the scene. Very weirdly excited about that. I am. I’m just- This does not need to be perfect and the brown can be showing through a lot. What you’re trying to get is the directionality of your brushstrokes. Like you do. Like you do. One, two, three, four, five, six. Alright. Perfect. Do do do do do do do do do, do do do do do. Yeah, that was George at the jungle. you heard it. [both chuckle] I feel like I made a boo-boo right here, so I’m gonna get my brush clean. And I’m gonna go erase erase erase erase erase….. See? *John: Yeah. *Cinnamon: You can erase acrylic paint. And now I’m going to disappear for my hairdryer. [John laughs] *Cinnamon: And I’m back! *John: There you are! So while she’s doing that I will say, hey guys. How’s it going? Sooo…. Uhh….. That’s pretty exciting! Cinnamon is drying paint and we can watch paint dry and that’s not terribly exciting so I don’t know what else to say but thank you for coming being with us here today, where it’s been a crazy one of those broadcasts, where we’ve been trying to have to fix things and keep them going and pushing buttons. Look at that, I push a button. Push that button. I can push that button. Can push this button. You know that’s really all I do here is push buttons and remind you guys to come hang out with us and share your pictures. Which is, you know… *Cinnamon: ….Like that plan. *John: You like that plan? That’s my general plan. So I’m gonna come up here, and I’ve got to basically make one…. Two…. Three…. Four…. Five, six boards of wood. Now this side of the dock has this rope that goes along it, so, yhis is going to be at first a weirder foreshortening cuz this little corner here, and I’ll show you where it is, isn’t really gonna be…. Like, you know… I might have to maybe go like this. There, I’m gonna go like that. So basically what I’m going to trying to do is I’m going to try to talk about my foreshortened wood. Hopefully I’ll get this in correctly. I could like actually like measure it out, but no, I’m gonna go by eye. So I’m just gonna come here and…. Kind of give myself some guides. So when I’m doing these rough brush strokes in…. Sweet Caroline… doo-Doo-doo… Don’t content ID me. Now, there’s this weird little bit here that the rope is gonna move along, and I know that. Alright. So I’ll kind of paint it in but it’s really just to hold the rope. So see how now we have those planks going? Now we’re gonna want to break some of these planks and say that they were layered in different lengths But we still have to kind of keep the foreshortened perspective, and we’re going to use our bristly, bristly brush… *John: Okay. *Cinnamon: To do it. Yes? *John: Yes! *Cinnamon: Oh, okay. You said okay like I have bad news for you that there’s…. *John: No…. *Cinnamon: [?] is off or….. *John: Everything’s working fine. *Cinnamon: Alright. I’m gonna take my burnt. No, this is my raw umber, and my blue. I’ll mix them together, and they’re gonna make a very great awesome washed out gray. That’s super woody. It’s like the best aged weathered wood ever! I’m gonna put out a little more white because I’ve certainly worked that white into oblivion. See how that’s just like aged wood? Maybe you do, maybe don’t. I do. You’re like, I don’t know, maybe…. So I’m gonna come here, and I’m gonna say like this plank, I’m gonna take to like maybe here Right? And I want you just to…. Give this like some wood. See, like these little brush strokes back and forth? Little woody. Let’s get some more of that. Some of it can be more brown, some of it can be more blue. And then…. I think this last plank is weirdly actually quite long. I’m gonna come across here on the tip of my brush. Tap tap tap. And I’m going to just… This is just sort of like this little zigzag stroke, and I’m just…. Making uneven patterns that sort of show my wood texture. Little wood texture… Little wood texture. There’s a rope here, too. If you need a little more blue in it, you can get a little more blue in it. Which you want to leave- If you can see is some of these darker values Now I’m gonna come and do another little bit of wood. Like you do. If you feel like it. And this one, I think is going to come back… Actually… To here. I’m going to just… Back and forth. It’s like a little more blue. And I’m just wiggling the brush back and forth. There we go. Maybe this little part of the board comes back. It’s a little more ashy. So I’m going to come across now. I’m going to come back even possibly with some more defined dark if- Because I feel like this could even be more dark. We’ll see how it reads. After it’s all over, and I feel like this little one is more brown, so I’m grabbing some more brown. I’m just… Working this dry brushed wood texture. It’s friend next to it. I’m getting a little more of the blue mix on there. And this one actually ends at a very similar spot. Just doing this kind of back and forth. Wood texture. Notice how each