Move your eyes from left to right, top to bottom. Where does the eye want to settle? What pops out of the picture as your eye wanders? Get close, step back. Check out that paint. Or, are parts of the canvas even peeking through the paint? What textures do you notice? Using a black mixture, Jerry first blocks in the windows and then blends in a stucco facade.
Jerry starts by sketching and blocking in the flower. Switching to the bristle brush, the reflections of the flower are added using a scumbling technique. The remaining part of this segment adds the details to the flowers and their leaves. This painting develops a lily pad pond with its flower being the center of focus. The canvas is prepared with an olive green mottled background. Jerry sketches the lily pads using elliptical shapes to create flatness.
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The pads are highlighted using a warm complimentary accent to finish the session. This session is about painting animals. Jerry sketches cows and blocks them in with a dark mixture. Having completed the background of this painting, Jerry next sketches the bird resting on the stump. He then blocks in the bird using inward strokes to create the loose shape and background for the feathers. Jerry blocks in the entire painting creating the backdrop for the wren. Starting with a tinted canvas, Jerry blocks in the sky using a vivid turquoise.
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The foreground grasses a fence post and wooden rails are painted. The final step is to provide more detail on the foreground weeds. Jerry focuses on the final highlighting to finish the painting. He starts by adding various colors to the flower arrangements, including yellow, pink and orange. Next, highlights are added to the top of the steps and to the walls to suggest reflective light and also to add interest.
Highlights on the flowers are repeated with thicker paint to make them pop. Jerry explores the ups and downs of this painting. Since there is no horizon line, all the various angles are first checked to make sure that they are correct and in alignment until they fit. The first step of this painting is to tint the canvas gray and use a white charcoal pencil to sketch in the steps.
Jerry starts by first applying the dark areas in the windows and the door behind the steps. In this segment, additional highlights are added to the rocks and snow. The snow highlights are carried into the water's edge to create interest and suggest rock foundations along the embankment. Snow is also added to the rock formations at the base. This painting of the Red Rock Canyons featuring close-up rock formations is a snow scene that uses a warm color scheme.
Jerry starts with a tinted gray canvas and begins by blocking in the sky with a turquoise blue and transitioning into an orange glow on the horizon. Starting with the lighthouse, Jerry uses the No. The brightness of the lighthouse sets the balance of the value system for the remainder of the painting. Jerry gently blends in the sky, starting at the top and ending with a touch of red glow at the horizon to create atmosphere.
This last session is all about final highlighting. Starting with the shoreline debris and using a thin glaze with a chisel-edge brush, Jerry scumbles along to create the logs and limbs along the shoreline. Jerry starts with the initial highlights on the river, using the No. Having blocked in the background, intensifying the rocks, defining the shoreline, and highlighting the trees are part of this process. Jerry starts this popular painting by creating the backdrop using seven values of depth by layering with an impressionistic style.
Jerry shows his students how to use a series of dry brush techniques of various glazes to suggest wood grain. Then using the 4 script brush, he shows how to add the final details, like cracks, knot-holes, and highlights. In this unique study of weathered wood, Jerry shows his students how to paint a simple landscape in the background. Then shows how to under-paint the old barn wood to form the shape of an old barn window.
Jerry shows his students how to sketch in the large gnarled tree in the foreground. How to highlight and detail the foreground hillside and grasses. Then, he shows how to paint in a formation of distant geese, the old tree, and the technique for painting stars. Jerry takes his students through the process of applying the glow around the moon. Then adding some additional darker clouds. He applies the second layer of color to the foreground grass to create a much deeper contrast of dark against the lighter horizon.
Jerry explains the unique process of using multiple colors to create darker hues to suggest a nighttime affect. Then he shows how to use the 4 bristle brush to make a sphere shape to create the moon. He underpaints the foreground and paints in the distant trees. Jerry shows his students different techniques for finishing the details and highlights of the entire bird with a special emphasis on how to create feathers. Then finishes with snow on the large tree trunk and limbs. Jerry shows his students how to properly sketch and proportion the Hawk sitting on the foreshortened limb. Then, he shows how to properly underpaint the Hawk's body and head.
He begins painting in the eyes and beak and the feathers on the head. Jerry takes his students through the process of sketching in the large dead tree in the foreground paying special attention to the foreshortened limb that the Hawk is sitting on and the hollow stump. Then, he shows how to under-paint the tree and give it 3-Dimensional form. Jerry uses the 4 Script Brush to paint in the larger distant trees, shows the proper placement of Teepee, underpaints and details the Teepee, and adds the highlights on the snow and final details. Jerry takes his students through the process of preparing the canvass for the under-painting.
