If you find my content useful and want to show your gratitude you can support my work by donating here: https://www.paypal.com/donate/?hosted_button_id=G857W24BU5P2J Would you like to improve your paintings or just simply get a glimps into the process of recreating old master works? It's been a centuries old tradition for art students to copy “old master paintings” to learn, and to improve their own work. In “Decoding the Masters” I will copy a selection of old master paintings and you are invited to watch as each piece unfolds. My name is Viktoria Majestic I'm an award winning fine artist and art instructor. The focus won't be on recreating an exact museum replica, rather on learning how each artist solved the problem of translating their subject onto the canvas, including sketching, color mixing, and simplifying.
Copyrights: Copying paintings is legal, so long as the original work is in the public domain (meaning that the copyright on that work has expired).
If you enjoyed this demo, make sure to subscribe to my channel.
Sections:
0:00 Intro & Materials 1:20 Composition & Value Study 3:00 Mixing the Colors 10:52 Painting the Sky 12:40 Painting the Pasture
So before I start the painting, I will study the composition that was used to create this painting.
And I believe the best composition type that describes this painting and the layout is
the golden rule or the rule of thirds where the canvas is divided up into two thirds and one third sections.
So now that I've recognized the composition, I will create a simple value study using only black and white
and the mixtures of black and white. So different values of grays where white is the lightest value and black is the darkest value.
So looking at the painting itself, again the composition is leaning toward a two third, one third compositional layout
and the darkest darks will be in the middle ground, which is not very usual, but it works great.
And again, it's not a replica, it's just a value study in this case.
In this step, I will try to approximate the colors as close as I can.
Of course, it depends on the quality of your print, if you have a print like I do.
And also, I'm using a screen that I'm looking at to recreate this painting.
So, of course, the colors in my class can be very different from these.
But I will try to come as close as possible to the ones that I see here in front of me.
So for the darkest dark, what I can see, it appears to be that they are on the cool side.
So, I will use phthalo blue to start with.
And I will add a little bit of alizarin crimson to that, just to balance out the raw color of phthalo.
So, this is going to be the darkest dark, phthalo and alizarin crimson.
Next, I will work on the next dark after the darkest one, which seems to be Payne's grey.
And Payne's grey usually consists of some blue. I'm using ultramarine blue for this.
And grey, or the other option is to add red and a little bit of yellow to that.
But I have greys here, so I will just use my greys.
It does two things. It will lighten the ultramarine and also will grey it.
I think I'm still very far from where I'd like to be as far as the value goes, so now I'm going to use some white too.
Next, the foreground green. It appears to have a coolness to it.
I will start again with the grey and I will add some phthalo green.
I could use viridian, that's very similar to that as well.
A hint of orange, and this is close to what I think it should be.
Next, there is some type of ochre.
I'll mix that yellow, red and blue.
I'll move more grey here too.
Additionally, there is a brighter green.
For that, I will use a little bit of this yellow.
I mean Payne's grey. A little bit of yellow light.
This is very dark compared to what I see.
For the distance greens, there are some lighter ones.
I don't know.
In the sky, there is a medium blue.
I'm using again ultramarine. It does have a tendency of being a little bit warmer than cobalt.
It has some red in it.
I'm not overmixing all of it because there are some darker values in the sky.
Not this dark, but there are some darker values.
Finally, the lightest value in the sky.
I'll start with the white again.
It has a little bit of yellow, green or blue.
I'm using cerulean and yellow.
A little more cerulean than yellow.
These are the main colors in this painting.
There is also a hue of purple.
A very muted purple.
Back in the fields.
Finally, for that, I'm using a little bit of crimson.
This concludes most of the colors that I see in this painting.
