‘My Masterpiece’: Willin Low on ‘Marketplace during the Occupation’

This is My Masterpiece. At first sight this painting has a lot of things that I love. It is a wet market with lots of fresh produce, the lights warm and fuzzy the body language of the people is positive, there’s a happy little girl squatting next to a vendor, probably her mother. And then my attention is drawn to a Japanese flag and a soldier holding a rifle. I find this a little unsettling because it is not what I expect to see in a wet market. It’s as though the harmony is very fragile, and the mood can just change without any warning. This is probably reflective of the era during World War II This painting also brings me back to
my childhood. I used to go to the wet market with my mother to have breakfast and buy groceries. The sights, sounds, and smells, some not so pleasant. The hustle and bustle under the morning sun. All these just make me yearn for a bygone era.

I Went To Work Wearing Only Body Paint

– Alright guys, what’s up? How’s it goin’?
Hey, what’s up? Hello, hello, alright anyway,
let’s get on with the video. I really wanna get more
Instagram followers so why don’t you guys follow me? That’s the whole video. It’s just a little vlog of me
asking you guys to follow me. No, for real, I really wanna
get more Instagram followers. Right now I have about
8,000 on my Instagram page Which may seem like a lot but compared to other
social media people who have millions and millions and
millions and millions and millions of followers, it really isn’t that much. So I’ve been doing some research and it seems like what’s really popular on Instagram right now is body painting. Which is basically just female models getting painted in clothes and
it looks like they’re dressed but they’re actually naked. So all I have to do is get one of these accounts to
use me as their model. I spent the next few
hours trying to contact every single body painting
Instagram page I could find. Guys, Jen the Body Painter, who get millions and millions of views on each one of her posts just
agreed to use me as her model. I am super excited to do this. I hope I get a bunch of
followers out of this. Let’s go. Hey, how’s it goin’? – Good, good, good. Is there anything I can
do to prepare for this? – Wax the whole body? Do it for the Instagram followers. So I’m heading downtown
to get a sugar wax. Sugaring’s supposed to hurt a
lot less than regular waxing. It’s just lemon, water, and what the (bleep)
was the last ingredient? – Oh sugar, there we go. (laughing) So it’s not hot, you’re
not gonna get burnt, and they pull in the direction
that your hair grows. I don’t know why I’m doing this. I got to the salon and
I was really nervous. So was the lady. I had a lot of chest hair and I asked her if maybe I could have a local
anesthetic or something. She gave me some baby powder. (groaning) Oh, man. (heavy metal music) (screaming) Hurt so bad I ended up passing out. When I woke up and looked down I realized I have a 13-year-old Bar Mitzvah bod. I took my hairless bod to go
buy some very little underwear because I can’t be naked in the shoot. I met Jen the Body Painter
and her whole family but before we started shooting, I wanted to learn a little bit
about how they got into this. It stemmed from like using
bodies to advertise things? – Pretty much ’cause when I got painted as a cheetah I got so much attention. – Is it very different
than regular painting? – Oh yeah because the person moves. So with like a canvas, you just
can just sit there for hours and play your music whatever,
feel really relaxed. – So how long does it take usually? – Captain America was
seven to eight hours. For you, right now what
we’re getting ready to do it’s gonna take us two and a half hours. – So you guys are like
a family who just… – Does really weird things together. So I would literally come home from school and as soon as I’d walk in the door, like our kitchen is in sight, so I would see like topless
girls just walking around. – My mom never painted
naked models in my house. It was just like my dad
walking around naked. Anyway, time for me to get naked. It was awkward because
I realized I’m at work. – What the (bleep) is happening right now? (laughing) We then had to take a bunch
of pictures for the thumbnail. Being an instagrammer isn’t easy. Then they gave me so pre-painted shorts, so they didn’t have to paint my, you know. Looked at their phone to
find pictures of clothes and started painting. (electronic music) She also had to paint
inside my belly button. That was a big no-no. (electronic music) Time for the big reveal. Oh dude! Holy (bleep)! Wow! Oh my god. Yo, it looks so good! Wow! If anybody watches Friends,
when Bruce Willis talks to himself and he’s like
“Who’s a sex machine?” I’m a sex machine right now. I said that and nobody laughed
so it made me uncomfortable. (laughing) This painting is insane. You did that on me while I
was like talking and laughing? – [Jen] Yeah. – How’s my butt look? – [Jen] Great.
– [Second artist] Amazing – [Jen] Never looked better. – It’s time to go out, see if people notice,
see what people think. BuzzFeed, get ready for Naked Eric. (acapella singing) At first people didn’t even notice. And when they did, they
didn’t know what it was. – Are those leggings?
– [Eric] Yeah! – Are they even pants or
are they just leggings? – That feels like your skin. Is it your skin? – [Eric] It’s my skin. – Wait. What the (bleep)? – Oh wait. Oh my god it’s paint. (laughing) – This is… (laughing) – I’m naked. (laughs) – It looked like a real shirt. I’m like that is a small, tiny shirt. Oh my god. (laughs) – Are you a little cold? It’s a bit nipplely in here. – You’re wearing underwear because… – No, no, no. My penis is taped to my leg. (laughing) No, no, no, I’m kidding. It’s not, I’m wearing underwear. – Oh thank god, thank god. – How would it be taped? To what? – It’s also blizzarding outside so maybe not the wisest
choice today but… – Not at all, I have to go outside – I cannot stop staring at your penis. I am so sorry Eric, I just can’t do it. – Look at my eyes, that’s who I am. – Now you know how I feel all the time. – So this was super fun. Most people had no idea. It took a lot of people
a long time to realize I was painted and once
they realized, they were so impressed with the paint job. So I think that’s the coolest
thing about this video was like how good these
guys are at what they do. Body painting truly is an art
form, it’s really impressive. Now I’m gonna head home, figure
out how to wash this off. Getting home sucked because
there was a blizzard outside and well, paint doesn’t
really keep you warm. (heavy metal music) My nipples are so hard right now. Showering was fun though, I
looked like a human bath bomb. It looked pretty cool. I’ve been in the shower for 45 minutes, and it’s still not coming off. And my whole shower is bleached black. So I just finished
editing, it’s been a week. And here’s the update: Jen
the body painter has posted my post, she tagged me in it. It currently has over 500,000 views. And my Instagram page (drum roll) I only got 100 followers. I waxed my whole body for 100 followers. I’ve been itchy all
week for 100 followers. Everyone just cared
about the body painters, and not about me. I’m not giving up, though. I’m gonna keep making these videos till I get a million followers. (soft jazz music)

The Conservation of Guy Wiggins – Episode 1: “The Work Before The Work”

