(opening music) hello, my friends the time of day is here, when everybody paints and forgets their fear. show you where your heart is, you know it's where your heart is. it's time to have fun.... cinnamon: that was awesome. did you guys love that intro? hi john. how are you doing today? john: hey, how are you doing? cinnamon: i'm john: i'm here puhing buttons. cinnamon: john's there pushing buttons, follow me. i'm cinnamon cooney. i'm your art sherpa. and you are here for quest number five. fifty shades of gray.
(both laugh) cinnamon: i did, i went there. i've been going there since that book came out cause i was like, "really?" cause i thought it was a book on color. hugely disappointed. (both laugh) cinnamon: hugely!john: not a book on paint. not a book on paint! cinnamon: that happens to me more than you'd think. i've had anne rice get me a couple of times, too. no vampires in this book! none. (both laughing) cinnamon: don't like that. so, but, here's an interesting fact. there's about forty shades and hues that people can see at their maximum and most people see about fifteen. and this is a skill you can actually develop and hone and improve. but people just don't know to do it. and it's one of the most useful skills in an artist's little tool kit.
and i have this belief. i have a belief in the self-trained artist. john: mm-hmm. cinnamon: i actually really think that self taught artists can do some of the most amazing, fresh expressive work out there and that with just a little bit of information that big things are possible. and this is one of those quests that is going to be a keystone of foundation. because it's interesting. we're painting hue, we're painting tone we're painting tint, we're painting value, but using those skills is how i make mountains look far, far away. and a tree look round, and leaves look as if they have shape.that's how i paint. it's those, it's that set of skills that allows allows me to create an illusion on what is essentially a flat canvas. i'm gonna let you guys into a shocker here. there is no apple on this canvas.
that apple doesn't exist.this is just a flat board. john: it's illusion. cinnamon: it's illusion. art is illusion. i think that's some of why we like to watch it in time lapse. and we like to relate to it. and the thing is that one of the number one things i see new artists do is they'll send me a picture and they'll be like you know, what do i need to do different, what the critique, and it's not even about a critique. it's like, oh i need to help you see more. cinnamon: right. i need to help you see the highlight at the top of that tree, and the shadow underneath. and if you start to see those things, then you're gonna paint entirely differently. and again this is one of those things that i think that gets put into the weird talent bucket. right? where it doesn't belong. so we're gonna take it back out of the talent bucket and just put it in our toolset where it does belong.
i- this is a live class, so... john: yes. cinnamon: you can ask questions as we go. if you need anything explained further, john, who is sherpa-tracking me today, will be following me on the mic. john: i'm gonna try. cinnamon: and you know, if you're coming on the replay, there's a chance somebody asked a question you're thinking in your head. it's amazing how it works. it's why we like to do these live. so, there's a good chance your information is here too. i have just got acrylic paint today. i've got black... i've got white. john: oh. go ahead.
phthalo blue, and some burnt sienna. john: i was reading notes. cinnamon: you were reading notes? that's good. john: we have wishes coming in. cinnamon: yeah, i've got nothing to put wishes on. john: oh, well then we're just gonna put some ephemeral wishes out there. cinnamon: in the universe. john: yeah cinnamon: like, i know i'm wishing, um,
uh, i put a wish in there for- i put some wishes in your text. john: yeah. cinnamon: for like, good first day of kindergarten. john: we'll save them up for later this afternoon. cinnamon: ok, we're gonna save them up for later this afternoon cause we may do an expanded thing later this afternoon. be sure that you've got something nice to sippy sippy. just in case you're getting stressed you can sit back and go, "this is just my art quest. it's not a class. i don't have to worry about it. i'm not being graded. i'm just questing." john: mmm. well, we'll let imp mulcahy know that we're gonna save that wish for chris for later. and everybody else who's putting them in there, we'll definitely be getting those.
