"You can't paint from the can when it's full because all you can do is dab the paint and then wipe it off. There's no paint inside the brush."
"Every day he saw the model anew so that every stroke is like captures that moment in time and only that moment."
"Paintings look best when they don't look like they've been painted when they look like they've happened."
"Layering lighter, the key to building depth."
"Flower painting is a lot of fun, but you gotta relax."
"A simple way to add dimension to the painting."
"Doing these kind of mid to dark skin tones are really really fun."
"Little tricks like that, steering your viewer into certain areas of your painting, you are in the driver's seat."
"If you're making a brushstroke and nothing's happening, get a little more paint."
"I love how it absorbs the paint and it's very smooth."
"Think of it as a tree: dark colors first, then mid-tones, then highlights."
"Painting is 90% drawing... it's all there but the color."
"It's important that you know you get all those whites dry so that the colors stay bright, bright, bright on top of them."
"Our desire to paint shadows is there but they're constantly changing. This is a big challenge for the watercolorist or any painter."
"One of the qualities of a good painter is stopping at the right moment or just before the right moment so that things don't go too far in the direction of description."
"If the groundwork is solid, the foundations are solid for your painting, then it allows you to play at this point and really bring out some fine details that bring it to life."
"To make a sketch and to keep it fresh and vibrant, it's not so difficult. But to do a painting that you have worked on for a dozen sessions and keep it fresh and vibrant, that is an incredible challenge."
"Start with the light areas first and then add the darks as a whole second pass."
"The idea behind the black basing and marbling technique is to use the contrast of the paint color layer against the total blackness of the primer."
"But when I kept the brush slightly damp and worked in focused gentle stippling motions over the top and bottom rim of the lenses, it naturally faded and created a surprisingly realistic transition."
"Creating movement within a painting so that it doesn't just look like it's something that's stuck onto a canvas is kind of a cool thing because you can almost feel a breeze that's blowing the feathers around or creating an atmosphere."
"I'm using both of these colors on my brush at the same time so I can have almost a striping type of effect which is going to give the illusion of the feather um texture."
"...I just put a little bit of orange, yellow, and white on my brush at the same time."
"I'm using a thin consistency and to follow the direction of the C Shadow I'm just going to paint this diagonally as well."
"With just a few pigments, I've mastered how they run together, allowing for quick and dynamic painting."
"Arriving at colors from a limited palette gives a sense of harmony across the painting."
"All we're doing by using the palette knife and scraping upwards onto your canvas, we're creating dots."
"Glazing is such a powerful technique and shouldn't be avoided just because we think we should be better painters first. It's a very achievable skill with some time and practice, and it's a lot of fun to do as well."
"Always working with that wet on wet technique."
"Just because there's so much paint on the canvas at this point, you just touch it, it disappears."
"You'll really see the importance of thick paint when you use a palette knife."
"Let the paint and the brush do the work with the Alexander wet-on-wet technique."
"How bright will this color look when I've got darks around it? And that is one of the most fundamental ways of getting a good painting, tonal contrast all the way."
"I'm gonna go ahead and use the whitish yellow here and then just kind of do a few with just really bright white going over the top of some of the ones I've already got, and that's always gonna be kind of tricky, so just so fun."
"Sanding and scraping between layers can give your paintings a nice soft effect without much effort."
"This is kind of like in M*A*S*H where they called it 'meatball surgery.' Well, this is meatball painting."
"You only have to do this one time, okay? Because once you mix one color of paint up that I have, you will be able to feel what the right consistency is."
"...I always think a painting is best when it's 90% shadow, 10% light."
"Remember a good painting is a painting of light."
"And then dry brushing some light brown on top of the suit coat and shoes to finish those off."
"Van Gogh claims that for these first two sunflowers painted with yellow vases that he used chrome yellows, yellow ochre, veronese green and nothing else."
"The subject matter doesn't matter, what matters is the painting. It's the surface, it's the technique that matters."
"Being able to use this technique in your skies is very, very helpful."
"This is how you do it, you do little swirls."
"It's all about contrast in paintings."
"Trompe-l'œil is an art of supreme illusion, an approach to painting that dates back to antiquity."
"I love how you're creating distance in your paintings with atmospheric perspective."
"Listen to what the model is telling you, be proactive in learning while you're painting, and then react and adapt."