In this series we’re going to be taking an
in-depth look at the entire conservation process as it relates to one painting. This untitled scene of Fifth Avenue in winter
executed in oil on canvas by the American impressionist painter Guy Wiggins arrived
at the studio in need of desperate conservation. The painting had an accumulation of surface
grime and the old varnish had discolored, the paint layer was heavily cracked and beginning
to flake off in spots and the old conservation work, completed sometime in the 1960’s had
begun to fail and was no longer serving any beneficial purpose. The clients had owned the piece for generations
dating back to when Wiggins himself gave the piece to a relative. During that time the piece was generally well
cared for though age and exposure to adverse conditions had taken a toll on the work. The clients were interested in conserving
and restoring the piece and stabilizing it for the enjoyment of future generations. The first step in any conservation is the
visual examination. Looking at the painting to gather as much
data as possible before touching it is essential to understanding the piece as a whole. In addition, looking at the old conservation
to understand how and why it was done will better enable its reversal and addressing
of the underlying issues that prompted it. While seemingly simple, the visual examination
will allow me to get a better understanding of the painting in its current state and afford
me the time and headspace to consider the materials and techniques that I may have to
employ to achieve my client’s desired result. After the visible light examination we switch
to ultraviolet or blacklight, which allows the conservator to observe the fluorescence
of the materials and gather more information that may not be clear to the naked eye. This examination can reveal old retouching,
new materials, help differentiate between mediums, pigments and varnishes. Learning how to read the fluorescence takes
years of practice and can be more of an art than science. Deep purples can often be read as old retouching
or recently added pigment; bright greens can be seen as discolored layers of varnish. Then again, some pigments such as zinc and
titanium white naturally fluoresce even if they’re original and masking agents such as
shellac and polyurethane are employed to conceal the newer work and all but prevent the UV
light wavelength for being an effective tool. In addition to all of the time spent looking
at the artwork it’s helpful to spend some time on the artist. By researching the painting and the artist
we can learn about their working process, the materials they may have used and if there
are any potential issues that lie in wait. Further, if we can learn more about the artists’
body of work and vision we can better execute the conservation with that in mind. In addition, as this work was previously conserved
we can investigate the materials and techniques that were common during the 1960’s in an effort
to avoid costly scientific testing and better prepare for the work ahead. After all of the visual examination and research
is concluded we can move to the physical testing of the materials. Detailed notes are essential and will be referenced
multiple times as the conservation proceeds. A small sample of the lining adhesive is taken
from the tacking edge and stored for testing. As the lining will be removed it may be necessary
to send this sample to a lab if it’s composition cannot be determined locally. The first step in cleaning a painting is removing
the grime that can consist of dust, dirt, cooking oils, cigarette smoke, chimney and
furnace soot and other particulate matter. The chemicals used to remove the varnish often
have difficulty penetrating through the grime layer which can lead to the use of increasingly
stronger and more aggressive solvents which is not only unnecessary but can expose the
paint layer to the possibility of damage. Starting with distilled water we will work
our way through various detergents, enzyme solutions, soaps and other agents until we
find one that is effective. These small tests are conducted in inconspicuous
areas usually at the edges of the painting that is covered by the frame rabbet. Once an adequate cleaner has been identified
for the grime the testing of the varnish can begin. Natural resin varnishes can yellow over time
with exposure to ambient UVA and UVB light or become cloudy and brittle. Starting with the mildest of solvents and
varying in composition and increasing in strength the areas where the grime was removed are
tested until the varnish is adequately and safely removed. It is often necessary to test different areas
of the painting as different paint colors or brands can have different reactions to
the same solvent. That is, while the white may be stable, the
blue may be fugitive and the cleaning approach must vary to reflect this. Relying on years of experience and research
we can narrow the possible lining adhesives before we make any tests. By observing the sample’s reaction as well
as using the sense of smell the identification of the adhesive as rabbit skin glue allows the removal
approach to be determined.

