Profile
Name:
"Cheap" Joe
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30,549
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785,476
Style:
Crafting
Joined:
April 18, 2007
Last Sign In:
1 week ago
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Featuring sample clips of art instructional Videos and DVDs, As well as complete quick art lessons from Joe Miller himself. Full length Videos and DVD's are available From Cheap Joe's Art Stuff. Cheap Joe's features a complete selection of fine art supplies. Visit us online at www.cheapjoes.com.
Hometown:
Boone, NC
Country:
United States
Companies:
Cheap Joe's Art Stuff
Recent Activity
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cheapjoes uploaded a new video
(4 weeks ago)
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
What we're doing now is getting to the end of the painti... more http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff What we're doing now is getting to the end of the painting so this is where the "jewelry" comes in. What I'm going to do is have a sense of sunlight coming to the left hand side of the trees and put in the shadow. I've already got a nice horizontal banding in there so thats going to let me take a little bit of light. Use a soft brush, Im holding my brush almost parallel to the surface and lightly pull across the strong horizontal reference and you'll see it pull off paint in a way that looks very natural for bark. I'll find a way of darkening it up on the other side without actually doing much. I perfected this as an artist, the whole idea of not doing anything and making it look like you're doing it. Maybe I perfected that as a teenager. I've looked at nature enough to get a sense of volume. Rather than flat crisp edges, this sense of volume usually involves interest around the center of mass and less interest at the edges. There are times when you want to pay attention to the edge like here where you're trying to separate and pull this tree out from the dark. You may go ahead and work on that edge to pull it forward but that also means that as that gets pulled forward you want to shift others back. In some cases I may need to pop up whats happening behind and in some cases I may need to soften it. So I've got my earlier green and I may thin this whole mass out by just pulling some green across the whole mass. This may take 30 hours depending on how big the piece is and how much detail I want. There is one big task that has yet to be done. I'm going to pull down some color in the water because this will eventually be the subject matter, the pretty, purple water. I also need to find something along this bank of sufficient interest to really warrant this painting. Part of that's going to be probably making a really bright beech or birch tree. I'm going to take my mixed grays and try to find a nice mid-tone. Just get a sense of some subject matter here, maybe multiples. If I can get interest on the way a tree may pull off into one or two shapes rather than a single shape. By just assigning interest to this edge, maybe work at the base of the tree rather than at the top where I'm not sure if its going to work yet. Maybe focus on the way it hugs the earth. So Ill have two little references, it would be nice to get a third one in there if I can. As I break over all of that stuff it creates more of a sense of interest and form. It gives us a sense of interest but I want to make certain that I dont get too cute. Since this is the shadowed side, I'll probably put a little darker paint on it. Let's see if I can't come back up into those verticals on the other side. Then I'll stand back and take a look and see if I've got a sense of interest. And its interesting but it's not enough, so I'll keep playing. I want to have some branches come off here. Most of us have a tendency to pull our branches out of the edge, I'm going to have branches off the center of the mass. I'll pull some light off this way and correspond that with a darker color. Maybe cast a shadow. Ill do the dark first and then pull the light across. I may need to darken it up a little more. Im trying to see if this reference is enough to get it interesting. Well, its interesting but still not enough. In the process of doing this, I'll probably pull another tree down somewhere. Maybe I can take this vertical line and pull it all the way down to the water. So that will be the next goal. Its really fun to get to this stage of the painting and start to orchestrate how the eye moves through the piece. This tree is going to come off the front edge, that darkness and contrast will broaden this up a little bit. Makes us look past all those other things in the painting. The tree is still not hitting anything at the waters edge so I'll work on that a little bit. Now I've noticed that right at the edge where the water hits the land there is a tendency for this khaki color to appear. Its a combination of things, I think part of it is reflecting the landmass and part of it is looking through the water to the dirt, to the base of the body of water. I'm able to allude to the surface of that water by just dragging my brush across and letting it pull out some light. If I put that khaki color in first and then come across with the blue it sorts of blends as it goes down. And it starts to give this really attractive illusion. This isn't the only way to handle water, but when I dont have a subject matter and I want the water to be the subject Ill really play with it a little more to enhance it and pop it up. When I do that I'm going to have to darken that khaki color and darken the blue I'm using too. This water takes a while but its worth it. less |
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cheapjoes uploaded a new video
(1 month ago)
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
