Brilliant! This is so incredibly informative I can't believe you gave it all away free.Thank you, dear Paul. Tell your sweet birthday boy you were delivering a magnificent gift to the world and we are so grateful for his patience and for the hours he gave you up to accommodate our learning to paint. XO
Thank you for this lovely video. I always love seeing your warm and friendly smile. I loved the Munsell mixing lesson. I was able to follow with my own Big Book and got some very accurate colours. Too bad my rose drawing when a bit awry. Trying to get the form, I lost some of my shadow and reinstating that lost me some form and so on, but I ended up with the colours and values reasonably correct, so it turned out ok. x
It does make a big difference, but there's much you can do with the student book too. I worked with it for at least a couple of years before I got hte big book. When the big book came, I was ready to make the most of it.
Hi Paul - thank you so much for generously putting out this utube with so much informative narration! Your flower painting is one of a kind, even though I miss the live, I am inspired to do a study on this painting- Thank you ❤️
Your works are so beautiful . Please consider doing a lesson on painting a peonies... And or still life of a pumpkin... Another- 2 apples... Pear Maybe a still life series- basic not complicated setups...of say 1 or 2 apples with backdrop on basic surface illusion like table line across.. . Another of pear I've searched high and low for a simple pumpkin and there's none out there.. in fact no still life tutorials out there- only in other languages .. Thank you Paul for considering...
thoroughly enjoyed this demonstration Paul! really beautiful build up of the form. You are right that values are constantly brought up through art tutorials as if it's the only thing we need to rely on for a good painting. Not quite true as there are so many aspects that could be equally revolutionary like chroma and edges like mentioned in this video. You can have all the values but still not quite get the form if your edges aren't on point. Edges are important to informing the viewer of the form and it's perspective size/locale or direction it faces and how it either advances or receeds toward us, it also provides a key to where to direct the viewers eyes giving us the key to the whole composition. Thank you for putting this video together because i think this has opened my eyes to this concept just that bit more!
Great teaching ty Paul. I'm so facinated of the different perception of the background color when you lay it on the white canvas, it looks so different on the neutral palette.
@@jeanluc5311 I know! That's one reason judging colours and values accurately is hard. You can paint on a tones canvas which makes it easier, but you can lose a little chroma if you're not careful, since oil paint is always a little transparent.
Great videos. I teach flower paintings and abstracts. And intuitive work where you “read” what the images tell you. It’s always about your life. Really cool. I don’t know if you can see it but there is the face of a women in the rose. Once you see it you can’t unsee it.
I know this video is nine months old, but wonder if there was ever a final version posted. I have looked everywhere and can't find it. I plan to give it a try. Thanks for all your teaching!
Hue shifts from local to shadow is often not enough to worry about (but always check it) unless you are really trying to perfectly color match. Most often, the simple adding of the neutral grays will accomplish a proper reading to the mind. I’m only talking about the Hue shift upon a single object since the shadows belong to the surfaces upon which they are cast. The Atelier Schools teach to have several strings of neutrals mixed on the pallet to make the micro and macro hue shift changes.
Paul, It's interesting that you see the flower as a cup and saucer. That seems to make all the difference. When I listen to Mark Carder, I feel he is trying to get us more to paint exactly what we see. But when you start trying to establish your 3-D form, it seems to boost you along so much more quickly to realism. I'm not saying one is right and one wrong, and maybe I've misinterpreted Mark. And I'd like to credit Mark Carder also for his excellent series of tutorials which I value very much.
I'd say the first step for me in all my work is to simplify. For me, it's all about creating strong form. I feel you then have freedom to improvise around that more, if have the experience to do it. I've found that it helps people to get more convincing results more quickly when teaching too. Of course there are different approaches and I'm not saying mine is "more right", but it does seem to work!
Hi Paul, enjoying video and lessons on email. I have a question - brushes. What was the name of the hog brush you used for the background ? What brushes would recommend for oil painting. Thank you
You can get the Munsell Student Colour Set from Amazon, that's a good place to start. Pantone (last I cheked) sell the big book, the one I'm using here. But it's v expensive! If you go for it you want the glossy edition - it has more chips than the matte one.