How to paint like Willem de Kooning – with Corey D’Augustine | IN THE STUDIO

You should really have a lot of fun
this week because we’ll be exploring some really wonderful viscus and
fluid paints here. The whole range of painter’s materials. We’re exploring the work of Willem
de Kooning this week, certainly, one of the masters of
the New York avant garde. And you can see in front
of me a lot of paint. A lot of oil paints
straight out of the tube. We have a lot of linseed oil here,
we have some damar varnish here. And I do have one typical baker’s pan
here, which I’ll be using as a pallet for one color, but
really we’re in the realm of kitchens now. And if you have some old bowls or
old cans, or what have you, this is really the quantities of paint
that we’re going to be working with, if you’re going to be working
with a large format painting. de Kooning painted with his whole body,
he was a gestural painter, he was an action painter. And really using really large
quantities of liquid paints here, allows the body to trace these huge marks,
powerful strokes across the canvas. So let’s get started. What I’m going to do, essentially,
is to build my entire palette first, before even approaching the easel,
that way I know what I’m working with. Let’s start off with a cobalt blue. A vast majority of the paints I’m working
with are going to be really low viscosity, allowing them to be quite fluid, and really
translate the power of my gestures on the canvas. In other words, I’m not going to
paint with this really thick, toothpaste thick quality of artist’s
oil grade paint right out of the tube, I’m going to douse it
with some nice oil there. And I’m really going
to cut that viscosity, make it a lot more flowable on
the surface of the painting. There is something really gorgeous,
really wonderful about this gooey quality of oil paints, which you just can’t get
in the rather plastic realm of acrylics. So, here, kind of a medium speed paint,
if you will. It’s not super thick, but it’s not super
fluid, it’s not running off of my brush. And I’m going to vary my consistency of
different paints here, some of them medium like this, some of them, as you’ll see,
will be a lot more fluid than this. So I’m just going to save that for later. Now, let’s work on another one, and
let’s work with some kind of flesh tone. Now, for a kind of basic Caucasian flesh
tone, it’s nice to use some buff titanium. This is actually the same thing as
titanium white, it’s just not bleached. So both of these, buff titanium and
titanium white, this one gets bleached, titanium white, buff titanium has
more of a neutral tone to it. And then to get a decent kind of
Caucasian flesh tone, believe it or not, you add a little bit of red for
warmth. You add a little bit of yellow for warmth. And then you add a little bit of green for
depth. And again, once I add a little bit of
varnish into there, make it nice and glossy, this is Dammar varnish,
it’s a natural resin, comes from trees. Dammar is D-A-M-M-A-R. Let’s add a little bit of
linseed oil in there as well. And then let’s add a little bit of
mineral spirits, or turpentine. And let’s choose a nice brush for flesh. How about this one? We’ll start getting some of
these colors mixing here. Now, that mixture of solvents and media
that I added here, remember that’s dammar varnish, linseed oil, the typical vehicle
or binder of oil painting medium. And some solvent, some mineral spirits,
that’s to do a couple of things. First of all, it’s to make it a lot
thinner on the brush, a lot faster, and here I am getting sloppy,
this is just the beginning, you’ll see. To make the viscosity lower,
to cut that viscosity. Another role of that combination
is to make it glossy, and shiny and these wonderful fluid
paints that de Kooning worked with are often extremely glossy in character. Okay, so here’s the second
color of my palette here. Kind of a murky,
mean looking skin tone here. I like this. This is going to look really nice when
contrasting with some really hot colors, some nice warm red colors. So let’s make one of them. going to be working with
cadmium red hue here. Any time you see that word hue that means
well, you cheaped out a little bit. Cadmium is a heavy metal, it’s expensive. Cadmium red hue is an organic,
read cheap, substitute for it. Now, it’s okay because the hue
of that color is going to be exactly the same as cadmium. In other words, gorgeous,
stop sign red, or Coca Cola red. We’re going to add a little
of linseed oil, and then we’re going to add some water. You’re thinking whoa,
whoa wait a minute water and linseed oil, what is this guy doing? Well, de Kooning liked to violate
these rules because he liked to have really interesting paint textures,
sometimes frothing up on the surface. Now, because I’ve mixed water and oil, you
can see this texture is an unhappy texture. It’s really not a solution as
much as it is a suspension. In other words, it’s just a physical
mixture of these things that don’t like each other,
they don’t play nicely together. But this weird alligator skin kind of
texture here is going to be really active and
really interesting on our surface. Let’s make some nice
hot light yellow color. And since we already have a little
bit of white going, let’s add to it. And now to this one I’m going
to add just mineral spirits. No additional vehicle or binder this time. Just some solvent,
a fair amount of it in fact. Then the reason I’m doing this,
is that I want this paint to quite thin, thinner than the paints we’ve made so far. Now when you add binder to a paint,
in this case, that’s linseed oil, you make it more
transparent and you cut the viscosity. When you add solvent to the paint, mineral
spirits here, you make it more into a stain. It doesn’t have any additional gloss like
linseed oil will provide, but it really makes it incredibly low viscosity,
so it’ll absorb into the ground or even sometimes the under paint layer that
is beneath it, so what you have left with is a super thin application of really
fast, really runny, consistency of paint. What I’m going to do to speed
up this process a little bit is just to transfer this into a mixing bowl. Just out of convenience. This is going to help me blend this
paint a little faster, a little better, a little stronger, so it’s not
splashing all over the studio floor. And if you can hear that sound, that’s
what a de Kooning painting sounds like, liquid, fluid, runny, kind of,
wonderful viscous kind of materials. Okay, so we have a nice pallet going here. Let’s move to the easel. Okay, so large format canvass, a little
small here, but roughly human scale here. Interesting to note,
that recent research at Guggenheim Museum on a painting
by de Kooning from the 1970s, 1975, if I’m not mistaken,
called Who’s Name Was Writ on Water. We looked at that painting, an abstract
painting, in infrared light and actually found an under drawing. Now, usually an under drawing is made and
then a painter exactly paints over that drawing but, of course, for an improvised,
gestural abstract painting, why would you use an under drawing? It’s actually akin to a dancer
warming up before performing. It’s a way to get loose. It’s a way to stretch, to get limber. And to kind of rehearse some of
the same physical gestures that you’re about to perform, not with a drawing tool,
but with a loaded brush. Now, before I start to warm
up with that under drawing, I’m going to sand the support. And this time I’m using some
very rough sandpaper, 40 grade. This is the stuff that if you
rubbed on your own hand would hurt. And what I want to do is, basically
make this canvas very absorbent, rub off any sheen so that my paint is going to
be nice and roughly attached to it. [SOUND] And now I’m going to get lose a little
bit, warm up on the canvas here, and start thinking about some of the gestural marks
that I will be performing with oil paint. But now just kind of, I get use to that
idea, get use to those range of motions. But now, with charcoal. [SOUND] [SOUND] [SOUND] All right, a good
time to step back from the painting and take a look. And this is actually really important and
underestimated aspect of de Kooning’s approach to painting. We all think about these
explosive moments, these active moments of painting and
you just witnessed some. But really, de Kooning alternated those
with some very long, very patient, very critical periods of careful
looking at his paintings and trying to understand what