I'm going to have a darker color across the edge but I w... more http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff I'm going to have a darker color across the edge but I want just a little bit more interest along that back edge. I'm going to pull some of that blue light from that hillside across the water to this side here. Just enough to give us some interest and liven up this area so i can pull across some more bands of color. Unless I can exaggerate it I can't see it. I'm going to pull this vertical down. That's beginning to give me a sense of this diminishing form as well. Notice I haven't looked at the photograph at all for the last half an hour or so. I'm really involved with my own memories and desire to get this land to really go back. I don't know that the photograph is going to help me do that. I'm going to keep standing back and looking at how many of these bands I can put in and how many I can break to get this to go from here to there. I'll play with that but just in this space because everyone is going to look to the other side but this is where the nuts and bolts are, the armature, this is what makes it work. I'll put in a few more verticals just so I can see that broken band and make sure they don't line up with the things that are already back there. It's much thinner and much smaller and it's just the beginning. Now the larger I want this mass to be the more powerful my verticals are going to be. So if I want that mass to tumble down this hill a little more I may put in another set of verticals that will let me put more dark over here. I like the idea of getting a little more foliage. I want to make sure I have enough paint so that I can just come on top. While that's there I may take my first job with a smaller brush and pop in some lights along the water's edge. At this point I'm not really worried about what they do. I'm just putting in lights. I can get higher contrast and more interest this way. I want to make sure the spacing isn't too equal. These are supposed to be rocks so depending on how shallow and how the water comes in I may pull them out a little bit more this way. I'll take my mixed purple and mixed blue and cover that up. Just so you can see what that looks like I'll actually start mixing that. Then we're going to shift to the next painting. I think one of the big mistakes a lot of painters make is not getting dark enough in their paint values. I really think we can have a better sense of light and shadow if we have a substantial dark in the painting. Even though this will be covered up with some reflective sky I tend to start at least a shade or two darker than I'm going to end up. Just to make certain that I get a heavy enough value. This will be a transitional color right now but I'm just going to make it pretty. This still isn't my finished coat because I've got to cover up this real heavy linen so it will take another coat at least. I just wanted to get some paint down. This is pretty much the second time through. We've done another painting and gotten it to this stage. I'm going to lighten it up just a touch even though it will still be darker. I want to get a sense of letting us get into the painting a little bit. These colors will be shifted but at this early stage I still don't want it to be too intimidating. I'll brighten it up just a little bit. That's a little banded so I'll break it up a little bit. Alright, let's see how that looks. That looks a little funky. As thick as this vertical was it's going to need more foliage up there to make sure it look more natural. Ok, so this is the end of the second coat. I did one coat then I've covered the whole canvas one more time. It took about 30 more minutes, maybe 45. That's it for today. less |
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cheapjoes uploaded a new video
(1 month ago)
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
This is an interesting part of the painting and it's one... more http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff This is an interesting part of the painting and it's one that I don't get to that often in front of people. I'm going to pull a little bit of this sky color into the wedge below it and a little bit of that wedge color into the one below it so things aren't quite so separated. Let me take a little bit of that light pinkish sky color and I'm just putting it in to the areas of the tree just to unify these shapes a little bit. This is part of the jewelry, part of the fun. I'm able to pull some of that in, be able to pull some this sky blue down into these areas. Take some of that fallow and down here I'm pulling it into the next wedge. I'm using the blues on the shadowed side and the lighter colors on the sunlit side. I'm able to pull some fallow into here. I'm able to pull some of that orange and pink from the sky into this area. That's a little intense so I'll lighten it up a bit. If I don't quite line up that's alright, I'll just make a bigger tree. You notice I'm not staying in one area when I do this. You tend to over work it if you stay in one area so I'm just sort of moving about. For some reason I'm not going to bounce this color back up in to the water. I mean I could right here at the base of these sahdows, I could bounce some of these purples back up like a local color. There's no way I can get that purple up that far. I can pull some of these nice ultra marines down from here to here though. So on the shadow side I can pull this color down a little bit. If I want to read across this a little bit, instead of using a black which is going to flatten the piece, I can go ahead and keep the values the same and pull some greens into that. It's already got the horizontal stroke so I can come back with some verticals. This is the finish up part of the painting. This is the stuff that I spent all that underpainting, so that I can start to make this painting shimmer a little bit more. I'll take some of these colors and pop them in behind there and clean this up a bit so they can read it. Look at this, this is fun, I can split this big tree into two just by putting a little light there and continuing it across. If that's getting to be too much of a heavy tree I can pull in that background color. Since this is the color