time I do is sort like different. This is like your painting laminate. You’re telling the story, you’re…. You might even grab a little Indian yellow into that grayed mixture. Just changing it up every time. Zigzagging up and down. You can just see my little hand moving back and forth, leaving some of this unpainted… And some of it painted underneath. And you can see how each beam is just a slightly different value. Surprising. *John: I like it. *Cinnamon: Hmm? *John: I like it. *Cinnamon: Now this one we’re gonna get- we’re gonna get crazy tricky. This one here and his friend are gonna end up here. Then they’re gonna go… This one’s gonna go to here, but then this one’s gonna go the whole way down, like… Like….. Yeah, sometimes the pattern gets crazy. Just telling this story. *John: And sometimes they just put together a dock with the wood they had. *Cinnamon: Well, that’s what happened here, right? This is the wood they had. But this helps you as an artist sometimes. When they do things like this, then you can lean into that. And it will let you tell the story that you need to tell as you need to tell it. This one might be a little more blue. You know. And listen, you can make knots in your wood. If you want to have a knot, you can have these all be long grain. You can have knots in there. This is your deck, so feel like you can absolutely work your deck how you want to work your deck. Just… Telling that little story. And this one actually was this weird…. Down here. Just back and forth. Get a little more yellow in there. So I’m just trying to make sure that the planks have all kind of weathered out at different time frames. Just giving them slightly different but similar weathered aspects. You can go on through something like this and paint the imperfections of the wood. Whatever you feel like you need to do…. To build your dock and your imagination. Gonna build this little one right here. Grading this wood texture, and you can see how these layers have come together to work. to create- And I am gonna add just a little bit here for this plank… Alright. How’s that doing? Let me see. *John: Wow! *Cinnamon: A little duck, kinda going off in the distance. -Coffee! Ha! *John: -Post and a little rope. *Cinnamon: It’s just posts and the ropes and- -One little touch. *John: What’s that? *Cinnamon: One little touch. Where’s my black paint? Where did my black- There you are! Little black paint. I’m gonna get my number two bright out. I’m gonna show you guys a cool thing. So one of the things that can make- -Like it has just a smidge more depth… Is if you get your black. And come where you had really noticeable gaps or shadows. You can add those in. Deepen the cracks between the boards. See that? *John: Mm-hmm. *Cinnamon: It’s worth this step. Is all I’m saying. I know it’s been a long day, but there’s no point in not just getting this whole thing done. We did it with the beach, right? *John: Mm-hmm. *Cinnamon: So same thing. When we do these, we’re- To how we get them- All the way. Do do do do do. It’s just that extra little depth is nice, isn’t it? So, worth it to put the depth back if you can. *John: Mm-hmm. *John: And there we go. Hopefully that’ll come back up and work, okay. *Cinnamon: Well, I am…. *John: Let’s see what we can do… *Cinnamon: [whispers] …Barely. [John chuckles] *Cinnamon: And I mean barely! Barely barely barely… *John: Mm-hmm. *Cinnamon: So, just a little…. I’m using my t-square to make sure that my posts… Are where I want my posts to be. The posts on this side, interestingly enough, are shorter than the posts on the right side. *John: Mm-hmm. *Cinnamon: And assuming there’s some sort of docking reason for that, I’m going to just duplicate that. But there might not be. But I just need to know that they’re going to be there in some way. And then…. Just make sure these are…. Kind of the thickness that I want and then…. Let’s say the rope is like that. It’s interesting because this is a really round… Object. It foreshortens as well. As it moves up the dock. What I mean, is that it’s going to be smaller the further away it is. Plus the object itself is sort of handmade. So therefore isn’t necessarily of a uniform thickness. The whole way through its journey. *John: Yeah, it’s the- Some people were commenting on that the stream is a little laggy today, and it seems to be going off and on. It seems to be stable right now, but yeah, it’s had some ups and downs today, so, Sorry for that! It seems like we get a lot of storms across the country that could be affecting things. So sometimes it’s here local with us. Sometimes it’s local in other areas, so… Thanks for bearing with us while we’re doing these live streams. [Cinnamon chuckles] *Cinnamon: Yeah. *John: They test your skills. *Cinnamon: Painting in the rope now. Right. I’ve got it thicker here. And then I’m gonna just…. As it comes here I’m gonna paint it in. And then… Paint