Then, he paints in the sky, using the Hake Brush with the wet-on-wet technique. Jerry shows how to under-paint the foreground snow and uses the 4 Script Brush to paint in the background trees. How to use the synthetic, chiseled-edged brushes to apply the final highlights on the torso, pants, face, and hair. Then, with the Script Brush, Jerry adds the taller foreground weeds. Jerry explains how to draw the human figure by using the negative space rule for painting and drawing.
After drawing the figure, Jerry then shows how to under-paint the upper torso, hair, and face using the proper hues and values for each section of the figure. He also gives a careful explanation of how to use the correct brush to block in the under-painting of the figure. In this opening session, Jerry explains to his students how to use the Hake Brush, and the 6 Dynasty Brush to paint in the background and with the wet-on-wet technique paint in the tall out-of-focus background needs. Jerry shows how to properly prepare and under-paint the background of this beautiful Autumn scene using the 10 Bristle Brush.
Jerry shows how to use a scumbling technique to achieve a soft, mottled background of warm, earthy, Fall tones. The first of several layers. Then he under-paints the walls and the water. Jerry shows how to paint the final highlights on each pot. Then, he uses small brushes to apply the design on each pot. Jerry under-paints the shadowed part of the snow on and around the pots, applies highlights on the snow, and paints in the tall weeds. He adds a few final highlights and details throughout the painting.
Jerry shows how to sketch in the pots using proper composition techniques to create good eye flow.
Then he shows how to under-paint each pot with the appropriate colors using specific brushes and blending techniques to achieve roundness to each pot. Jerry shows how to put final details and high lights on the eagle's beak, eye, head and shoulder. He shows the proper use of brushes and consistency of paint to achieve the layering effect on feathers and adding a few tree limbs. Jerry begins a new acrylic painting called "Broken Pots 2.
Jerry shows how to sketch in the Eagle's head using a white Conte Pastel Pencil. Then proceeds to show how to under-paint the head, beak, eye, and shoulder with the proper under-painting tones. Also, Jerry gives a great description of how to use the correct brushes and techniques for blocking in feathers. Jerry shows how to prepare the canvas for a bird painting. Then proceeds to show the proper mottling techniques for the eagle's head.
He shows examples of other miniature bird and animal paintings. Jerry shows how to put final details on farmhouse, snow highlights on ground and pine trees.
Then adds final details to the rest of the painting including weeds, fence posts, fence wire, etc. Jerry applies final glow to the sunset using a dry brush technique. Then applies intermediate details to the house and adds another layer of snow on the ground and road area. Now with the under-painting in place, Jerry shows how to sketch in the house using proper perspective. He applies the first layer of snow to establish the snowdrifts around road and ground contours. This is a beautiful snow scene at sunset, with an old farmhouse and warm glowing lights coming from the windows.
Jerry shows how to block in the sky and then creates the proper color for under painting the snow. Jerry shows how to put all of the final highlights and details throughout the painting like large trees, bridge supports, tree limbs, water, weeds, and brush. Jerry shows how to take the 10 bristle brush and using a dabbing technique begins adding the brighter highlights to the background trees. He adds the first highlights on the water and first form highlights on the rocks. Jerry shows how to apply the next layer of warm Autumn highlights using the same scumbling techniques as in episode one.
Then he under-paints all of the rock formations. With the 4 script brush, Jerry paints in most of the smaller and intermediate size tree trunks and limbs. Jerry takes his students through the process of under painting each segment of the painting. Beginning with the sky, then the background trees, waterfall, middle ground, body of water, and then the foreground rocks. He finishes by adding darker trees in background. Jerry shows his students how to paint in the intermediate details like more distinct, distant trees, adding first layers of highlights on waterfall, paint ripples on water and shows how to dry brush fog and mist at base of waterfall.
He finishes up by painting in the foreground rocks. Jerry takes his students through the process of detailing the entire painting from background to foreground. First dabbing in the fall-colored leaves of the background trees, then finishing with the script brush for the tree limbs, tall weeds, and foreground bushes. Jerry discusses types of papers and surfaces to paint on and gives tips for setting up a palette. Jerry shows how to apply various washes to create basic landscape objects like distant trees grass.