the painting wanted to do next. Because this is really not the kind
of painting that you can push around. It’s one that you really
need to listen to. So what I’m looking at,
when I’m seeing this painting, are a couple things that are working and
a lot of things that aren’t. What’s really sticking
in my eye first of all, is this very artificial line
coming straight down here. Now, when I was painting, that didn’t even
occur to me, I was so close to the canvas. But stepping back, there is a very
linear element of all these different gestural marks aligning in a vertical way,
this is artificial and it looks bad. It catches the eye in an aggressive way. Similarly, there’s a little bit too much
parallel stuff that’s going on here. Although there are some nice moments of
paints mixing, wet in wet into each other. Some of these really nice color
combinations working here. This, kind of,
beautiful mark here, wet in wet, blue into it’s complement yellow,
some gorgeous mark making. Also, there are very flat planes of
color that need to be worked in. But, essentially, what you saw me do in that
first step here, is to knock out all the white. To start bringing this painting forward,
in space, together, to really understand what is going to happen next. Now, it’s also really important to
understand that in de Kooning’s painting technique, there’s as much
subtraction of the painted material, as there is addition. In other words, a lot of the marks
that are made in the finished product are a function of labor, of putting paint
on, scrapping it or smearing it back off. So let’s get into some
of those activities now. [SOUND] And already, what you see me do there,
is edit out some of the areas that I didn’t like, that I thought were weaker. Wow, they just got a lot stronger for
a couple of reasons. First of all, colors are mixing
in a really interesting way. Look at this chaos here, gorgeous. Also, bringing back
the drawing into the equation. Skinning, flaying some of the white of the
canvas here and giving us some transitions between thickly painted, thinly painted,
opaque, translucent, luscious, fat paint, glossy, and dry,
scratched kind of texture here. All of these variables here that we’re
exploiting are really going to allow this painting to come together as a whole. Another technique that de Kooning would
use is to take some turpentine, or in our case, some mineral spirits, on a
rag and just scrub back into the surface. And this is really going to remove paint
and also make the paint bleed together, very aggressively. [SOUND]
And already the painting is way more active, way more alive, way more variety going on. Now, there are areas now that
are bothering me that didn’t bother me a minute ago. The reason is,
I just attacked the problems, but guess what, now there are new problems. These problems weren’t as
strong as the original set, but now they’re the strongest ones left,
so time to attack them, too. [NOISE] Wow, and now we have a nice start
to a painting. What before looks red or
spare and artificial, almost hackneyed or almost sarcastic. Now we’re starting to really embrace
with the physicality of the medium and things are starting to happen. de Kooning was a huge fan of really,
really long brushes. This is a pretty long brush,
it’s a 35 brush size, here. But de Kooning had brushes that literally
were as tall as I am, six feet tall, something like that. The reason was, he liked to be
painting on a canvas from a distance. Why? Because he wanted to have this global
perspective over the work while he was working. I’m going to do my best
approximation here and start painting from arm’s length anyway. Remember, that de Kooning is taking
advantage of this distance, but from even further back to really
understand how the entire painting is evolving as he’s adding or
subtracting gestural marks to it. Some of this accepted chaos, as this drip
is just cascading down the surface here, is how some of the most beautiful
marks evolve in de Kooning’s work. Now one thing that will tend
to happen when working with so much alla prima technique,
or wet in wet technique, as I’m working with here, is that your
oil paints will gradually get muddy. And, in fact, if you’ve gotten
this far into your de Kooning, you may have already lost it
in some very dark colors. Now, there are two ways to rectify that. One, scrape it off. This is the wonderful thing about
oil painting, you don’t like it, well, get rid of it. Number two, you can wait for
that paint to dry. Now, this is oil paint,
it’s going to take awhile. We’re using a really high quantity of oil
that makes the drying time even longer. But when that paint does dry, well then you
can work in any color you want over top. Because since this paint is already dark,
if I add, well this kind of magenta color to it, it’s going to stay that dark and
I’m going to lose this lovely magenta hue. If this dries first, that will not
happen since they won’t blend together. It’s often said of de Kooning,
that he never finished a painting, just sometimes his paintings
escaped from the studio. He was relentless in his editing going
back and forth and back and forth. And speaking of back and forth, he also
alternated between activities of not only painting and looking, but
between painting and drawing, and then back to painting again and
then back to drawing again. So let’s do some more gestural
mark making with a hard tool, in fact, soft charcoal here. Now, when drawing into wet paint,
you lose your mark quickly but you begin to gouge into the surface and
some interesting things can happen. [SOUND] So these little bits of
charcoal that are left there, you’ll often find in de
Kooning’s paintings. When the paint is completely dry, that charcoal
remains embedded into the surface. Now, how to think about
what kind of marks to make? I’m thinking as much about the mark
I’m making as I am my own body, and how I’m moving in space. For example, I see there’s some kind of
residue of this kind of a mark, a down and then back up, so
I’m going to reenact this mark now, but with a hard tool rather
than that wide fluid brush. And you can see that the edge here is
far sharper than anything I did before, as that’s the point where the elbow
is driving back up off the canvas. What I’m trying to do,
is to enmesh all of these marks so they don’t look like individual planes of
color, but they start to wrap together. So what you can see is
that I pulled this color, not only combining with this
maroon purplish color, but I brought it back into the canvas,
commingling with some other colors here. But also starting to highlight that
beige tone, which is found scattered throughout this entire painting now,
which ties things together visually and allows these to exist in the same space,
rather than all these interdependent, or I should say independent kind of tectonic plates of color
sliding over each other. Now they’re becoming
enmeshed in each other, since you see that color
throughout the work. Following that same logic, I have
a lot of the yellow on the left hand side of the painting,
especially at the bottom. None on the right, none at the top. Well, let’s take care of that. And I think this is a good
time to call it quits. Now, let’s talk about how this painting
can grow, since, in all honesty, no exaggeration, paintings stayed
in de Kooning’s studio for sometimes two years as he
actively worked on them. So, of course, when looking at
this painting, it looks thin, it looks simple compared to a de Kooning,
for a couple reasons. This is all done alla prima,
it’s all done wet in wet. And really de Kooning alternated periods
of working wet in wet within working wet over dry and having some harsh,
scraped kind of marks here, but, because it’s wet,
it starts to all mix together. de Kooning would build up these
heavily encrusted surfaces so that by the end of them,
they’re two inches thick full of paint. They’re very heavy paintings,
physically, to carry around. But as you can see here, really, as much paint
comes off of this painting as goes back on. Really get involved in this process,
not only the physical process of painting, but this back and
forth looking, analyzing, and then diving back into the action
painting phase of the work. So here we have a very promising, but
a very brief start, to a painting that, in de Kooning style, should really
be allowed to grow in the studio for a month, if not really a year.