my wood beams in. After…. I have it blocked in. So as you can see it’s thicker is it’s closer to me, like the wood planks. *John: Hmm. *Cinnamon: And getting thinner is it moves away, and how I’m gonna- There’s two things I’m gonna do with this rope. One is that I’m gonna put some really great lighting on it and another thing I’m going to just put some really great texture on it. I have elected to not do the tires. And that might be a huge deal for a boater. *John: Well, you just want some kind of bumper generally out there. Tires, just, you know. *Cinnamon: I’m just, I’m not feeling them and in my imaginary dock world, I don’t need them. *John: Yep. *Cinnamon: So that’s a decision that I can make as an artist. You may be like, “No!” My dock is definitely not destroying my boat! *John: You could put you could also put those little, you know, rubbery buoy things that they use for boat. *Cinnamon: Yeah. So , I mean, you could have something else. This is just- It’s just what I’ve got going on, right? *John: I’m sure throughout time, they have used many different things to, you know, more ships to docks and keep them from bumping. *Cinnamon: Probably. So I have this basis of the rope, right? This basis of the rope here as it goes up. And then what I’m going to do is I’m gonna get its texture in. I’m gonna put my wood in and then we will have painted this painting which, honestly, is kind of bananas when you look at it. *John: Mmm. *Cinnamon: So this is very similar to the wood. If you notice it, it’s a really similar grayed out color to the aged wood. Apparently, put things outside, they do a particular thing. I’ve got my number two bright here. And I’m going to try to recreate the Braid pattern. That I’m seeing. *John: At least imply it. *Cinnamon: Imply it. *John: Yeah, that seems pretty good. *Cinnamon: So that as its…. Wrapping up here…. It has that feeling…. Of- See the wrapped? *John: Yeah. *Cinnamon: That’s just what I want to do. I want to do that. *John: Kind of herring bone. *Cinnamon: Not that anyone’s gonna come into my studio and stop me. I’m not like… And as I’m going away… Right? My brush strokes will get smaller on the weave, right? *John: Mm-hmm. *Cinnamon: Because there are foreshortened. [sings] Foreshortening…. They get smaller as they go away. Just painting these little rope strokes. [whispers] Little rope strokes. I always love when we get to put the reference in. To our, umm… Picture because then again, also, too, if you’re like, I don’t know how she’s doing that, you can be like, “Oh! I’m gonna do it my own way!” By the way, I’m never offended. I’m not gonna go into your home and check your work. [both chuckle] *Cinnamon: That is not my style. Pretty good with everybody’s artwork. Pretty happy with everybody’s deal. Just pushing this along. Alright. Now I’m gonna come along the outer edges where there’s some light. I’ll make my lightest color and then I’m gonna create… Some lighting on my rope. Just coming outside where I feel like it’s gonna…. Necessarily see some. You’re like, “Oh!” Little lighting! Is always entertaining. I don’t know I am the guy from Family Guy all of a sudden. Hmm. [Cinnamon chuckles] Okay, so when I have that in I’m gonna let it dry and rest for a minute so that when I put my golden orange up the rope to light it, to make it glow in its space, It really looks good. While I’m waiting for that, I’m gonna get my… Brown and black again. I might even add a little- Well, if I have any of it left, I’m might add a little cad red into it to warm it up. Trying to create some light kind of woody color. I’m going to…. Paint in…. My little wood pillar. And what I’ll say about that is just try to keep it as straight… As you can. I’ve got the front of it in an angle. Now I think these are weird metal things, but that they painted to look like wood. *John: No, they’re actually just wood. *Cinnamon: Okay, okay, I see it. *John: They’re little wood pieces in them. Little reinforcement bits. *Cinnamon: I’m gonna have to also put out some- I’m gonna probably put out some yellow ochre for the wood highlight. So I hadn’t used it in any other painting, but I’m gonna use a little… A smidge…. Just painting in my pillars. A little black again. Maybe this pillar is on the other side of the rope. Okay. Just painting in a little pillar. Cause docks have them. Docks have them. Probably to tie the boat to. It’s like I didn’t grow up near the ocean or something here. So this is my farthest away pull, so it’s going to be my smallest and shortest, right? Farthest away pole, smallest and shortest. This one’s actually gonna go in front of my rope. I just decided. *John: It’s really cool. *Cinnamon: Right, and then I’m gonna hit the next one. It was shorter. Then it’s friend across the thing, so I decided to duplicate that. I imagine in life, it’s those character touches that let stuff kind of take on their realistic elements