cinnamon: yeah. we're gonna be back at 2:30 to do the grisaille technique. so i know you guys are excited about it. i just wanted you to know, that this thing that we're doing here with this gray scale, and tints and shades and tones and grayscale and i wrote shades twice. why did i do that? (laughs) john: cause you have gray shades and. tint, tones, and shades and then grayscale. it's, yeah, welcome to the world of being an artist. so, i'm working on my acrylic pad again, with the paper so i can clip it and put it in my book. you're gonna be putting this in your book. one of the things that you're gonna wanna do is find a picture that you like. this is a hint to an upcoming lesson we've got coming on. i printed this out. i took the color information out of it. i put it on grayscale and i increased its
contrast a little bit. but just any black and white photo that you like. just print it out, glue it, mod podge it. i used artsy tools. gloss medium and varnish like i like to. johnl oh yeah. so, and we're gonna be working on that in a little bit. right. i wonder who took the color test. did anyone test their eyes on the mini-quest? john: i think that there was cause i saw a link up there and i saw the ladies talking about you know, testing eyes, and seeing colors, and shades of gray, and all sorts of fun joking. cinnamon: yeah. this is the gray that we're seeing. these shades of gray are actually useful in your life
and not a whiny whiny millionaire with lots of emotional problems. (both laugh) john: i'm so glad i missed that. cinnamon: oh, yeah, i- just, you know when we were in canada and the book came out, all the guys were so excited their wife was reading this book, and so then when i went and saw the movie i was like, "well, that was just john: there's a lot of people who- cinnamon: twilight but not as well written," which is saying something. i'm sorry if you're a big fan of the book. i apologize right now. i didn't, you know. (john laughs) i'm sorry john: so there were a lot of people who did the testing though
cinnamon: (laughs) did they? john: there's a range of numbers so i don't know what the- we've got people from a four to a twenty-seven. cinnamon: yeah. john: so it's a big range. cinnamon: so just know you can go back to that sight and test, and you'll find that that number improves over time. the more you paint, the more that number will improve. cinnamon: that's an interesting thing that happens. you will start to see more. you'll start to think at some point that you were living in a life that's a little bit black and white. (laughs) no joke here. and it's coming more and more into perspective, into focus, into color.
because your eyes wills start to strengthen, your connection between your eyes and your brain and your creativity will start to strengthen. there's probably some scientific explanation for this. i can just tell you annecdotally your eyes, your brain and the sector that's in charge of creativity, they start to hook up. magic starts to happen and you're like, "wow!" john: everytime you say this, everytime you say you have to go out there and train your eyes, i think of rocky balboa running up the stairs and looking at a color chart. cinnamon: that's exactly what you should do. i put out. some black, some white, some burnt sienna, and some phthalo blue. and the first thing we're gonna talk about, you'll hear, if you're taking- one of the things that i hope for you is, not that you guys just stay here and paint with us but that you can go to anybody's channel.
that you can go to any class, and when they start talking this nonsense, cause no one ever stops to really explain what they're doing sometimes in these classes. but you're like, oh yeah, i totally know, i totally know what they're saying. that's my goal for you. is to be out in places and like, you know, even if you didn't go to art school you're like, yeah, i got this, this is all good. tint. i totally know what a tint is. a tint is when you add white to a hue, and you say to yourself, but what's a hue? every color on the color wheel. that's easy. every color on the color wheel is a hue. guess what's not on the color wheel, john. john: black. cinnamon: and white.
john: cool cinnamon: they're not on the color wheel. john: cause their full in their saturation level. cinnamon: cause they're the things that tint and shade and tone paint. right. and i don't have a little sharpie, i'll paint this out later. (laughing) i gotta write it back in. john: hold on. i got it right here. cinnamon: you do? just dude!
alright, we're gonna go like this. black to hue. we're just gonna put tone here. you guys write it neater. you're so creative. alright, so tint is when you add white to a hue, and a lot of us are really familiar with this in the most famous of the tints. does anybody know what the most famous tint is? john: medium? cinnamon: pink. john: pink. pink. oh! cinnamon: everybody knows tints. everybody knows pink. first tint everybody learns on planet earth. you've got a little girl in your life, you know pink.