Working with the selection tools in Krita

Selections, as the name suggests, restrict
your drawing operations to a certain area on the canvas. They bound your brush strokes,
your filters or the transforms you may apply on your layers.
Technically speaking, selections and masks, or even alpha channels are the exact same
thing. And they work the exact same way. In case you don’t know it, a selection is just
a black-and-white image. In Krita there is an option called the “global selection mask”
which allows us to visualize our selections as a new mask layer. When I select something,
you can see that the selected pixels are white, and the unselected ones are black. This grayscale
image is used by the application to know where to apply a certain effect. Mathematically
speaking, it works like that: grayscale values are stored by computers as percentages. Black
is 0 or 0% and white is 1 or 100%. Grays can take all sorts of values in between those
2. These percentage values are then used to change
the weight of your drawing operations on the canvas. Black leaves the existing pixels unchanged
and white applies full opacity effects on your pixels. That’s quite technical, but
understanding masks and manipulating them is the bread and butter of lots of time-saving
game art tricks, of game shaders and of fundamental procedural game art techniques.
For now, if you have to only remember 2 things, these are: Selection=opacity mask=alpha
mask; they work the same way. And selections are grayscale images.
In this video, we are going to focus on the most important selection tools. These are
the rectangular selection tool, the outline selection tool and the contiguous selection
tool. All that I’m going to say about the rectangular selection tool also applies to
the ellipse selection tool. Let us start with the rectangular selection
tool. You can access it by pressing Ctrl R on your keyboard. It is used to draw rectangular
shapes, but also to box select parts of your paintings, like for sprites on your canvas
for instance. To draw a selection, you just have to click
and drag on the canvas. The place where you click will define the starting point of your
selection, and the point where you release the mouse will define the ending point of
your selection. With both the rectangular and the ellipse selection tools, there are
some modifier keys which allow you to transform your selections while you are drawing them.
For those manipulations to work you have to keep modifier keys down while you are drawing
the selections. Not before, not after. To constrain the proportions of your selection,
you have to press the Shift key and keep it down.
If you want to use your starting point for your selection as its center instead of its
corner, you have to keep the Ctrl key down. And to move your selection while you are drawing
it, you have to keep the Alt key down. It will snap the closest corner of the selection’s
bounding box to your mouse cursor. Let’s now talk about the outline selection
tool. With this one, the selection is defined by the outline you draw with your mouse cursor
or with your tablet’s pen. It is best to use with tablets; in my experience, you will
get jagged edges with the mouse. It is used to select elements like the rectangle
selection tool, but it offers more flexibility .it is often used to cut limbs in production,
to move or to copy objects around. There is no default shortcut assigned to it, but it’s
a very important tool. I recommend that you give it one. I’m using the Q key myself,
on the top left corner of my keyboard. Editing keyboard shortcuts is explained at the end
of this chapter, in the last video. And if you want to select this tool with your
mouse, in the toolbox click on the bean shaped icon. This tool is pretty straightforward.
There are no important options to know about it, apart from the ability to deactivate the
antialiasing if you are doing pixel art in Krita. But talking about this outline selection
tool is a very good occasion to talk about how to add, subtract and intersect selections
together. To apply any of those 3 operations, you have
to keep a modifier key down before you start drawing the selection. If you keep your shift
key down, your selection will be added to the existing selection. If you use the alt
key instead, your selection will be subtracted to the existing selection .and if you keep
both the shift and alt keys down [at the same time], your selection will intersect with
the existing selection. It is also called multiply. The 2 selections will be multiplied
together. Those modifier keys work with every selection
tool. You can for example draw a rectangular selection, switch to the outline selection
tool and subtract some random shape to it. We have one last selection tool to talk about.
This is the contiguous selection tool. This one selects an area surrounding the pixel
on which you clicked. It is based on the similarity of the surrounding colors. The size of the
selection is determined by the fuzziness parameter in the tool options. If the fuzziness value
is high, the tool will select colors that may be quite different from the pixel you
clicked on. On the other hand, if the value is small, the contiguous selection tool will
only aggregate colors that closely resemble your initial selection.
This tool is used to easily select a colored area on your painting, like the hair of your
character, the shadow inside of their ear or anywhere on the body. Any area that is
pretty uniform in terms of colors and values. We’ll talk a bit more about it later, but
there are many ways you can use and combine those selection tools together to make your
job painting any kind of character much easier. For now, I just want to remind you of one
last option at the bottom of the screen. In the status bar, on the very left of it, you
have a little icon. When you have a selection active, if you click on that icon, it will
change the way the selection is shown on the screen. It will switch from what we call the
marching ants selection to a red overlay. This overlay is really useful because it allows
you to visualize the transparency in your selection. With the marching ant’s mode,
you can’t visualize smoothness in your selection. In the next video we will see how we can flood
fill our selections and outlines with colors

A Sci-Fi Short Film: “GOOD BUSINESS” – by Ray Sullivan

Well as you can see the high explosive rounds
are tremendously effective against soft shelled targets
as well as armor What you fellas think? WHAT DO YOU FELLAS THINK What’s it gonna be fellas? WE WILL TAKE EVERYTHING So, that’s 25 automatic rifles 1,000 rounds ammunition 10 GP-25s with 30 rounds each AND THE C-4 and the C-4 All right boys Start unloading Let’s go Captain, are you sure about all this? Sure about what? Handing over all these guns to the Skwoids Yep, they give me the creeps too But it’s company policy and good business at that Yeah? Yeah This way not only do we get a
prime piece of real estate But, we set it up so the current residents kill each other off At no extra cost What are you little fuckers up to? I don’t know sir Seems like a hell of a way
to settle a world You don’t get it do you comrade? We are at war with these things already They just don’t know it yet

Stepping Out And Growing an Art Business | Artist Entrepreneur Jennifer Gough | AQ’s Blog & Grill