@@PaulFoxton Thank you very much for your reply. Unfortunately there are a few editions i have read/seen on amazon and it's hit or miss if you get a good copy with all the samples supplied.
Yes absolutely. Chroma in the ambient light can create more chroma there than int he light in any low chroma object. Imagine a white egg in indoor natural light. Very likely, there will be more chroma in the shadow than the light. But particularly for flowers, some light will travel through the petals, too, and influnce the chroma of the shadows. That's why it's so important to be able to "read" and understand the specific situation you have in your subject, how the light affects the local colour - especially in terms of the chroma. Unfortunately there are no "catch all" rules you can apply to every situation. Honestly, the best thing you can do to really get a handle on this stuff is to get a lot of styrofoam spheres, paint them different colours, some low and some high chroma, and then do paintings of them. Working with a more simplified situation (a uniform local colour) makes things much easier to understand, and you can then apply that understanding to everythign you paint.
Nice tutorial! How have you placed the canvas onto the board? Have you pasted it to the board with something? Wondering how it is standing upright without support.
thanks for the sharing👍👋
Hi Paul! Finally got a chance to see this video! Very Good as usual! You’ve helped me so much over the years! Thank You!
It is extremely generous of you to share this with us, thank you. 👌💕
Brilliant! This is so incredibly informative I can't believe you gave it all away free.Thank you, dear Paul. Tell your sweet birthday boy you were delivering a magnificent gift to the world and we are so grateful for his patience and for the hours he gave you up to accommodate our learning to paint. XO
Thank you for this lovely video. I always love seeing your warm and friendly smile. I loved the Munsell mixing lesson. I was able to follow with my own Big Book and got some very accurate colours. Too bad my rose drawing when a bit awry. Trying to get the form, I lost some of my shadow and reinstating that lost me some form and so on, but I ended up with the colours and values reasonably correct, so it turned out ok. x
Hi, thank you for this live video, really helps me to understand the process of painting a rose.
Can’t wait for the day I can afford the Big Munsell books
It does make a big difference, but there's much you can do with the student book too. I worked with it for at least a couple of years before I got hte big book. When the big book came, I was ready to make the most of it.
Hi Paul - thank you so much for generously putting out this utube with so much informative narration! Your flower painting is one of a kind, even though I miss the live, I am inspired to do a study on this painting- Thank you ❤️
Your works are so beautiful .
Please consider doing a lesson on painting a peonies...
And or still life of a pumpkin...
Another- 2 apples...
Pear
Maybe a still life series- basic not complicated setups...of say 1 or 2 apples with backdrop on basic surface illusion like table line across.. .
Another of pear
I've searched high and low for a simple pumpkin and there's none out there.. in fact no still life tutorials out there- only in other languages ..
Thank you Paul for considering...
thoroughly enjoyed this demonstration Paul! really beautiful build up of the form. You are right that values are constantly brought up through art tutorials as if it's the only thing we need to rely on for a good painting. Not quite true as there are so many aspects that could be equally revolutionary like chroma and edges like mentioned in this video. You can have all the values but still not quite get the form if your edges aren't on point. Edges are important to informing the viewer of the form and it's perspective size/locale or direction it faces and how it either advances or receeds toward us, it also provides a key to where to direct the viewers eyes giving us the key to the whole composition.
Thank you for putting this video together because i think this has opened my eyes to this concept just that bit more!
First time on your channel. I am a beginner. I love your teaching method.
Thank you Paul immensely for putting this lesson out. Thank you for caring🙏🙏
All good!
Great teaching ty Paul.
I'm so facinated of the different perception of the background color when you lay it on the white canvas, it looks so different on the neutral palette.
It's even crazier when you lay the dark greens on the canvas and the the background starts to appear lighter.
@@jeanluc5311 I know! That's one reason judging colours and values accurately is hard. You can paint on a tones canvas which makes it easier, but you can lose a little chroma if you're not careful, since oil paint is always a little transparent.