john: gotcha. i didn't even think about that. cinnamon: right. think about the first thing that kids learn that they can make, by adding white to a color. john: michelle got it. cinnamon: yeah. she knew. cause she probably has john: she was like, boom! pink! cinnamon: pink. so i'm gonna sit here and i've got my phthalo blue and my white. and i'm gonna take one phthalo and one white
right. john: kristen knew too. cinnamon: and i'm gonna mix right here. see. and then i'm gonna add one more white i'm gonna come right next to it. add one more white. come right next to it. come right next to it. you can kinda see
the tint changing as i go. you may need to- if your brush is overloaded you may need to wipe it. pull you know, add one more white. there we go, and then i can go the other way. i'm gonna rinse out, i'm gonna go the other way. so john: let me ask you then. cinnamon: i have an answer to whatever you're about to ask. one white, one blue. john: so what is a medium hue? cinnamon: well, that would be what's in the middle here. we're about to build it. so i'm gonna add one more blue to this
gonna add one more blue. cinnamon: come over here. add one more blue. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 so right there is a medium hue. so when somebody's saying to you, like, medium, a medium tint, right a medium tone, they're usually talking about the middle of the gradation of what you're adding to. if you were to paint a monochromatic painting that's a painting all in one hue you would use the tint to do that.
john: now does the mean that cadmium red medium hue? cinnamon: so when they're saying cadmium red medium hue, they're just being cheeky. it's a color on the color wheel. so what they're trying to say, and you know it's sort of like when you call a giclee a giclee, but really it's just a large format print. john: ok. yeah cinnamon: ok, so they've got hue. i mean, it's more serious for them than that, because it's golden. but they've got hue, and they're just letting you know, we didn't use cadmium pigment in this. we created the cadmium color, using a mixture of colors on the color wheel. john: gotcha.
cinnamon: but it's not true cadmium pigment. and it does matter on your painting at, like as you take your painting up and up and your skills improve and improve, you're gonna at some point go, you know, my poppies don't look right unless they're actual cadmium pigment. john: oh, gotcha. cinnamon: but, you know, at the beginning you don't even see it. john: so cadmium red medium hue is basically saying it's just like the medium hue of cadmium red. cinnamon: yup. cinnamon: just like it. but not it. john: but not cadmium red. it is the hue of cadmium red, but not cadmium red.
cinnamon: nope. no cadmium pigments were used in the creation of this hue. john: gotcha. ok, cool. alright. so that makes more sense. cinnamon: it's pretty cool stuff. thank you. now, when we talk about tones john: i actually didn't know that. cinnamon: did you not? john: no. i did not understand any of that. (laughs) cinnamon: i hope that- see, that's why the paint store is confusing. you, like, look at this thing and you're like cadmium red. cadmium red medium hue.
how are these different? that's how they're different. if anytime you see a paint say "hue," like, it specifically tells you it's a hue, what they're saying is there was some other ingredient. like real lapis lazuli ground stone that they're choosing not to put in that paint. because it would cost you a hundred and fifty bucks a tube. cinnamon: but they've mixed it really close. john: so lapis lazuli medium hue cinnamon: would- would be like the color of lapis lazuli, in the medium hue.
john: but not lapis lazuli in the paint. cinnamon: right. there's none of that. john: that makes sense. cinnamon: buy that from michael harding for six hundred dollars a tube. john: yeah. and that's like that's awesomely cool. cinnamon: if you would like that. (laughs) you can paint next to that lady who's throwing paint off of her lear jet. john: yeah. i'm with stacy.
cinnamon: be friends with her. (laughs) john: stacy in chat said that like when she goes to the paint store, she feels like it's a foreign language in there. cinnamon: mm-hmm. john: and, i mean like, i had no idea what a filbert was, or what medium hue was or any of that stuff. so, this is for me then really good too. cinnamon: and sometimes it feels like our representatives in the art world don't always explain things in a way that's just pragmatic and practical. cinnamon: right.