"I'm a genius. I've sussed out that they do this chunky stage highlight and the thin stage highlight."
"I do love dry brushing; it's a very nice and simple technique and it adds a lot of contrast and much needed weathering effects."
"This is a technique where you paint with water over a distress ink or distress oxide ink background."
"The most important factor in painting with gouache is the amount of water that you use."
"One of the best kept secrets in the Hollywood industry to masking hair or fur is that we don't mask it, we paint it."
"The lightest highlights are mostly the background, which really radiates light, and we really want to capture that when we paint."
"Layering paint to give a very translucent and delicate and pretty effect."
"I'm going to use a slightly lighter consistency and as I'm spreading the paint, I like to wiggle my brush around and play with the pressure of my brush to create an even texture."
"Gotta love that splatter, it creates so much fun."
"Depending on how much water to paint ratio you use, it can be more opaque or more like watercolors."
"What wet on dry is, is that you are painting with wet paint on a dry surface."
"This will actually help the painting link together and the tonality of the painting stays consistent with each other."
"The colors glow in your paintings."
"I really, really love this one, this is a 48 by 48 canvas, and this was a funnel pour."
"Let me show you step by step how you can paint this gorgeous rooster in high grass in a very loose expressive style."
"The reason that I do that is that implied brush directionality helps inform the shape of things in the sky, which I think is wonderful."
"It's not enough to know that the sky is light and the shadows are dark and the meadow is a slightly light mid-tone. What's important with values are their relationships, not just their absolute values."
"Sometimes busyness is a very good thing in a painting, very hard to make a landscape overly busy."
"We also want to make sure that not every brush stroke is the same size, right? That we have bigger and smaller brush strokes."
"Look at all those details with a couple of strokes; this is what makes a painting."
"Whatever kind of wave you're painting, you want to apply the strokes in the direction the water is moving."
"That is how you do a Milky Way and a night sky."
"Learning how to use just enough water on your brush to make the paint do what you want, that's the tricky part."
"Start your painting off very, very loose and then work from the center focal point out."
"The more you start off a painting with thin paint and you get to the darkest quicker, the light starts to pop."
"I'm leaving some little white areas because that will give me sort of hard edges to the clouds."
"It's going to be really dark at the top and then we're going to go into more of a dark blue and then it's going to transition over into a beautiful purple."
"We did that with one pink color and white, so we can create various shades of the same color with just using white and different amounts."
"It's just going to give that illusion that the moonlight is hitting her head and casting that kind of glow onto her hair."
"Good paintings are all about the subtle variety."
"Glazing is the act of using thin down paint to blend your layers together or slightly alter a color on your miniature."
"The loaded brush technique is actually blending two colors of paint in your brush while you're painting."
"It's a really nice natural organic way to paint when you work wet on wet."
"I've started out by covering my canvas with a coat of iridescent bright gold."
"I can almost completely dry the paint using nothing but water."
"See, I like that movement, seeing the movement in there is so important."
"I'm Donna Dewberry, the original creator of the Folk Art One Stroke painting technique."
"These rules of aerial perspective are good to know and use in painting and drawing."
"Grab that, pull it, water spilling over there, look at that, see, it just crashes over."
"Edge highlighting is a fantastic technique; it's done a lot by the heavy metal team at Games Workshop and it really does make all the panels and details pop on a model."
"He was all about capturing light in his paintings."
"Paint with smooth strokes and feather out the edges to prevent runs."
"I've managed to do that with zero overspray which is pretty impressive."
"Use a foam brush or a stipple brush to apply paint over vinyl used as a stencil."
"That is always an important thing no matter what you're painting, to be flipping it and making sure it reads well flip both ways."
"The main thing I learned... was to not labor over it, use a big brush, get the paint on the paper quickly, and then trust in the watercolor to do its thing."
"...as you paint, keep feeling the form, feel the roundness of a form or whatever form it is."
"It's really much more about the technique."
"Granulation is one of the most beautiful things about watercolor painting."
"Splatter to add texture to our landscape painting... it's fantastic for things like beaches, for things like woodland pathways."
"The white spirit will reactivate the enamel paint, and the cotton bud will slowly remove this to show that nice blue armor underneath."
"Sponge stippling is a simple, fast, and popular technique, and I use it a lot."
"If you want to make it look very soft and smooth, you can take the large brush and barely caress the canvas."