and things. So I’m going to get a little of my new… Yellow ochre. My… Yeah, yellow ochre, and a little of my…. Umber. And I’m gonna do a very similar thing. That I did in the dock with my wood texture. See that there? I’m gonna add that to my wood. Probably could have just used my indian yellow, to be real honest, but this is what I’m doing. Just creating these little wood textures. You could do a different wood grain if you wanted to. Now… Let’s highlight things so that they’re aglow in the sunset. I’ll put out a little more cad red. Light. I’m gonna just hit… And I think I’m good with the indian yellow. I don’t need any- Any cadmium yellow, so we’re gonna see how this goes. I’m gonna rinse rinse rinse this out, and I’m gonna highlight a couple things. One thing I’m gonna highlight is sort of the edges of the wood. I’m gonna get a little white into that. A little more yellow. I’m gonna come right here… And just highlight the inside edge of the wood. See that? *John: Yeah. *Cinnamon: Just a little bit of a highlight on the inside edge of the wood. Just a very light little deal. This guy, too. Just the inside edge. Bead on the brush, bring it down. And then I’m gonna add some of my sunset glowing color to the top of my rope. *John: Ah. *Cinnamon: Hmm? *John: I said, “Ah.” *Cinnamon: [chuckles] Ah. I thought you were like, “Oh, no!” That’s a terrible idea! *John: Don’t do that! Don’t! We don’t want any color on there! Actually, you can see it on the picture. *Cinnamon: Yeah. *John: Looks pretty cool. *Cinnamon: And it’s one of the things that I really loved about this, when everyone picked it was…. That this had some very special lighting. I thought it would be a lot of fun to paint. Think we did it, guys! *John: Yeah! *Cinnamon: I think we painted this dock! *John: That’s looking pretty fantastic. You have to sign it still. I have to sign it you have to sign it. *John: You have to sign it. *Cinnamon: I gotta sign it! I’m gonna get some of my light color. And I think I’m gonna flip it on it’s corner. *John: Oh! Now you have to be difficult. Hold on. I gotta get me up there. Now, you know. *Cinnamon: Oh, it’s just this little thing. *John: There it is. *Cinnamon: So, I try to do with my signatures is that I want them to be visible on there but I want them to feel integrated into the painting. So what I’m doing here is making this part of the wood texture. It’s light. It’s a delicate. It’s not intrusive to the painting. If that make sense. *John: Yeah it does. *Cinnamon: I can’t believe we did it! I was like dude, man. I’m gonna do this unrehearsed. Just come in there. Paint this very complicated- [both chuckle] You guys are like, “It’ll be easy!” I’m like, “Oh, yeah! Ya’ll don’t see the layers, Do ya?” But see, this is what it is and so sometimes if you’re out you get a great trip photo and you come home to paint it, you have no idea what you’re in for. Right, and now you know. Now you know how to paint this kind of sunset. It will never throw you again. You can add docks to everything and you can use division, taking your reference photo and dividing it into four sections like this, and your canvas, to change the size of objects so that you can paint things accurately from one thing to the next. You don’t always have to trust your brain To just miraculously know things. There’s hacks. I don’t really think it’s a hack but it’s a hack. I guess it’s kind of a hack. I could put it in a hack video if I made hack videos. Like, how to transfer stuff on a canvas. Hack! [Cinnamon laughs] *Cinnamon: Question mark. How’d you guys like it? *John: I think they all loved it. Everyone is saying they love love love it. And they can’t wait to see many many more. I can’t wait to see many more of these! *Cinnamon: I kinda like it when the painting feels better than the photograph. *John: Yeah. *Cinnamon: I like it when there’s more happening in the painting, in some sense, than the photograph. It’s a good feeling to me. And I really like it when we catch very blended soft reflections and distances and stuff, so that was really satisfying to me. We have I think a couple more of these to do. *John: Mm-hmm. *Cinnamon: From this collection you guys did. Watch the group for the vote coming up and when is space week, Mr Cooney? *John: The 20th through the 25th. *Cinnamon: 20th through the 25th. And watch to see when I put up the next big art quest. I got some crazy scheduling stuff, but you know, keep your eye out for it, and I think it’s gonna be tomorrow. *John: Yeah? *Cinnamon: Yeah. I’m gonna try to do both. I’m gonna try to do creator day and that and we’ll see if I chicken out. *John: We’ll see. *Cinnamon: I don’t know. I might chicken out. Might be like, “Bwak bwak.” *John: Yeah? [both laugh] *Cinnamon: Alright. You guys be good to yourselves. Be good to each other, and I wanna see you at the easel really soon. *John: Buh bye, guys. [ending credits begin]