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In Desserts - volume #23 Hall introduces several classical techniques for painting a variety of delicious baked foods. Featured are five 11"x14" demonstrations, including a peanut butter and jelly sandwich, French cruller donuts, half-moon and chocolate chip cookies and a slice of apple pie on a plate with a fork. Within the two-hour DVD are stunning close-up shots of Hall's classical oil painting techniques and views of his studio as he discusses his paintings at different stages.
Through his simple, step-by-step approach, Hall outlines the processes that were used by such 19th century painters as Edgar Degas, Edouard Manet and George Inness. Using a clear and concise teaching approach, he reveals the secrets behind creating dazzling paintings filled with luminous light, covering such topics as establishing the foundation forms and composition, developing textures, achieving a sense of light, and contrasting warm and cool color values to suggest movement.
OIL PAINTING TECHNIQUE VIDEO STEPS
Hall has taught art for over twenty years, and currently is a Professor of Art at a college in New York. ARTNews Magazine critic, Gerard Haggerty, states that Hall Groat II's still life paintings evoke the big picture that we call art history, including painters like Jean-Baptiste-Siméon Chardin, Edwin Dickinson, and his teacher Lennart Anderson." Collectors of
his work have expressed that the work is "Alive, full of grace
vitality and beauty, capturing light that is sublime in nature."
VIEW HALL GROAT II PAINTINGS OF:
DESSERT PAINTINGS
FAST FOOD
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OIL PAINTING TECHNIQUE CLASS
NOTES ON MY PAINTING PROCESS
The Undertone: Simple Sketch and Basic Value Relationships
The initial brush marks made on the canvas must suggest in simple terms the essence of the subject. One must learn to perceive the still life as a single mass, formed by a group of interconnected shapes, no matter how many objects are included within the composition. Oftentimes squinting with one's eyes, barely open, will reduce the subject to simple light and dark patterns. Through letting just a little bit of light to enter one's eyes the subject will appear as a simplified spot of value without detail.
Study the particular contour of this single mass, in relation to the surrounding space— this is the essence of your subject.
Using a large bristle brush, establish the basic composition and main value spots, including low-key, middle value, high-key areas, with a transparent undertone of warm or cool neutral. With still life painting I either use a warm neutral, such as Raw Umber, or a cool neutral, consisting of Ultramarine Blue, Raw Umber and a touch of white. Combining warm umber with cool blue is not as bold looking as a pure umber undertone and often appears more ethereal and moody. A good rule of thumb to follow is work with a cool neutral when painting a warm subject, and a warm neutral with a cool subject. Be creative and explore undertone variations to see how they interact with different subjects.
On occasions I will use the pile of muddy paint that is scraped up on my palette from the prior painting, instead of Raw Umber. During the course of a painting, I periodically scrape my glass palette with a standard glass scrapper and end up with a big pile of very dull, grayed paint. Depending on what colors I used before, this pile of mud will be either slightly warm or cool, and works well as an undertone for subjects that are lighter in value. You may either sketch the mass out with a bristle brush, using a transparent undertone and then thinly scumble the umber within the lines, or block it in with simple scumbles from the center outward to form the contour of the mass. Explore both approaches!
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