Recording: AQ’s Blog & Grill. Interviewer: Hi. Welcome to AQ’s Blog & Grill;
this is where we have fast food for thought on branding and entrepreneurship.
Our guest today is Jennifer Gough. Jennifer is
an artist and an entrepreneur; you might say you’re an artrepreneur. Jennifer: I think that would be a good way
to say it. Interviewer: There we go. Let’s go a little
bit into the art field. I know you got started a little late in terms
of dedicating your life to being an artist. How did that all
come about? Jennifer: I had worked in retail for about
12 years at a college, and it just got to a point where I was thinking about,
“Is this what I want to do for the rest of my life?” I had
a good job and I was making good money, but it was just that time
where you start to question where you’re going and what your
future’s going to look like. I had always wanted to be an artist. Interviewer: Really? Jennifer: Yeah, always, since I was a child.
I always felt that was like an unattainable dream. It was like waking
up. It was like all of a sudden I woke up and I went, “Oh, my gosh.
I’m already such- and-such an age and I better start now, because
if I don’t, then I’ll be down the road and you never know what’s
going to happen. This is the best time to just take the bull
by the horns and run with it.” Then once I had in my mind a loose
plan, I quit my job, I got myself a studio, and I started
painting, which I had never done before. I hadn’t been a painter
before. I know it sounds . . . Interviewer: This makes perfect sense. Jennifer: Yeah, I know. It sounds ridiculous
when you think of ‘You quit your job to be a painter, but you never painted.’
It was almost like taking my life and flipping it completely
on its head, which in the end, was the best thing I could
ever do. At the same time, I had to be realistic so I set
myself up with a couple jobs that didn’t really take away from
me emotionally or mentally, and I could focus all my energy
on artwork and still pay my bills and everything. Of course, you
cut everything out that doesn’t have to be there like cable and
all the frilly stuff. Interviewer: You really did combine this passion
for art and what it was going to allow you to grow into with entrepreneurship. Jennifer: I had no idea that I was an entrepreneur.
Honestly, all I wanted to do, I was just like, “I just want
to make art and I want that to be my thing.” I didn’t . . . actually
at that point, I didn’t care if I worked those part-time
jobs for the rest of my life because I was happier doing
what I wanted to do than going to a job 40 to 50 hours a week.
The good thing about retail was I learned a lot of business skills
while I was there. Interviewer: You have the studio, Mind’s Eye
Studio now. How does that feel? Jennifer: It’s incredible. I get to go to
work every day to my studio, I get to paint and create these wonderful pieces
of art, and I get to make a living doing that. I don’t think
I could ask for anything more, really. As far as the whole
sort of starting small and getting bigger, like I said, I really
didn’t have any grandiose plan for what I would become. I
think when you focus on what your passion is and you do that with
100% of your energy, you can’t fail because you’re putting
everything you have into something you love, and it just
. . . it has a momentum all its own. It starts to grow and
it starts to become more than you ever thought it would be. I took every opportunity. If someone offered
me an opportunity, I said yes. You go through . . . you get these
little milestones. Every time you achieve one of
those you’re like, “Geez. Wow. That was really amazing. I can’t
believe I did that.” Then it starts to build your confidence
a little bit, and then you start to be like, “OK. I understand
how this works.” It’s a learning process, for sure. Interviewer: How does Jennifer take care of
the Jennifer Gough Mind’s Eye Studio brand? Jennifer: I don’t do something unless I’m
going to do it 100%. When I’m making art and I’m putting art out into the
world, I’m putting it out there with me behind it. Everything
that I put out, I’m 100% proud of, I’m 100% satisfied with, and
I make sure that my customers are 100% satisfied and proud to
own a Mind’s Eye Studio piece, as well. Interviewer: How do you find that you’re able
to leverage social media for your artistic endeavors as well as your
business end of things? Jennifer: First of all, I didn’t even have
a computer. It started with people asking me for things, and then with
the need, then I would add that to my repertoire. I guess it
maybe it was 5 years ago, a friend of mine was like, “You need
to get on Twitter.” When I was clicking on people to follow, I
was noticing what I was looking for in their profiles in those
3 Tweets; it’s like a first impression. I was always looking for
someone who would Tweet interesting things about art with pictures,
with videos, with information articles, anything like that.
I was looking for people who would communicate back, who’d be
approachable. Then I was looking for people who were positive and
motivational. I thought, “Those are the things I’m looking
for from the people I follow. I think I’m going to make that my
standard. My 3 Tweet rule is always leave my account with those
3 . . .” you can Tweet as much as you want and do your thing,
but once you walk away, I leave it at those 2 Tweets, so that
when someone comes to my profile, they see, ‘She’s an artist,
clearly. A lot of motivational stuff, a lot of stuff about being
positive and moving forward, and then again, answering
people back. If someone Tweets to me, I try to answer as much
as I can right away and keep a conversation going. Twitter
has been instrumental in quite a lot of my dealings
artistically. Interviewer: Have you sold many pieces through
social media? Jennifer: I have. Interviewer: How can that happen? Jennifer: I don’t know how that happens. It’s
a funny thing because you don’t who’s looking at your account. You can
tell . . . you know who follows you, but you don’t know what everyone
is seeing or how often they’re seeing your Tweet. You got
to put it out there to get anything back. It’s like the whole
give-to-receive sort of thing. You know that I spoke at the Art and Technology
Conference that Avonova had in Stratford, and then the Herald;
their local newspaper took a photograph for the article
he was going to write. He took pictures of the physical art
that was there, which was great for me. Of course then when
the article came out, I posted it on Facebook and I posted
it on Twitter, and that’s when you happened to see Steve there.
It’s all a process; saying yes to opportunities, which was that
whole speaking thing. Getting in front of people, getting
it out there, and then you never know who’s going to see your
work. The show that I did this one for was an Apple-themed show
that started from one Tweet. It all started with Carbon Computing; they
posted a tweet that said, “Does anyone want to make art with computer
parts?” I said, “Me, please.” When it came to Steve
Jobs, I thought when I was looking at his portrait, I’m like, “There’s
so much going on in his head; the way that he’s running his
business. the way he’s dealing with his people, the way he’s
taking these leaps. How do I portray that through painting?” I
really, of course, liked that ‘Here’s to the Crazy One’ speech,
so I decided to print out the speech, tear it all up into
little pieces, and then put it into him, like, build it right
into his person. I like how it’s in behind his eye, and it’s
just very subtle but it has a lot of power. Interviewer: Now you’re on a radio show. Where
do you have the time, Miss Jennifer Gough, to be on the radio with
a show called Culture Suits? Jennifer: CKWR 98.5 Interviewer: 98.5 [inaudible: 08:50]. Jennifer: Canada’s first community radio station. Interviewer: Very good. Jennifer: Actually, that came from a Tweet,
as well. Nick Herrin, you know Nick Herrin. Interviewer: Yes, I know Nick. Jennifer: He Tweeted out that they were looking
for people, because he had been interviewed on the show as well.
I said, “Me, please.” I went on the show and Randy and I hit it
off, and then at the end of the show he said, “You need to be my
co-host,” and I said, “OK.” I’m always like, “Yes, OK.” Interviewer: I want all the entrepreneurs
in our audience, the young entrepreneurs particularly, to notice what
Jennifer does. She puts up her hand, and really, there’s so many
opportunities that the normal folk do not take advantage of because
‘I don’t know if I should put up my hand or not.’ How many
bad things have happened when you . . . Jennifer: None. Interviewer: None. Jennifer: I have never had a bad thing happen
when I volunteered for something. I think that’s part of the reason
that sets entrepreneurs apart from others who don’t
choose to go that route. Yes, me, please; always taking advantage
of opportunities, and I like to give opportunities
back as well, especially with having the space that I have.
It’s nice for me to be able to . . . at least once a year;
I do a multi-artist show, a group show at the studio. Interviewer: You mentioned Brush Off. Tell
me a little bit about what the Brush Off project was. Jennifer: That was an evening that the museum
put on downtown. It was 22 artists, and they had 2 opening rounds, so
11 artists in each round. You could vote. All the patrons would
go around and watch all the artists making their work. They had
half an hour to create a piece. Again, so the brand. We come
back to the brand. Because if you’re creating in half an hour,
how does the brand . . . does the brand suffer because of that?
What I did was, all the people who bought my paintings, I contacted
the museum and I said, “All those people I want to offer a
free service that they can come to the gallery and I will finish,
put a hanging wire, I will varnish those pieces so that when they
go out into the world, they are Mind’s Eye Studio, Jennifer
Gough representations.” Interviewer: Perfect. Jennifer: Three of the 4 people took me up
on it; one which became a client. Again, giving at that point, giving
to my clients, making sure that they’re happy with the piece
that they bought came back to me in a positive way, as well. Interviewer: You’re very involved in the community
and you don’t have a lot of extra time. What’s your motivation
there? Jennifer: I think that when everyone contributes
whatever they can, it just puts us all forward as a whole. The thing
is if you’re involved in the community, it makes your life
richer. You think at first that you’re like, “I have to give
my time. I have to give this.” Really, you really get back more
than you give. Then you meet so many great people and then there’s
more opportunities. I just can’t even tell you.
It’s like a roundabout, it’s like the more you do, the
more it comes back. Interviewer: There you go. Jennifer: Then we’re all successful. Interviewer: What does success look like for
Jennifer Gough in the next couple of years? Where are you going to go? Jennifer: Just getting bigger, just expanding
my reach. Creating is what makes me happy. In finding and becoming an
artist, and following my passion, I’ve also found my purpose. That
is really I like to encourage and motivate other people, I like
to inspire people. I have been doing that through my art up until
now, but I would like to do more public speaking. I did my
night talk which was wildly popular. I really would like to speak
to people about follow your dream. If you have a passion,
make it happen. There’s lots of ways you can do it. My way,
your way; it’s always going to be different because people
are different, but there’s a few commonalities that you can setup
to help make yourself successful. Interviewer: We’re going to close, and as
we do, I just want to ask you if you had 3 things that you wanted to pass
onto young artists thinking about ‘I’m not getting a lot of good
encouragement perhaps from my family or my friends, but
I know this is me.’ What 3 things would you say, “Guys, please
think about these 3 things”? Jennifer: I think that it’s scary for artists
when they first start out, because first of all, you’re putting a piece
of yourself out there, but you’re starting on a journey where
people are going to go, “Are you crazy? Artists don’t make
any money. How are you going to live?” They’re going to ask you those
questions. You have to be strong in your resolution and say,
“If this is what I want, I’ll do anything that I need to do to
get there.” That’s the important part. Then you have to take
steps, you have to take action, and the community’s a great place
to start. Get involved in the Button Factory; they have
always got programs or something going on. Get involved with charities;
they love donations, and then usually they’ll promote
you as well, and then you get to go to the event and talk to
people about your work while it’s there, so you’re making connections.
Take action is the first one. The second one I think would
be get online. Interviewer: Get online. Jennifer: Get a presence so that even when
you’re not out in the community, your community can still see what
you’re doing. Interviewer: Exactly, 24/7. Jennifer: Get online, get a website, a blog,
start on Facebook, or get Twitter. Do all of those things simultaneously.
Get yourself a presence, and then make great work. Work,
because you have to have a product to sell. As you’re taking action
towards your dream and you’re getting out there with the
community and getting connected, then you’ve got a product
to sell; all those things will line you up for . . . start you
on your successful path. Interviewer: Today’s session of AQ’s Blog
& Grill was with artist, entrepreneur, Jennifer Gough. Jennifer’s website
and some of her other connections, social media connections,
will be published on the blog. You can ask Jennifer questions,
and we will forward them to Jennifer, and then hopefully she’ll
respond. I know she will. Jennifer: Absolutely. Interviewer: It’s been great having Jennifer
join us today. Thanks for dropping by. Recording: AQ’s Blog & Grill.