Jerry starts a new, more-advanced painting Mallard Duck on watercolor board using the hake brush.
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Jerry uses the chisel-edge brushes to paint details like the hollow stump, reflections, and grasses. Jerry uses lb watercolor paper to create a small painting of an old mining building in Colorado. Jerry finishes the painting by painting in a dead tree and miscellaneous details in the foreground. Jerry uses modeling paste to texture the moon and then applies the background color around the moon. Hawaii's Finest Hour, Part 2 TV-G Jerry shows how to make the sunset much brighter and how to paint in the sunglow and sunrays. Hawaii's Finest Hour, Part 1 TV-G Jerry sketches in the main subjects and underpaints the sky, clouds, hills and main body of water.
The Umbrella Man, Part 4 TV-G Jerry shows how to paint in the final details of the old man's face, beard, coat, and umbrella. The Umbrella Man, Part 3 TV-G Jerry shows how to underpaint the old man's figure and umbrella and shows how to block in the face. The Umbrella Man, Part 2 TV-G Jerry continues the process of adding glowing lights and begins painting in the water puddles. African Cat Nap, Part 1 TV-G Jerry uses the "scumbling" technique to block in the background area around his sketch of the lions. The Umbrella Man, Part 1 TV-G Jerry applies a mottled background using the hake brush and shows how to apply phase one of the rain.
The Blue Door, Part 4 TV-G Jerry shows the first phases of painting in the flowers and highlights the pots, leaves, and steps. Big Ears, Part 2 TV-G Jerry uses sanding and extra layers of gesso to create the painting's "portrait smooth" surface. The Blue Door, Part 2 TV-G Jerry shows viewers how to underpaint the rest of the painting like the pathway, pots, and windows. The Blue Door, Part 1 TV-G Jerry begins underpainting the buildings using various techniques to suggest brick, stone, or stucco.
Wind and Water, Part 4 TV-G Jerry continues the process of highlighting and detailing the windmill, water tank, and fence. Wind and Water, Part 3 TV-G Jerry begins the process of underpainting the windmill base, water tank, and miscellaneous objects. Wind and Water, Part 2 TV-G Jerry continues working on the sky and begins painting in the distant layers of background hills. Wind and Water, Part 1 TV-G Jerry uses soft vine charcoal to make a final rough sketch and blockis in phase one of the sunset.
Whisper of Wilderness, Part 4 TV-G Jerry shows how to underpaint the silhouette of the deer and splatters pebbles on the road. Whisper of Wilderness, Part 3 TV-G Jerry shows how to use the script brush to paint in the small bushy trees in the middle-ground. Whisper of Wilderness, Part 2 TV-G Jerry applies the bright glow in the center of the painting and applies the first layer of sunrays.
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Taking a Dip, Part 4 TV-G Jerry shows his viewers how to use the correct brush to paint the highlights and details on the cows. Whisper of Wilderness, Part 1 TV-G Jerry discusses monochromatic color scheme and shows how to underpaint the very background tones. Taking a Dip, Part 3 TV-G Jerry explains the process of sketching in the cows and how to compose them properly. Red-Headed Woodpecker, Part 4 TV-G Jerry uses certain brushes to apply the different colors and details to the woodpecker's body. Red-Headed Woodpecker, Part 3 TV-G Jerry shows how to underpaint the woodpecker and begins to highlight the tree, bark, and limbs.
Taking a Dip, Part 1 TV-G Jerry paints the sky with the hake brush and shows how to underpaint the water and prairie grasses. Red-Headed Woodpecker, Part 2 TV-G Jerry explains two different ways of applying the sketch of the woodpecker and dead tree. Back from the Garden, Part 5 TV-G Jerry showcases the process of painting the final details and highlights on the elderly lady.
Red-Headed Woodpecker, Part 1 TV-G Jerry explains to his viewers what a diptych is and the proper way to compose the composition. Back from the Garden, Part 4 TV-G Jerry begins adding the flowers in using different brushes, techniques, colors and textures. Back from the Garden, Part 3 TV-G Jerry shows how to use the 4 chisel-edge brush to paint the shapes of all the elliptical stones.
Gray Wolf Ridge, Part 5 TV-G The importance of sketching the wolf in the proper location and the proper proportion is discussed. Back from the Garden, Part 2 TV-G Jerry shows his viewers how to paint in the right side of the wall, pillar, and side of building. Gray Wolf Ridge, Part 4 TV-G Jerry demonstrates several different techniques for painting in the final details on top of the cliff. Back from the Garden, Part 1 TV-G Jerry shows how to paint the sky and background hills and paints in the large Cypress trees.