you know, you ask a question about hue and suddenly you're in like some incredible art history lesson that you didn't really sign up for. you're like, i just wanna know what the tube means! (john laughs) cinnamon: just tell me! and so that's why i kinda like to sort of just take it down and just make it sort of regular. john: yep. cinnamon: not that it's not special. it's totally special, it's just, you know, doesn't need to be all crazy like that. so, we're talking about tone, and toning a paint
right, oh, sometimes i refer to it as graying it out. you've heard me say that. gray it out! john: mm-hmm cinnamon: gray it out. there's a couple ways you can tone. right. you can add actual gray, right. in dark gray to light gray. to a hue, which is just any color on the color wheel. the one that's relative to you though, we don't need to do that here right now. you're never gonna do that in painting. you might add white.
to a hue. you might right, add gray to a hue but you're not. you might add black to a hue, you're just not gonna add gray, in painting. that's what i'm trying to say. there i am! that's what i'm saying. you're not gonna add gray! it's just- it's just really-
i know someone's gonna come and comment and they're like, i add gray all the time. ok. you one guy. you're gonna add gray. but the rest of us are not gonna add gray, because you know what it does? gray's out the painting. and a gray painting is not visually exciting. but, what do we do all the time in our painting practice? i'm gonna show you the example with burnt sienna, and phthalo blue. and i'm always saying, burnt sienna grays phthalo blue. why does it gray phthalo blue? cause they're compliments. they're close to being opposites on the color wheel. whenever you use compliments
i'm particularly fond of using dioxazine purple and cad yellow in painting. as compliments, right. and blue and orange are compliments. and burnt sienna is to the orange, and so by doing mixtures of this i can tone tint the paint. right. tone, tint, shade. i can gray the paint. john: right. you can, yeah. cinnamon: alright, so i'm gonna do that. i'm gonna just do one. we've done this kind of already before.
but we're gonna do a one-one, and come here in the middle. and then i'm gonna start going dominant to the brown. like we've done before, but we're gonna just make a little run this way. and you can see the ranges that you can get right, with that blue. i'm gonna wipe this off. and i'm gonna do one-one again.
and then i'm gonna add one more blue. and one more blue. one more blue and one more blue. and you can kind of see how that paint has been grayed. cinnamon: that's all it is. that's not that crazy. this is pretty much where most of your painting exists. especially in landscape painting. interestingly enough, you're here, and your here.
generally, i actually try to use being here instead of using black. yeah. i've watched you do that, but not understood it in the past. cinnamon: yeah. cause black, i feel, this is a feeling i have, and artists have passionate feelings that do not agree with me on this issue. right. black i feel grays out the painting, and not in the way i'm trying to gray it out. like here. where i have beautiful hues still, but i have great tonality. so you'll hear someone, and they'll be talking about a painting. they sound pretentious as all get out and they'll be like this painting has incredible tonality. and dynamin tension.
now when you hear tonality you're gonna be like, oh! they grayed it out with hues. that's cool. got it. bright, vibrant painting with a wide range of tones. got it. not so crazy. makes it much easier to be in a gallery and listen to people talk about the art work. because you realize that all that's happened is there's a language.
there's just a language. and right now, you guys are all learning it. cinnamon: and it's a language that anybody can learn. it's not like only some people can learn this language. it's not even a hard language to learn. cause, i mean, a lot of us artists have learned it. it's like clearly by my little sheet- so dyslexic it's amazing i get anything out. so, i'm gonna take one black and one blue. you guys should be doing this at home. i don't know if i was clear about that but i'm sure you are. and i'm gonna come here
and then i'm gonna add a black. and i'm gonna add a black. it doesn't take very long for it to get- seem really really black. right, til we get all the way to black. cause black is a very powerful color. cinnamon: i'm gonna wipe this off. i'm gonna get back to center. right, and then i'm gonna add a blue. you'll see it be more here as i come up the scale.