Caro Paul estou adorando seus tutoriais! Sua técnica é magnific!😊
California❤❤
Thank you🌻🌹🏵🥀
Great videos. I teach flower paintings and abstracts. And intuitive work where you “read” what the images tell you. It’s always about your life. Really cool.
I don’t know if you can see it but there is the face of a women in the rose. Once you see it you can’t unsee it.
Love that rose beautiful.
Hi Paul, I am enjoying your tutorials, ty for sharing. I am interested in that Munsell photoshop scale, how can I get that please let me know.
Beauty
❤❤
I know this video is nine months old, but wonder if there was ever a final version posted. I have looked everywhere and can't find it. I plan to give it a try. Thanks for all your teaching!
Hue shifts from local to shadow is often not enough to worry about (but always check it) unless you are really trying to perfectly color match. Most often, the simple adding of the neutral grays will accomplish a proper reading to the mind. I’m only talking about the Hue shift upon a single object since the shadows belong to the surfaces upon which they are cast. The Atelier Schools teach to have several strings of neutrals mixed on the pallet to make the micro and macro hue shift changes.
Magnifique n'est-ce pas cette démonstration de talent.
🙏🙏🙏🙏
Thank you ! very beautiful~~~~
Thanks for the nice Video 🎉❤
Very, very nice !!!
Your photos are so clear. What kind of camera do you use?
Paul, It's interesting that you see the flower as a cup and saucer. That seems to make all the difference. When I listen to Mark Carder, I feel he is trying to get us more to paint exactly what we see. But when you start trying to establish your 3-D form, it seems to boost you along so much more quickly to realism. I'm not saying one is right and one wrong, and maybe I've misinterpreted Mark. And I'd like to credit Mark Carder also for his excellent series of tutorials which I value very much.
I'd say the first step for me in all my work is to simplify. For me, it's all about creating strong form. I feel you then have freedom to improvise around that more, if have the experience to do it. I've found that it helps people to get more convincing results more quickly when teaching too.
Of course there are different approaches and I'm not saying mine is "more right", but it does seem to work!
Hi Paul, enjoying video and lessons on email. I have a question - brushes. What was the name of the hog brush you used for the background ? What brushes would recommend for oil painting. Thank you
Love it.
Where can people buy the munsell value tabs and book from?
You can get the Munsell Student Colour Set from Amazon, that's a good place to start. Pantone (last I cheked) sell the big book, the one I'm using here. But it's v expensive! If you go for it you want the glossy edition - it has more chips than the matte one.
@@PaulFoxton Thank you very much for your reply.
Unfortunately there are a few editions i have read/seen on amazon and it's hit or miss if you get a good copy with all the samples supplied.
Hi Paul, if the local color of the petals is fairly low chroma, then how is it that in shadow that chroma increases? Is that possible?
Yes absolutely. Chroma in the ambient light can create more chroma there than int he light in any low chroma object. Imagine a white egg in indoor natural light. Very likely, there will be more chroma in the shadow than the light. But particularly for flowers, some light will travel through the petals, too, and influnce the chroma of the shadows.
That's why it's so important to be able to "read" and understand the specific situation you have in your subject, how the light affects the local colour - especially in terms of the chroma. Unfortunately there are no "catch all" rules you can apply to every situation. Honestly, the best thing you can do to really get a handle on this stuff is to get a lot of styrofoam spheres, paint them different colours, some low and some high chroma, and then do paintings of them. Working with a more simplified situation (a uniform local colour) makes things much easier to understand, and you can then apply that understanding to everythign you paint.
We need to move away from “Temperature” to describe “Directional Hue Bias”. Temperature is very relative.
Indeed.
Thank you so much for another great lesson. I would like to buy the Munsell book you are using. What's the name .
🙏👏👏👏👏👏…….
Nice tutorial! How have you placed the canvas onto the board? Have you pasted it to the board with something? Wondering how it is standing upright without support.
Blu tack :)
@@PaulFoxton thanks 👍
I am delighted your painting a pink rose tried this recently it was a disaster
I've had many disaster on the way to being able to paint flowers - stick with it! (I still have some!)