Artful Refuge, Part 4 TV-G Jerry shows how to block in the large tree on the left side and finish it with the 4 script brush. Artful Refuge, Part 3 TV-G Jerry shows how to paint in the middle ground leafy trees on the very left side of the canvas. Artful Refuge, Part 2 TV-G Jerry shows his viewers how to paint in the very distant trees using the 4 script brush. Artful Refuge, Part 1 TV-G Jerry uses smaller bristle brushes to scrub in the first layer of distant trees, bushes, and hills. Powerful, Proud, and Free, Part 2 TV-G Jerry continues showing viewers how to add additional layers of clouds to create a more dramatic affect.
Powerful, Proud, and Free, Part 1 TV-G Jerry shows how to use multiple pieces of reference material and begins to paint in the sunset behind the Statue of Liberty. Winter Sentinels, Part 4 TV-G Jerry shows how to paint highlights on the corn stalks to give them a strong, sunlit appearance. Winter Sentinels, Part 3 TV-G Jerry shows his viewers how to use the chisel-edge brushes to underpaint the corn stalks. Winter Sentinels, Part 2 TV-G Jerry shows how to underpaint the snow and add highlights to create the ground contours.
Winter Sentinels, Part 1 TV-G Jerry explains how to create a painting from memory by understanding the elements of composition. Triple Mischief, Part 4 TV-G Jerry shows his viewers how to continue bringing up the highlights and details on the raccoons. Triple Mischief, Part 2 TV-G Jerry shows viewers how to take the 6 bristle brush and underpaint the stump using a dark-to-light value system. The Perfect Perch, Part 4 TV-G Jerry shows his viewers how to block in the hawk with the 2 chisel-edge brush using quick strokes. The Perfect Perch, Part 3 TV-G Jerry adds minor details and highlights to the hay bales and paints the tractor and fence posts.
Ablaze with Color, Part 4 TV-G In this final session, Jerry adds details, highlights, and miscellaneous items shadows, weeds, hotspots, rocks, fallen log to finish up this painting. Ablaze with Color, Part 2 TV-G Jerry underpaints the foreground water and the grassy islands on each side of the waterfall. Perishable and ephemeral just like a human life, fruit served as a representation of the transient nature of our existence.
While fresh and ripe fruit represented a symbol of abundance, bounty, fertility, youth and vitality, decayed ones served as a reminder of our own undeniable mortality and inevitability of change. Besides being a moral and social commentary, fruit depictions also fashioned clever visual puns , revealing their humorous or erotic potential.
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The Italian painter Giuseppe Arcimboldo is best known for his imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish, and books. Known as a 16th-century Mannerist , Arcimboldo tended to show close relationships between human and nature , but also show his appreciation of nature. The portrait Summer from shows a head entirely made from seasonal fruits. A painting by Michelangelo Merisi da Caravaggio created circa , Basket of Fruit shows a wicker basket perched on the edge of a ledge with an assortment of summer fruits.
Generally in less than perfect condition, the majority of fruit seems worm-eaten and insect-predated. It is believed that the general theme focuses on the fading beauty and the transience and natural decay of things. Scholars also describe the painting as a metaphor for the Church. It is also the only still life that was signed and dated by the artist. Showing three group of objects painted against a dark background , the artist isolates the objects from one another in a composition that appears conscious.
Appearing as static due to the dark background, these objects seem completely detached from the context of everyday life and humans. Often somber in color, the majority of still lives made in the Netherlands are dated from to while the artist was living in Nuenen. During this period, van Gogh experimented with color, light, and techniques he learned from modern artists.
In the painting Still Life with Vegetables and Fruit created in , he experiments with the use of light falling across objects. He believed that the use of dark colors was more realistic and mature. His still life illustrations are viewed as a mixture of both traditional and modern — while the fruits and vegetables in his pieces are easy to identify, they appear as decorative items. The painting The Basket of Apples from is full of odd errors in drawing , such as the lines that represent the close and far edge of the table, the bottle looks tipsy and the cookies are very odd.
Cezanne tended to show that the illusion of space that was constructed since the Early Renaissance is not a real experience of human sight. This Fauvist painting follows the example set by Impressionism with the overall lack of a central focal point.