you can kind of see how the black darkens or sometimes used correctly will make a hue seem richer. see. that's all that is. it's a little scale. you get this in your book, it's never gonna throw you again. cinnamon: right. and it's one of those things that's like a tongue twister. and you're just like, you need to know it, but sometimes it get like, you know, if you're kind of in a zen art place, you can be like in your book and be like yep yep yep. cinnamon: tint, tone, shade. tint, tone, shade. john: yeah. i can see how it would be really valuable to go through and
and using compliments, learn how to tone all of the colors. cinnamon: if you can tone right, your colors with compliments, you will have vibrant, paintings. cinnamon: so dreama, is one of my favorite painters. or carol marine is one of my favorite painters. um, they are incredible at using compliments to create tones most oil painters who are also referred to as tonalists
actually use black. or gray. they use actual gray scale. which is what the grisaille whole thing is about. this is about how traditionally oil painters and that type of high realism artist would get the work done. so this is their way to do it. so when you look at an artist like carol marine or dreama or afremov, just to try to see if any of these artists are familiar to you, we refer to them- oh, let's do famous. monet, manet, cezanne, van gogh. colorists.
not tonalists. colorists use compliments to create tone. john: oh! cinnamon: tonalists use gray to create tone. i- i get it now. that totally makes me understand a whole lot of video's i've been watching. (both laugh) cinnamon: yeah, it's just like easier.
so, you'll see a colorist and like the tonalists will have done a grayscale study underneath the painting. john: yeah, yeah, i've seen that. cinnamon: so the shadow will be on that and then they'll create layers of glazes of color over the top and that's how they get that effect. the colorists go that shadow
is blue with a tint of purple. then you just like get in there and you're like, i know it's a shadow, but it's a shadow done as if i'm really outside. you know how when you're really outside in a beautiful space.this week see if you can notice some incredible patch of light where the color just feels like it's been saturated around you and it's reflecting on the ground, and it's reflecting places. think about how you'd actually paint that if you were a colorist. john: yeah. you know what's remarkable? cinnamon: you can't do it from a photograph, by the way. you have to paint tonalism from a photograph.
john: huh. cinnamon: because photographs don't see the world correctly. there's a brilliant ph. d. in color that explained this once, and i'm not even gonna try to explain it how she explained it. john: oh, right right. cause the luminosity of color... cinnamon: you go by and ask my mom her name. john: yeah, no i totally get what you're saying. but, that's one of the things that i noticed, is that when going out and i was doing some photography stuff, that your eye in those wonderful super saturated areas, there's no black. it's all just color.
cinnamon: it is all just color. and that's what plein air painting is for. so when you see mr. nagualero walking his little tuchus out into the woods right, what he's trying to do as an artist, is he knows he will not see the world as it is from a photograph. john: right. cinnamon: right. he'll see the curvature of the line. he'll see the value. right, the light to dark range of the world, but he won't see the true color of the world. john: right cinnamon: so that's why he huffs himself out into the wild to sweden. i can't even feel bad. he's going to into sweden, so i can't...
john: yeah, that's awesome. cinnamon: dude! i love you. you're going out to sweden, i mean there's like mosquitos. is there wildlife in sweden? mona? that would eat you? i don't know. (both laugh) like, in texas we got some.. john: i think they have bears. cinnamon: there's bears? no they killed all the bears, didn't they? john: in sweden? john: i don't think so. cinnamon: i thought europe like killed all the wolves and all the bears.
john: no, i don't think so. cinnamon: ok. i'm just like going by le pac de loup, which is probably not historically accurate. (both laugh) john: no, i don't think so. i'm pretty sure there's still bears and wolves out there cinnamon: the beast of gevaudan. alright, so we're gonna do grayscale. and this is the fifty shades of gray. look, most of you can see ten to twenty shades the more shades you can see the more beautifully you can paint. cinnamon: so if you were to, say, take one white and one black
right, there you go. that's the middle, john: mona says they have bears, wolves, and mooses. cinnamon: really? john: i'll tell you what. the moose is the scariest. cinnamon: i'm scared of moose. cinnamon: alright. here's one more white. and i'm adding one more white. see how it's just lightening as i go? john: yeah. you have to push that up. cinnamon: ok.