The restoration of an Emma Gaggiotti Portrait – Narrated Version

This video is from a little while ago and it was shot by Jack Brandman, a really talented videographer here in Chicago He’s got a YouTube channel under ChicagoAussie And he makes great content particularly his Remade in Chicago series which features local craftspeople Artisans and their work in and around Chicago. So go ahead and check his youtube channel out. Give him a follow I’ll put a link up. It’s a really great content and I encourage everybody to see what he’s up to My client brought me this painting ostensibly because of the puncture in the lower section of the canvas that occurred during a move but during the examination we found that there were several old conservations that had discolored had worn and had suffered a little bit over time. In addition the original varnish was suffering from a bloom which is when the varnish becomes cloudy or milky usually as a result of exposure to moisture. So after diagnosing all those problems the client agreed that not only should we fix the puncture but we should take care of everything while we had the patient on the table so to speak. So the first step was getting the painting off of the stretcher and in this case the artist used nails so I’m pulling those out as opposed to using tacks, which is generally more preferred. Once the paintings off the stretcher and the stretcher set aside for cleaning later I can start to remove the grime and the dirt and all of that disgusting stuff that builds up behind the painting and the stretcher bar. With that cleaned I can begin the process of removing this patch This patch was put on with wax and luckily wax is soluble in several solvents and is a pliable material So it’s not terribly difficult to remove but care is still taken because we don’t want to subject the original canvas to any unnecessary tension or handling. With the patch removed the excess wax can then be scraped off we can begin the process of cleaning the painting. And before any cleaning is begun I make several tests in inconspicuous areas to determine the best materials, detergents, solutions, solvents for the painting that will remove the surface grime and the old varnish. Once that information is gathered. I can begin the process in earnest. So right there I was using a wax paste to remove the built-up surface grime and once that’s gone I can use solvents to remove the old varnish. And as we start to see the old varnish removed, we can begin to see what the artist originally wanted. This beautiful skin tones and other delicate paint applications that were otherwise obscured by that brown and yellow varnish. And whenever I move to cleaning a signature I’ll always switch to q-tips or smaller swabs just because I want to be a little bit more delicate and have a little bit more control because of course the signature is very important to the piece. With the painting cleaned I can move on to a vapor treatment which is a method using moisture, heat, and pressure that will allow me to relax the canvas and flatten it to remove any waves and ripples and other distortions and this takes place over a couple of hours and then the painting will go under weights and climatized for a couple of days. And once that’s complete the painting is flat, the canvas is smooth and even, and we can begin with some of the other structural work that needs to be done to repair the tears, punctures, and other damage that the physical canvas has received over time. Now while there are several methods of repairing tears or punctures to canvas, including patches or linings, I’m choosing something called the bridging technique which is a little bit lighter weight and less invasive than those other methods. And the bridging technique consists of lots of small fibers cut from Belgian linen laid perpendicularly across the tear in a bed of adhesive and this is just meant to hold the canvas flat and together so that it doesn’t open up and reveal itself on the face. So once the adhesive is laid down the little strands of linen can be set in the bed of adhesive and then they’ll be pressed as they dry so that there’s no distortion to the original canvas. And because the paintings tacking edge was frayed, delicate, and in some cases really small, I’ve chosen to add a new tacking edge which is called a strip lining and that’s done by taking a piece of Belgian linen and adhering it to the tacking edge using a Conservation Adhesive in film form. It’s ironed on and then pressed and allowed to cool and dry. And once this is done there’ll be plenty of meat on the tacking edge for the stretching. Now with the painting flat and on a stiff surface I can remove any excess wax that has seeped through the cracked and found its way to the face of the painting. And once this is done, I can begin the process of preparing the stretcher for the stretching. Now luckily in this case the wooden stretcher was not damaged or broken in any way shape or form but I still need to remove the old wooden keys and any nails or tacks that I might have missed earlier on. I’ll clean it up, I’ll square it up and then I’ll prepare for the stretching. I prefer to use steel tacks as opposed to copper tacks which can oxidize, or staples which are really just inferior, to secure the painting to the stretcher. Using a canvas pulling plier will allow me to apply even tension to the canvas and I use a magnetic hammer to drive the tacks through the canvas into the stretcher support. Now the keys which you can see me tapping in here are used to add tension to the stretcher, which is a non-fixed jointed wooden support. Now sometimes the keys are damaged or they’re otherwise missing and I’ll have to recreate them. In this case I’m using a piece of oak as opposed to a piece of pine because it’s a better material, It’s more rigid, and it can handle being tapped in better than the pine. Now once the keys are all secured I will fix them with a piece of fishing line and tack so that they don’t get lost in the future. And once all these tacks are secured I can begin the process of filling in the cracks and tears on the face of the painting so that I can begin the retouching process. Now using a putty I will overfill the areas where there is missing paint and then once that putty is dry I’ll come back with q-tips and cotton swabs and other tools to remove the excess because I want to make sure that I have an even, smooth surface onto which I can apply the retouching pigments. With the fill and medium dry I can apply an isolation layer of varnish to the painting and there are many reasons to do this, among them is to provide a barrier between my retouching and any future work and the original painting and two, it allows me to see the colors better and see them as they will look once they’re final varnished. I mean this is important because if I retouch according to the washed out, dried-out colors then when I put the final varnish on, the retouching isn’t going to match and I’ll have to redo it. Now retouching unlike painting requires a different approach both in technique and materials. So instead of using oil paint, I’m using my Meri Restauro, which is a conservation grade paint that has no oil in it. And that’s important because oil oxidizes over time and becomes permanent. This pigment will never be permanent, it can always be removed with the appropriate solvent. And as oil oxidizes it darkens and changes color. Now this paint, because it has no oil, won’t change color over time thus keeping the retouching more accurate longer. And the other main difference between painting and retouching is that painting you have the freedom to apply as much pigment as you want whereas retouching we are really just focused on the areas where there are losses. It would be inappropriate to add pigment anywhere where the original pigment is still existing. And so the conservator must limit any pigment that they’re applying to just those areas of damage or loss. In this case just the tears and the cracks. And there’s no secret to retouching it’s just a matter of practice and patience and the more you do it the better you get at it and the more you do it, the more quickly you’re able to determine how to mix a colour based on your palette. That is you can see all of the colours that make up one colour without having to labour to that point. And once the retouching is finished the varnishing process can begin. In this case I’m using a synthetic resin ultraviolet stable plasticized Varnish designed for conservation. And this varnish will remain soluble for about a hundred and two years in mild solvents. It will not yellow. It will not darken. It will not bloom with exposure to moisture. It will not fail like the old varnishes do. And every once in a while a little hair gets stuck in the varnish and so it needs to be removed using a scalpel. With the varnish finally applied I can put the painting back into the frame. And in this case instead of using nails or screws I’m going to be using metal brackets or picture clips because they are easier to install, they provide better support and they don’t damage the original painting at all. So: with the painting fully conserved, the damage addressed, cleaned and put back together in the original frame all of my work is complete and the painting is ready to go back up on the wall and be enjoyed by my client for many years to come. So thanks for watching this video. A huge thanks to Jack Brandman for spending countless days in my studio shooting and following around. Go ahead and give him a follow, check out his channel. There’s some really great content. And of course if you’re interested in what you’ve seen here, you can find me on instagram or you can just click to subscribe.