of the mountain I can just pull it through and we'll see that as two trees. This is where I'm beginning to articulate and make these verticals different sizes. It's just to taste, to make it interesting. It's all this color that happens at the end that I've done all the layout, all this prep, all of these layers are established so I can come back now and just have fun. I'm still keeping with pretty much my pure palette but I'm using purer colors, smaller strokes and just beginning to decorate this surface. As it gets more decorative I'm able to come back and pull little touches of those colors into the water. I don't know if you noticed but it's almost like an after thought stoke, to just glow some of this color back down on top of that purple. As I'm building up this force I'm able to come back and I may not want to do it with one of these grayer flatter colors - it may or may not have that same sparkle. You can see as that gets a little too articulate it loses some of the pop. I try to let some of it disappear, try to let things happen here that I just don't recognize as conscious thoughts. Things just sort of happen either because you have extra paint on the brush or I want to clean up my palette, start to place some color in here. I'll really just work along this band of interest because this other area is going to be really attractive enough anyway with that high contrast. So here where I've got a lot of contrast I'm not adding too much color but here where there's not a lot of contrast is where I'm really popping up and putting in a lot of color. Just remember if it's a warmer color I want it on the left side where the sun is. If it's a cooler color I want it on the right side. And I'll come back and start to play. I don't want to get too dark as I get up top but I can certainly put some color here on this tree. This is where you don't need to be too dark up against this sky. Any color will sillouhette dark against there because the sky is the lightest color. I'll literally just play to soften up some of the intensity of these colors. Just finish that up. I'll do that for 4 hours, just decorate this painting because the bulk of it is down. I've got enought interest in the subject matter. This area is a little flat, I could probably get a little more contrast across this edge, I can play with that later. Then I'll just finish this up with the work in the water. That's it. less |
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cheapjoes uploaded a new video
(1 month ago)
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
We've got two canvases here. Canvas number two looks li... more http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff We've got two canvases here. Canvas number two looks like it is less finished than canvas number one but actually it has gone through an extra stage than canvas one has. This is how I gauge what stage I am in. I really like what's happening with this background and that sense of light that is coming through here. So this I'm more happy with. I've begun to take that dark mass and break it into a series of verticals and requisite foliage that goes with it. These shadows are beginning to play with, complicate and flirt with this concept of turning the land. Canvas two is much further along to me that canvas one. I'm going to try and bring this painting on canvas one to the same stage as canvas two. Part of that means starting all over again with this mass. I kinda like this mass but I definitely want to pull some sky down. There's a very rigid line and I think the water is standing up too much. I've got to lay that water down. It lays down here nicely but over here it's standing up. I'm talking about the difference between seeing the water like a field of light reflective and seeing the water like a ribbon. At this point the only thing I have is density and distance, saturation of color and a nice color relationship for distance. I'm going to have to pick a subject matter. On canvas two I've already decided that by pulling some of the trees down closer and perhaps finding a shadow that comes this way I'll be able to find the subject matter. Then I can get more aggressive with the paint application here. I'm not aggressive enough yet. It's pretty but it doesn't have anything that I'm real exicted about in terms of paint application. I'm going to start back here with the sky mass and pull it into the mountain a little bit. First thing we'll do is get that fallow blue and white and I'll throw a little lemon into it. At this stage I'm starting to use smaller brushes, you can see I've got all my large brushes aside, I will be using them intermittently but for the most part I'm going to start shifting to smaller brushes because I'm being more specific. I'm going to make sure I have a pretty color back here. I'm going to begin to use a little more medium because I've got the lean work done and now I can put a little more medium into the paint. This color is the perfect value for the sky but I'll add a little more medium to it. I'm going to need a clean brush because the colors are so soft. It's the same value that's already there if not a little orangier. One of the things that most of us do is we tend to leave our canvases, an area that we like, alone. I think that the more coats you can put on the prettier it gets. I'm going to let this shift from an orangier color and I can grey that off a little bit more. Already that looks more interesting. I'm using a little bit of a muted green from a prettier, earlier section of the canvas to lighten it up. I'm going to clean up that sky color from the palette. This blue is a little potent. One of the reasons I'm doing this is I wanted to lay that water down. So what I'm doing is encroaching on that light and making the mountain shape a little broader. I'm painting right over the trees because I'm really just interested in this line right here. Notice how much more gentle I am with the paint now. I'm really looking at what I'm doing instead of just imposing myself. I'm actually going