New Zealand Afternoon

Good day team. Welcome on in. We're doing layer number two on this brand new work we've begun. And I haven't chose now which color is the most appropriate. So, we'll see what we land on. >> I agree with that. I reckon we'll kick off with some French turquoise. This is our pigment here. So, French turquoise. Absolutely gorgeous. It's a it's not as intense as French ultramarine blue, but you can see it still has got that nice little blue kind of tealish bite to it that we're here for. Yeah, there's a bunch of places where this color hair wants to appear. So, we're going.

To play into that. There's our pigment there coming on in. Can you see that, T? So, French turquoise also just like that gold. Excellent compliment when it comes to making white look gorgeous, which is exactly what we want to do with that wedding dress. Just give us a little bit of a mix up here. Hey guys, welcome on in. So, we chop and we change. Sometimes acrylics, sometimes oils, sometimes gouache. At the moment, we're working with tempera. And the reason for that is I want to make a paint myself to make sure the work really pops with color. It's what we need. We want to.

Pop pop That's my daughter agreeing that pop is so very necessary. Golden teal. Yeah, that's true. They actually are a nice little matchy match there. So, I'm here for that. Absolutely. Now, before we get excited and add it onto the surface, for those of you that were here yesterday, there's one more little thing that we need to do. See this here? Now, even though it's been lightly mixed, you can see there's still some clumps in there. And I've got a time zone welcome card to >> help me blend it today. You hear that noise? Let me bring this right up here. That scraping.

Noise is that pigment dispersing through the binder. Now, I want to keep mixing it here until I can't hear that sound anymore. You can see the color there. See that? >> Just keep mixing it until all we have left is the binder. pigment emulsion. We don't want patches of just raw pigment. It's no good. Good day. Welcome on in, Leslie. A little bit. Bear with me for a moment. This is the mixture here. So, we want to keep going until we no longer hear the scrape noise. We're looking pretty close. That's where you want to be. Yes. Yes. Correct. Correct. Doss. There's my.

Daughter indeed. >> She's playing with some blocks >> and watching us from a distance right now. She appreciates the ancient 14th century techniques of yto. all right. So although we're not doing a realism piece here by employing the employing these ancient techniques, it's kind of the old with the new traditional with the modern. It's kind of a fun line to walk. >> There we go. >> Gorgeous. >> As always with the temper, we got to make sure we don't go on too thick. It'll still dry, but it will mean that later in the piece we may get cracking. Now, we don't.

Want cracking on this work. We want to be a beautiful smooth surface that goes indefinitely is the plan. >> Well, now you know. >> Yeah. >> She's one year and one month old. >> She's going to go on new swing. She's going to go in a swing. That's exciting. Coop's going in a swing, guys. >> A Thank you. This is going to be fantastic actually cuz that means I get a view of Cooper in her swing from up here, >> which I enjoy. There we go. Just fixing up some of the scale that we had in this picture. Lifting things around a little bit. Get.

Some more black ochre in there eventually, but for now just go there like that. Gorgeous. There we are. Got a Christmasy feel right now. We've got gold, green, and red. And we'll just continue a bit more. There we go. I'm warming to this French turquoise more and more. This is a wonderful, wonderful color. Leslie, we started it around ge 10 minutes ago. Oh, we started the painting yesterday with its first coat with those initial three pigments. And now we're working with layer number two, kicking off with French turquoise. Now, French turquoise, similar to ultramarine. I think this one's synthetically made. And the reason for.

That you be like, "Oh, I want the natural thing." unsustainable minds in Afghanistan. So, while we want the real thing, in the case of most these paints that say French at the start, French turquoise, French ultramarine, not sure if it's the case with French turquoise, but they typically the synthetic version is sustainable and doesn't require any questionable labor to bring it onto my pallet. And I like that. There we go. I'm going to add a bit of white into this. It's a good plan. Got my white here. This is I think this one's titanium dioxide. I should check that. But stark.

White is what we're working with here. Hey Steph, welcome in. We're painting with some 14th century methods here. to make a wedding portrait of all things. And Steph, do not be deceived. I'm pretty sure Tik Tok puts filters over my face when you stream live. Yeah, I'm usually covered in wrinkles. Too much smiling. That's a good thing. You can see here the edges around there. That's our French turquoise. That previous dark color that we had. And now as we work here, you can see it's changing into a much more lighter kind of minty pepperminty color. And it's going to blend in really nicely with our.

Dress. Same story. We're mixing that titanium dioxide until we get a completely smooth sounding noise. No more lumps or clumps that'll ruin the archival nature of what we're making. You see there? That's really nice. See that part through there? Those little dots, they need smoothing out. Dots of pure white as we go. get into a smooth paste. Whenever it sounds like there's a little bit of sandpaper in there, that's pigment that hasn't been fully combined in yet. There we go. You can see there now it's almost at the consistency of a melted butter or an oil. See that? That's what we're after. That's.

What we need. Wonderful. Few more little clumps to work out there. Now, I'm using a card here at the moment, and obviously a card's quite labor intensive, but if you have a glass muler, how that works as well, although you sacrifice some of the dexterity of the operation. Hey, thanks, Leslie. Yeah, I appreciate that. I need that little boost. All right, so there's our color. You can see that's what's on the brush. Stark difference. We've really lightened it up. We want to do that cuz we're going to go a little bit into the light colors. Now, typically, you could say, right, let's just stay.

In the deep dark, work our way into the light, and do that as a simple process. Just like with watercolors, you can do that. I honestly enjoy going from dark to light, back to dark, back to light, and allowing to sort of integrate over the surface. You'd say, "Well, you should come up with a better plan." I said, "That's just it." It's having too much of a plan that actually holds the whole thing back. get too plan orientated. Even though we know where we want to go with this picture, too much of a plan just turns it into a craft. We want to we want.

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