3:45 You're so right about that. That actually really helped. I've been struggling with connecting highlights to shaded areas so much and now I feel pretty dumb for not seeing it before.
Wow!!! I’ve been making that mistake for a long time wondering what it was I was missing! You really have a gift of teaching not just knowing but being able to relay the information. Thank you!
Your advice and tips are so unbelievably helpful - when you speak it’s like I have a lightbulb moment! 💡 it all just clicks into place. What you say here makes total sense, and is something so obvious and simple that will really help me. Am loving your channel, you’ve taught me so much! Thanks, Mark 🙏🏼💚👏🏼☺️
Great explanation - I tend to be lazy and just mix the color I see not bothering with all the minute variation- it is these subtle variations that make the painting realistic- thank you Mark, always so efficient in your teaching that get the point across. Can you show more of Emily painting a still life.
In the case of the book on the table; I always thought of it as being a situation where light has difficulty making it into such areas, therefore these areas are naturally darker than the rest of the book. I've never had an art lesson and never used a color checker but this behavior of light just always seemed so natural to me. Thanks for this. Ken in the Philippines.
I love this video, I’d love to know how to paint realism like Sargent with bolder brushstrokes, how do you get all the different shades of highlight in with just one brush stroke ? Because I feel like painting multiple smaller brushstrokes will take away from the style I’m talking about. Please answer this in your next q&a or here if you have the time ! Love everything you do
I believe my next oil painting will be much better just because of this one video. Great explanation. I should have been moreaware of this. Your videos are so very helpful. TY for taking the time & effort to film, process, narrate, and finally share!
Check out Henk Helmental, if you don’t already know his work. He is a Dutch still life painter, presently. The two best in history were Willem Kalf, Dutch 17c. and Emil Carlson, American 19c. The most important aspect of Still life is that it has to read. The objects have to correlate in a natural setting. Years back, artists would put something in just because they needed something there.. I. e. A plate standing up behind, a teacup, a wineglass a material backdrop. The Dutch were masters at this. They would also stick to rules such as.. one metal, one clay, open bottle, closed vessel, material such as a napkin, organic.. food, one light source… indicating their culture or their wealth or lack thereof. There was an actual competition at painting the best peeled lemon. The lemon was the symbol of sobriety.
In my view this problem points out one of the huge weaknesses of using a color checker at all. I would suggest that the artist rely on his eyes, and experience. Probably the best teacher of all is to study the very best paintings to see how great artists dealt with things like reflections.
I wish I lived closer, to get a what's wrong with my painting exchange. I think I know what I am doing wrong, or learning to try and improve. I had an experience with this very example doing a copy portrait paint study on Salvador Mundi. I should have never picked that to paint, its not defined and trying to copy a da vinci, lol, Total disaster, but I learned a lot from this experience though, and this vid was it, hightlights are not just one value, edges are not so exact, and on and on. Thank you for sharing your knowledge and expertise, greatly appreciated!
Thank you! This helps so much! You have helped me get past a point that I have been struggling with for quite some time. I now understand what I have doing wrong. Thank you!
I really appreciate the way you explained this. I have really been struggling with this exact problem in my work but I wasn't sure how to fix it. Now I have a better idea of what to do. Thanks so much!
My eyesight isnt that great to catch all the tiny details that you talked about. So what I've done to solve that problem is : I take a picture with my tablet and then really zoom in on those details. Also eliminates any optical illusion where one color might appear darker than what it actually is. It really works for me. My artwork has improved with this method and your great videos.
Thank you Mark Carder! This was very helpful. I just posted a painting, a portrait on DMP " Portrait of my father in law" "Filuren" where these issues that you address where much up front for me.
I sometimes find issue with light reflections too. It’s an issue with focal point verses an object’s texture. Like the elephant in this still-lift display, the reflection necessary to show its shape and texture could actually steal the show from the subject. Very soft highlights work in this case, yet as Draw Mix Paint states here: you mustn’t use the highest contrast in anything but the subject.
I was wondering if you have any method or tip on how to paint rhinestones, crystals, sequin and glitter just all that sparkly stuff. I would love to see a tutorial on that since a lot of my art has sparkle in it and I can't really get it right.
Please explain to put multiple coating of oil painting from life and from coping from a photograph.Do focus on number of coating , method etc.Secondly how to deal second or third coating where painting is made with thick patches of brush strokes.Thanks a lot.
You don't say. Can a guy quote something somewhat relevant from a legend without being ridiculed? I know exactly what Mr. Ross was implying. Its simply something that popped in my head when I read Mark's title for this particular video and its relevant because its all for the sake of art. Right?
Bob Ross is THE BEST NO EXCEPTION! his paintings were "happy little paintings"--these have underlying black that is overwhelming- all of these do. BOB RULES!!!!!!!!!!!!! Kimberly Fine Artist
I don't know man, I just oil out, place in a tap tap tap of color, and keep a rag in hand. In fact, sometimes nothing is better than a tap tap and a rag wipe right afterwards.
An oil painting was done for myself and I asked the artist if it could have a patination upon the finished result and this was done yet the painting has now become very dark where one struggles to see with any clarity the painting and items portrayed in the painting itself , any advise
I see now, depsite checking my colours the look of my paintings is always cartoonish if this make sense, never realistic. Thank you so much !!!!!! For someone who just started painting still life would you recommend to start with one object only or being brave and set a composition of few objects?
Thank you, thank you ... the information is in the details, in other words, .3D light and shadows and color atmosphere, right? I seem to forget to pay attention sometimes. :)
but for the reflection will it be okay if we start with the light color and work our way to make the little details that are darker to make the area accurate
I guess in say watercolor where you work from light to dark that would actually be the preferred (or only) method. In something like acrylics where layers don't mix and are opaque you could do whatever you like. But Mark is talking about oils where he goes from dark to light, you don't (unnecessarily) want to make your darker parts to light, it's much easier to go from dark to light in oils.