"We wash our brush with odorless thinner, shake it off, and just beat the devil out of it."
"That's the beauty of painting wet on wet; you can move paint on the canvas."
"Blending with more paint instead of water is less likely to reactivate and muddy your color."
"Be instinctual, be in the moment, work quickly, don't rinse your brush as much as you think you might need to, and see what happens."
"This is a painting about painting, an opportunity for the artist to show off his technique."
"When you're wanting a painting to look foggy, you use colors that are just a slightly different value than the one that is behind it."
"I like that dichotomy that's created in a painting if you can exhibit both in the same painting."
"I highly recommend trying out this painting technique, or if anything, I highly recommend doing that preliminary drawing."
"I'm going to come along here and make a little smidge of a glow on the horizon line."
"Just tapping, leaving a little bit of that background color showing."
"Using the tip of my brush as I go towards the horizon, the marks become smaller and this creates depth in your sky."
"I'm gonna build up the sky first with clouds, lots of pretty blue clouds and teals."
"I like to dot it in in the middle so that I don't overwork it."
"Thank you for coming by today; we have an exciting presentation about one of my favorite painters, Vermeer, and his technique."
"The three steps or phases that I go through to paint a portrait are: Step one, I get an accurate drawing; step two is I construct the form by blocking out the big shapes with thinner paint; and the last step is dialing in smaller shapes and subtle value relationships."
"You kind of get almost an ombre effect with this darker color down here at the bottom, moving into a pink and a peach and up to a yellow."
"I see painting the same as drawing, except you're mixing color and using those strokes to basically draw with paint."
"This back brushing process is extremely, extremely important."
"When I want the blackest black that I can find, which I do for outer space, sometimes I use high-gloss rather than flat black."
"While the paint is still wet, ideally, I use a thicker consistency to paint the center."
"I'm going to start painting the flowers... with the color, I'm going to paint the flowers using single strokes bunched together to depict each petal."
"That's the perfect spray pattern you want."
"A brush is going to actually get the color all the way to the edge of that cutout."
"The blue and the white is actually mixing right on canvas, which is going to be easier to create those blends."
"We're gonna do wet on wet technique with this, which is super fun."
"We'll talk about how to create sharp edges and gorgeous feather effects on this bird."
"Spread your paint quickly by putting it on with a painting knife, brush it in with a brush, and smooth it out."
"I'm always working with my brush like this so that if I have to come from the inside, you can see the balance that I have."
"I'm just nudging my brush up and down along the top of it so it creates the illusion of a tree line."
"The key to a good fade coat is to apply light coats, let them dry, and assess the amount of fade you have."
"Working wet into wet here with my size 12 brush."
"Big to small is always a good lesson; the very best of painters have always done that."
"With my flat hog bristle brush, crisscross, crisscross, and spread the undercoat across the top of the sky."
"Let's give it a good stamp about there, can we see the sun? Beautiful effect."
"Weathering is one of the great things for hiding poor paint jobs."
"I like to know that my paint is going to start when I hit the bottom because then that way I always know where my paint is going to start."
"Playing the neutrals against the more intense colors helps create a vibrant feel to your painting that you really can't get without the neutrals."
"The process of hard and soft edging that gets created from painting wet on wet."
"Doing it in a wash will build up paint thicker in one spot than another, and it'll give you that sense of realism."
"Paint in circular strokes and that'll make your acrylic paint look nice and soft and pretty."
"All those large osteoderms and large scales have a nice dry brush and a light brown paint to make all those details pop."
"I find this is an effective technique for me, and I don't use masking fluid in many of the paintings I do, but when I'm doing sometimes landscapes or snow scenes, I find it to be a very effective process and gives me the result I'm after."
"When you're doing a landscape in acrylics, we paint the farthest thing away first, and that's real important."
"We pre-wet the background and then we go in with paint which isn't too wet and we get this lovely glow."
"We're going to use the tip of the brush for the stem, and then you're using the belly of that pointed round brush to drag it across the page in order to make these leaf shapes."
"Adding a few water droplets on there adds to the depth and dimension in those grapes."
"Just brushing in like a brighter petal right there, and the rose is just coming up, isn't it?"
"I don't really paint individual hairs as much as hair shapes and form and shadow."
"It's really important to choose one thing, one or two things in your paintings to have more in focus."
"Now I like to have that texture going on in my paintings, and I use a lot more paint than I used to."