john: is the plural of moose, meese? cinnamon: meese? (both laugh) not when you're running from that. those are so big! john: they're huge! cinnamon: they're just so big. it's so not cool. see as we're going how it's just lightening, lightening, lightening? and hopefully as you're adding one you can really see the differences between them. now if i go back to middle
and i add one black come here add one black. i mean you can go buy a printed grayscale, guys. it's just nice to mix it yourself and see it happen in the paint. add one black you're just trying to get a sense of what's actually happening here and there's nothing like you putting your hands on it. and then notice when you can't see it anymore. that- that's where you're working. so, we're gonna say this is a ten. people will talk in art classes, and youtube tutorials. they'll be talking really quickly
and they're gonna say, "it is a five on the grayscale." so they're actually talking to you about a tone using the grayscale. right. so if they say burnt sienna to a tone of about five, what they're saying is this. that's what they're talking about. they're talking about on the grayscale. and sometimes you can use a grayscale and hold it up to a painting or a picture and you can be like identify the darkest and lightest portions of your picture.
there we go. see that? john: oh yeah. cinnamon: see how i could use my grayscale then to go this is about a what? this is about a what? and that's how people, when they're painting a white horse, cinnamon: or snow, know not to paint it all white. cinnamon: cause they got their grayscale out. they got that out, they got that going, and that's how they worked that out. i am-
i am so excited to be sharing this with you guys today cause this just really is the thing that makes it simple. john: we've got like over 200 people here. like 210 people here. cinnamon: 210 people are getting it today. so i'm gonna pull this off to put in my book. you do yours neater and cuter. you guys are so neat and cute. go ahead and share these. john: i've seen a lot of these books and the pages from this stuff, it's so cool people are doing all the embossing and stamping and decor- look, a cow. (cinnamon laughs)john: and all of the
let's see the moooooo! cinnamon: mooo! john: i don't know where that cow came from, but it's now a show cow. cinnamon: he's a show cow. john: it's a show cow cause it's on the show. cinnamon: well, this cow is gonna be- is the model for my colorful cow. john: it's a model cow. cinnamon: he's a model cow. he's a model cow. cause i did not go out and look at a live cow.
so, mix- when you fix your, um, cow to the paper, you want to take one and do, like, one white, one black make a gray and see if you can find a spot right, what's darker than that?john: yeah. cinnamon: look! right there.john: ah! cinnamon: that's the similar- you're looking for what matches. john: yep.cinnamon: see that?
john: i do.cinnamon: so you're like, oh that's much darker. so then you could be like but what if i went lighter? too light. john: so, is the grayscale always set one to ten? cinnamon: no. i mean, it can get bigger, but most artists will be talking about. so what you're doing is you're trying to find where is this close? now, because of the toner, there's a little brown into it. it's not gonna be an exact thing. you're looking for where am i getting close to matching these colors. and play a game with yourself. this is just a game.
you can mix five. mix five values. see, there we go. that's pretty good. where it looks like it might be disappearing. john: yeah, you just, bang! cinnamon: you know, into the space, and then you can just sort of play this game of can i paint this in? john: wow. cinnamon: right. and then i knew that the darker one, and then
that's a little too dark, so i can lighten that. john: have you ever used ruby beholders? to see tones? cinnamon: i have not. john: do you know what a ruby beholder is? cinnamon: i have heard of it, yes. john: it's a quilting tool. cinnamon: well, cause i used to quilt. john: yeah, but so imp was asking if you've ever used them. i was like, i have never heard of them.
cinnamon: no, i did not. i took some quilting classes. i am a big fan of bernina. everybody went (makes a face, john laughs.) i'm a big fan of bernina and i did some quilting and yeah, no the girls was just like really frustrated with me in all the quilting classes cause i could go make this like crazy fabric combinations and they're like how are you doing that? (both laugh) and also, as many of you know, the big international quilting show is in houston. cinnamon: so, see how i found that color here and i'm coming here and i'm, this is how you actually paint things. this is what you're actually doing, and so that's what you're trying to find is the
the colors that make up. see, and you can just paint in, you can practice this over any black and white photo until you get it. john: paint a cow. cinnamon: you could paint this cow. you can paint anything this way. john: that's kinda cool. cinnamon: it's kinda cool, right? you kinda tripping out?
