Timber whaling ship turned Antarctic explorer

Good day team. Welcome back. Yesterday we did the whites, couple of shades of blue, and it looks like black, but it's not. It's the naughty naughty panes of gray. Now, today, I don't know what we're going to do, but we're going to have some fun. We're going to use probably probably Naples yellow is where we want to be sitting. Maybe maybe definitely whatever we do, we need white. That's a must. And if anyone can help me out in Spanish songs, they say the line or something. My paria. What does that mean? That wasn't me. That was the That was the paint. I I swear.

pastel pinks. Why not? A little bit of a pastel pinko pastel pinks turquoisees. [snorts] It's actually two plates there that can be deceptive. More titanium white. That is appropriate. This one here is called Arctic Blue. Hello Jules. How are you keeping? Are you living laughing? Loving toning gray yellowish. This is one step in the right direction away from toning gray, which is a necessary color, but Golly gosh, how boring. A couple little dots around there. I'm going to grab a little bit of phthalo green. I won't if it's still got the lid on. That will slow me down. That will slow me down just.

A little bit. Just unite. Adding this medium changes the viscosity of the paint. And you just want to dribble this over the whole thing like that. Voila. Like icing a cake with like a decorative chef design. And once you put that icing on there like that, you have got the ability with your brush to just gently mix as you go and keep making the viscosity what you need it to be. My apologies. bless me. I'm just looking for a paintbrush. I have one here. I had the perfect Oh, there it is. Is it? Yes. Thought I'd lost it. We haven't yet. Okay. How.

Am I? We We get you. Oh, is that how are you? I'm there now. I'm very good. I'm very good. We're painting a ship holding a gentleman called Harrison who was the botonist on the ship as it travels through Antarctica. These are icebergs. This is going to be water and that's going to be sky is the hope. See where we get to. That's where I left that. Got a little miniature cup of coffee. And then we've got a Loki boy who might help. Just going to angle it just a little bit. Bear with me. You're going down sweet like honey. There we go.

How's that? I don't I do not. Here we go. So, adding this medium through the paint. If I show you up close here, it's going to thin it out. The thinner it is, the harder it is for that to leave behind texture. And we don't want texture early in the piece. We want color, these fancy words, value, color and energy, just the right sort of vibe. And then once we've got the picture coming together in an explosion of sort of tones, then we can come back and suddenly say, "Okay, let's capture a few bits of detail." Which will definitely be You're welcome, Celia.

Just bring you there. Which will definitely be in black. Did I say that? Details always in black. That's where it really screams off the page a bit better. This is the tasty tasty turquoise. One of the colors that's become incredibly easy to get your hands on, but wasn't always historically so. And I've got a little bit of phthalo green here, which was a naughty choice, but be careful not to add too much of it being that Antarctica is not known for how green it is. But it makes sense because the character in this boat is a botonist and Antarctica once did have vegetation all over.

The surface. So, who's that? Hey, thanks, Kim. Appreciate that. So, what we might try and do is actually lean harder into greens at the start a little bit. So that way when the icy overtones cover them up, it'll have that kind of literal connection between that happening and what happened with Antarctica and reality where there was greenery there and then all of a sudden it was covered in ice. Could be fun. Hey, [snorts] welcome back. were on the exact same work that we were working on yesterday. And I'm sorry team. I know I said I'd come back that night, but I looked out into.

That brisk cold evening and I thought to myself, "Ah, I'll come back in the morning. >> [snorts] >> But that's the way it goes. I say he could have had him any day. away kindness. I suppose Ohio Now, a lot of these colors here, and this is this is the way I run a palette. This is quite messy, but a lot of the colors here that we're working with are kind of pastely. So, a lot of pastely layers building up, and then those darker areas will just punch off the surface with black. Love black. If you've got an art teacher that's telling you avoid the.

Black or don't use black in the artwork, etc., I had I've had plenty that have terrible advice. Terrible. Terrible. You get that black. You put that in your work if you want to. Oh, cheers Jay. I'm glad my country can be here for you. Napthole pink. Two of those. This one is parole red. Yeah, maybe a bit. Just a teeny tiny bit. Thing is, black's the defining color. So if you use it with just the right amount of restraint, it's actually the only thing that can make a work show up and appear. Without it, I don't know. It's all just mush. The color has no.

Form. Color needs it. Is it special? Is it is a special work? It's a commission, but also at the same time, at the same time, the individual on the boat is an ancestor of Sheldies. Go figure. How does that work? Well, birds and the bees, but the blues are good. I couldn't help myself. It's an Antarctic P, so I went blues first. But we will gravitate around the spectrum as we go. Hello birdie. I think we'll oscillate least of all in colors like yellow and red, but they will appear. The cooler phthalos, turquoise, blue. Now these will party. These will party well for us.

Sorry team. Just lost my image. I will find it. I found it. It wakes the painting up. suppose it does. One amazing thing to use in the early coats as well is is acrylic wash cuz see how on this plate here. Aloha Steve. Yeah, indeed. So, see how these lugs, although the white gel I have in between, which I love this stuff, don't get me wrong. This stuff's great. This changes the viscosity of everything. If I was using acrylic gouache off the bat, the paint wouldn't stay in these clumps so perfectly. It would spread around the pallet more. You'd lose a bit of.

Control, but the paint would effectively come for those base colors premixed. so it's acrylic gouache is essentially the same stuff. It just has less of a sheen to it, like a little bit of shine. You got three kinds of sheen. You've got matte. Well, you got endless kinds of sheen, but you've got matte, satin, and gloss. So, gloss is really reflective. So, from a distance, it'll usually go white, you know, as the light hits it on different angles. And then you got satin, which is halfway between gloss and matte. So, it's got a little bit of a shimmer to it. Kind of looks a.

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