Rainbow Willow Tree Q Tip Acrylic Painting for Beginners tutorial 🌈🎨💜

Hi I’m Cinnamon Cooney your Art Sherpa and today I’m so excited to show you how you absolutely can paint this gorgeous Rainbow Tree easily at home. Get your ear buds get your paint, come back and meet me at the easel right now we’re going to get started. Let’s look at the materials that we have today so we can make this fabulous and easy tree. I have a 9 by 12 canvas board. This is pre-gessoed, it’s ready to paint. You don’t need to do another thing to it. The paint! I have a dark red, light red, an orange, yellow, green, blue, purple, and of course a white and a black. For the exact colors check the description below if you want to get exactly what I have. Let’s start painting in the background. So take your big wide brush that you have. You want to brush for that stiff filaments that synthetic not natural hairs or bristles because you don’t want it to pull in too much water. I am going to give it a little bit wet and drag off the extra water. Off the side of my lid. I’m going check that Mehan see that’s not soaking. I’m going to load up on this side of the brush and then I’m going to flip it over load up on this side pain on both sides. I’m going to get a little bit of my black on the tip here and a little bit of my black on the tip here and I’m going to come over to my canvas and I’m going to make a diagonal brush stroke try to go from this corner to this corner is your goal. You don’t have to be perfect. It’s just what you’re trying to do to make that windy day feeling. It’s real easy process to make a windy day feeling Seaham letting it be streaky. The streaking this is helping me create my wind come here again load on this side flip the brush over load on this side little bit on the corner here little bit on the corner here. Come back. See how when you make the strokes it creates the streaks for you and you’re not even work in or ain’t taking these strokes right off my canvas trying to keep them as diagonal as I can. Right. And a little more paint We’re almost done flip and flip. Oh I put out the right amount of paint. That’s always exciting when I do that. Another little bit on this corner another little bit on this corner and just come finish this canvas off. We just want to cover all the canvas with paint. There we go and have it be nice and blustery right. Feel like blowing windy. Sometimes that happens. Happens to everybody. Don’t mess with your going. All right. I’m going to rinse out my brush dry it off and put it to the side and clean that out really good later. Now for the next part you’re going to want to try and canvas really well and that takes some kids shock that I run through a sharpener because you may not know this but you can sharpen. Kids chalk to get a nice point. I’m in a sketch in my hill and my tree and the tree shape real quick. So when I do my Q-tips I know what it’s like but listen if drawing is not your thing don’t worry about it in the description below will be a link to a traceable so you can kind of get that shape in yourself because it’s more important than you paint. Then you worry about if you’re drawing today or not. You can always learn to draw. It’s really fun. All right. I’m going to come from about three inches on the left hand side up and make a little mark and I’m going to come over to if you think about it like four fingers over from the side a few inches and make a wandering down hill. My Hill is going to wander down. That’s where this tree lives. And another thing I’m going to do is I’m going to make a beautiful burrowing Willow. And so if you think about the letters see I’m going to come right here starting at the middle of the canvas down about forefingers just so it doesn’t get away from me and make an interesting bowing shape once I have that I’m going to sketch in. My blowing Willo form and it’s just a light sketch. It’s just so I know where to put my Q-tips so that my it has shape in is whimsical. I love to think about things when they’re whimsical and so that really helps me. Now we get to start with the Q-tips which is the most fun part. So I’m going to grab a bigger bunch of my Q-tips have small bunches and big bunches but the back of the tree is fairly big a comment and I’m going to just dab them into my dark red paint. This is a dark red. So sometimes things can be red but be different kind of colors. So this one is dark red. I like to do a dark red on my rainbow because I think it helps it be really bright and cheerful. So I’m just dabbing this down oh let’s make some uneven shapes. Trees have little branches they have personality don’t they. And you want to make sure that when you’re painting your tree you think about trees with personalities. If you want to get some detail you can dab even on the edge here a little bit. Right. Sometimes there’s a bit of little furs and things that come up. I can come with my finger and tap those down. These particular Q-tips don’t give me as much hair. Little furry boots. But you know it’s all workable. It’s all part of the art. All right. When I have about two and a half inches of that I’m going to flip this bunch of Q-tips over and come get my lighter red. And I’m going to just dab a little bit see how this red against this darker red feels very like great 1G red. The contrast did these two really I think helps this tree look very special. Right now it’s come down maybe make a little blowing branch tree a little bit slowing down. I like that and I’ve got a nice result there. We’ll put these to the side and they get another little bunch of Q-Tips. I’m going to arrange them so that they’re in a cluster that I like. Oh that’s a good cluster that I like right there. So pinch those in. This is my orange. I’m going to dab those up and down into my orange. Oh that’s really pretty right. Here’s a little tip sometimes if you want to make sure that you have some brake color before you go back and do the blend into the color that you’ve got put down. Make sure you put out some very bright color that will really help your rainbow pop. Putting in some very bright colors. Oh let’s wander a little bit of this up. Like you do. I might even come back and have a little orange down this wandering tree branch. Come back into this a little bit here and there. Look at that nice. Blend that we have going that’s pretty great. I’m going to get a smaller bunch now that I have this is just for and I’m going to come and get some yellow. I’m going to make a point of doing some yellow here. Before going into the orange because I want some really bright yellow and then maybe this yellow. Also comes down. Just a little bit just a little. So you haven’t quite blended it in yet. And the reason being is when I do blend it in it’s going to start being just bright yellow and start having some orange see that how it blends right on the canvas. Smil says super fun super easy Senao are really working our rainbow. Red orange yellow. Very cool. Another little trick you can do is get a little bit of your white and add it to your yellow. That will help some of it be bright. Hey I like that that’s looking really really good with that to the side. Get another little small bunch of Q-tips this time I’ve got three and I’m going to come on. Interesting thing this green is really dark and I want it to be bright so I don’t actually mix my green and yellow together a bit to make a bright green because I want this to feel very bright and Rainbow ish. I might even take some rain back there. In this case because I want the bright green I can let them wind a little bit. Oh that’s wonder a little strange branch up here. Yes we want to can curve it here and there. Oh and get some of my darker green. Right there. Does all look really nice. Together. Flip this over. Let’s get some blue. I might put out a little more white paint because it’ll help my blue pop just the blue. I have. Right. If your blue is really dark it can help but be very bright. I’m getting a little pain on my hands but they clean up real easy so I’m not worried about it and I’m just dad this wonderful bright exciting blue. Coming on out. Now fine. Maybe up into the blue here. Look at that. That’s a rainbow tree. Now I’m going to get to Q-tips I’m going to get my purple maybe add some white to you can really see the purple I’m going to blend out a little wandering bit of this tree with the purple take that purple up the back here and take out a little blowing branch. And this just so pretty right. All done with that. That’s all I need to do. Q-tips down time to paint in our tree and. This is going to be really fun. Get your round brush. This isn’t number four round with a very nice point. The synthetic fibers filaments and they’re very stiff so that will really help me get a nice line. I’ve taken off all the extra water so I wouldn’t want this to be soaking and I want to just load this up on my brush. I’m going to come right here very lightly. Just for the line that I had sketched in OK let’s make this tree a little bit interesting. Trees are thicker at the base so that’s that can the base up I’m going to just give it an interesting little root going off that way should have an interesting little rich in it and let’s curve it back here. Nice thick trunk that’s what we’re doing is we’re building a tree that would hold up all these colorful little branches. When I press harder on the brush it thickens the line. And when I press lighter it makes it thinner. So that’s what I’m paying attention to and I’m going to just brush this black paint. I’m letting this dry up here because when I do these Twiggy little bits I want my black to really pop in if this isn’t dry then it’s going to get all muddy. So make sure that it’s dry up there if you need to dry it with a hairdryer. Go ahead. I’m going to wander down following my hill. That’s a nice line. I’m a come up here and pay attention to this wandering Hill. All I could just imagine reading a book here or. Playing here and leaning against this tree anything I wanted. This is just a nice way to be creative. Right. Just notice I’m just getting this paint and putting it on my brush. I’m just brushing it out. You can do this with any colors that you have. And remember no two trees look alike so realize that your tree should be unique and special Treach and look exactly like mine should look something like mine. You know we’re human beings not copy machines and so be very easy with yourself about your tree going to thicken the trunk up just a little bit up here. But I still want it to get very tapered because all the lines going on into that tree are going to be quite fine delicate little lines. I’m just giving them a nice basis to work for them. Now if your brush is getting slopped up one thing you can do is roll it out. That’s called offloading come back and get a little more paint right at the tip. Let’s make some graphs and I liked actually say the word cresc Scratch-Cat but I also like to start my brush stroke firmly planted to the canvas and then just flick up and lighten it as I come out. And that lets it be very delicate. See how I can make this very delicate by pressing very lightly imagines like little butterfly wings or something and I don’t make even little brushstrokes like this do I. Come. Some of them are longer Some of them are shorter. Some of them bend to the right. Some of them bend to the left you know be creative. Let your grass grow. Different directions. Come here make a little clump of interesting grass right there. Oh that’s a clump of interesting grass that’s grown right here. Light pressure. Lots of different curve to my line. Come down here Curve some grass blowing up because the wind is rustling through this hill blowing this tree right. This magical tree. Love and Peace tree right there. When you’re happy with your grass. Go ahead and make sure that’s dry before you try to put in your delicate branches. I’m going to do that right now too. So let’s put it our delicate little branches on and come over to my paint and make sure that my brushes and all glob up get just the tip in there. I’m going to take this branch all the way out wondering to the end I’m going to come out here and as I’m coming out I’m in a light light and light and my pressure and see how that makes it delicate. That’s what I’m doing. All right. Can a little more curry here. All I want to make a delicate little branch coming on here. My trick to this is a light hand pressure. That’s all you’ve got to do is keep your pressure light. Let’s make some more of this. And we need to come along here. I want to make sure that my branches are coming off of a thicker joint. So this has to be thicker than the branch wandering off from it. Here we can that’s light and delicate. Oh I’m going to wander over here. I like to make these long in delicate. You can practice on a scratch piece of paper if you’re not feeling confident. But how it might work out for you. And also if you let it dry you can just come back and Q-Tip any mistakes that you made right over any black branches that you don’t like. Coming up here. Making sure like everything wander out here we need some more branches down low holding up all these delightful and exciting branches. I don’t want to take my joint right off there and come up a little bit above wander this. Just a little bit of tree magic happening. Well maybe a little one comes down here. You just do this too. You feel really happy. With what you have and once you have it exactly how you like it then you get to sign it. Now I do like to use a really small brush to sign. So let’s pick up our little detail brush put our signatures on there together. Remember your signature is part of the artwork. So just think about it a little bit and try to make it seem like it belongs in the painting not just sitting on top of it. All right really satisfied with that. I hope you’re pretty surprised and thrilled. And you’ll check out some of the more fun Q-Tip paintings that you can do. Be good to yourselves be good to each other. I want to see you really soon.