How to Paint Metal Surfaces, DVD Video Instruction

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Volume 14

How to Paint Metal Surfaces, DVD Video Instruction

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How to Paint Metal Surfaces, DVD Instruction

In Painting Metallic Surfaces Hall introduces various classical approaches for creating the illusion of reflective surfaces, and paints a sterling silver teapot, gold Christmas ornament, pocket watch and silver bowl. Included within the two-hours of oil painting DVD demonstrations are detailed close-up shots of Hall’s traditional brushwork, color mixing techniques and views of his studio as he discusses his paintings at different stages. “The value of metal is much darker than you think! Metallic surfaces will both reflect and absorb the colors of the neighboring objects and surrounding room. Carefully study the surfaces to discover a rich array of warm and cool colors.” Hall’s DVD teaching lessons outline the processes that were used by such traditional 19th century painters as Gustave Courbet, Thomas Eakins, Edgar Degas and Edouard Manet. Using a clear and concise teaching approach, Hall reveals the secrets behind creating masterful paintings of metallic surfaces, covering such topics as distilling the form, establishing light and dark value relationships, contrasting warm and cool colors, observing secondary shapes, and suggesting highlights and reflections.

Artist’s Notes 

The Undertone: Simple Sketch and Basic Value Relationships  Completed Notes can be found within the curriculum sections.  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.  In the painting of the teapot with the peach and apricot (Plate10) carefully study the irregular shapes of background and foreground. The big spot of background negative space (or counter form) is as important as the still life objects themselves, and must be given equal consideration.  Learning how to paint metal takes lots of practice and observation. volume14

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How to Paint Metal Surfaces, DVD Instruction
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