against the shape I've been going with and using a little more intense color just for variety sake. Our mind has a tendency to look past verticals. It's a little more reticent to that than against horizontals. So I can drop in these vertical little breaks between these trees more aggresively and our mind won't concentrate on that. It will just look interesting. Here where there is some ambiguity, I'm going to put some of that real bright sky color right off the palette. Right here where we're a little lost about exactly whether that's water or sky. But in the process of doing that what I want to do is make certain that I'm seeing across these broken horizontals. So that lays that water down and we're seeing the mountain on the far side. To help you see what I see, I'm going to drop in a little bit of these darks so you can see at this horizontal line just how effectively that little band of color laid that water down. I'll take a little bit of this greener blue and sweep some balance and color across. I don't want to encroach on that distance too much. Since I know I'm going to come across these two verticals one more time I'm going to let some of that light spill in to this flat plain here and be a little more ambiguous about where the water ends and the ground begins. less |
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cheapjoes uploaded a new video
(1 month ago)
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
Now this is the stuff that everybody sees, all the shad... more http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff Now this is the stuff that everybody sees, all the shadow work, but it's all the layout before that makes this work. All I'm doing now is focusing our attention at certain areas that let us not see all the other stuff. I'd like to get a shadow from this tree to come down this bank and carve that. I may just take my knife and make sure I don't have too much wet paint there. I'm going to have that shadow come down and help contour that land. I'm going to work here to have this trunk work and probably do the same thing over here. Get this area really interesting. This may be sufficient information to hold the rest of that painting together. That's what I'm hoping so I'm going to try to do that now. That means getting a nice cool shadow, a dark cool shadow, down across this edge. Remember, that the tailing edge is more important so I'm going to make that crisp and the front edge I'm going to break up with some grass. I want each of these trees to hug the ground a little bit so I'm going to have some sunlight come in and spill up the trunk this way. Just see if that's going to work. Still a little wet, this might not be the final go round on this painting but it gives us a good idea and gets us closer. At this point I'm using a lot of paint and little strokes. I want to draw attention to the sunlit side of this tree. That shadow is a little sharp so I'll play with it a bit. Now I'm happy with it. Then I'll come over here and work around that tree which means a much smaller brush and some pretty color in there for the water. Take the water right up behind that tree. If we're going to do that we need to make that tree a little darker so we can see it. We're getting that water to come back behind the tree and show the land mass in front. Then make the tree hug the ground. The reason I'm working so hard on this is this is going to be, I hope, sufficient to hold the whole painting. So I'm working hard to get enough contrast in these areas to focus our eye and keep us off the rest of it. This make take another layer so I'm just going to drop in some dark right now and that means I'm going to go against this shape. So at this point I'm just going to real lightly give myself a nice horizontal dark. Just enough to really make it so we can see it from across the room. That means this tapers down pretty abruptly. I'm not going to finish that, I know where it will go, but right now I'm not going to finish it. I'm going to put a little green along the shore line. The trick is not to draw because that's always problematic. If I set it up right I know what color goes in this area and I should be able to just put that color down. I've got a warmer color here, cooler color there and a much cooler color there. I can start putting that reflection in the water. This is where it's fun to keep going back and forth. You can't be in a hurry, this should take a little time. As still a body of water as this is, I'm either going to be working horizontally or vertically right now. I'm not going to do too much angle, I just want to get this to lay in and be attractive. I'm running out of stuff to say because at this point I'm just really looking. I'm just trying to make that a nice soft transition, I want this to be pretty. I want to have some transition here from the purple to the ground. Then as it gets a little hard to distinguish I'll come back with that mixed black again and the tip of this big brush and just drop in and reinforce where that land mass ends and where the water begins. It's amazing what that little dark will do for our brain to have it be comfortable with what's happening. In almost every case that should be a series of really stong horizontal pops rather than any angled pops. That's just going to reinforce where those rocks are and the base of the ground. See how that just anchors the piece. It's really cool how this works. It's just a rhythym that you're going to notice. YOu should just spend a lot of time out on the water looking back at the land so you can have some references for this. Again, this is not the finished piece but it's close enough to get to the point where I should be getting some pretty high contrast in. I'm trying to get enough to make this interesting. And that's going to have to dry for me to work across that edge. less |
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Channel Comments
(19)
That would be so awesome :- )
I enjoyed a lot here
Thank you
I need much for your advice in the my works
Thank you