john: and you could do that with a color study too. you could pick your yellow and purple. cinnamon: you can do that with a color study. you ever see those really cool monochromatic paintings where they use just yellow? but it has all the values and shades? that's what this is all about. that's what this really coolness is all about. in old painting they do grisaille. they'd do a black and white study like this. cinnamon: or an umber study. almost all portraiture you'll see in that is an umber study. right, which is they use burnt umber instead of black. cause it's a better under tone. cinnamon: for the painting. and then they paint it in.
now, it's considered that you can not do grisaille in acrylic. which is when you've gotten your black and white study. and then you take clear glazes of color and just glaze over it to colorize it. like colorizing an old photograph. cinnamon: now, i'm gonna show you this afternoon that you can take a painting like this, any grayscale painting, that you do, right. and you can take clear glazes using glazing medium or even gloss medium and varnish and paint right over this and get like this bright pop art beautifully toned picture, just like the oil artists do. john: nice.
cinnamon: this is just a skill. it's the mini-quest. and i just wanted to show you the mini-quest. cause i felt like, if i was like, yeah, paint a black and white picture and then do a grisaille on it, you would be like, i don't...what are you, crazy lady?! what are you talking about? i have to google that. so i thought we'd take that journey together. then we were talking that you guys might like to just even paint the apple in with me. so that would be the thing. do you guys want spend the next couple hours painting your own picture? that picture, by the way, is in the description center, section, where i hide quests and more information and definitions cause y'all know i get a little...
it's live. so down there (both laughing) are the notes. are the good notes for the quest. that's the map. i give you a map, too, for the quest. so i'd love to know if you guys wanted to come back at 2:30 and paint in that apple with me. john: oh, yes, they do. cinnamon: oh, ok. so, we'll just paint it in together.john: definitely, they're all- cinnamon: it's gonna be a slightly long project but we'll paint it in together and then we'll grisaille it. john: now, what is a glaze?
cinnamon: a glaze is a clear, translucent layer of paint that has a tint of hue to it. ok. that makes sense. now, joann wanted to know, have you ever heard of doing painting in the tones of mauve and then painting them? cinnamon: in the tones of mauve and then painting. i do the painting in the tones of mauve, and then what do i do? john: and then paint. so i'm guessing maybe do the understudy in the mauve. cinnamon: ok, so now you're getting into color theory. and here's what the deal is. you can do an understudy right, you can do the underpainting, you can do the tonal study in any color.
and if you're really good at color theory, you can come back with glazes and create some bananas stuff. you can get into like... the great painters master contrast, triadics, harmonies, they understand how colors relate to each other on the wheel and so they can create, even in a very static scene, huge drama. huge! you'll look at the painting- you know, you ever go up to a painting and you feel like you could just fall into it? like it just was pulling you in in some insane way? a lot of time it's about the artist understanding that foundational thing. so yes, you can totally do that. we're gonna stick to the black and white and the brown for right now. but maybe we're gonna get to more complicated things. we've got a lot of quests to go. i've got a lot of them planned. i actually have like
the year, john can tell you, i have the year, like (john chuckles) written up going, wow, we could probably get year two in and still be covering stuff. right. we're just we're just sharing the information for you so if you wanted, at the end of this year, think how much stuff you're gonna know about art. yeah. i know. so, i've actually been somewhat distracted because there's a whole lot of questions that have been scrolling up. cinnamon: oh, ok. i would love to answer questions before we go off. john: everyone is really excited to do the painting of the apple. cinnamon: alright, well i'll just do the painting of the apple. john: so michele
cinnamon: it's a circle so we can. that's why i picked it, cause it's a sphere, so it's a good light study. i didn't want to make you paint- in art school, do you know what they make you paint? they make you paint a cone, a cube, and a sphere. john: i remember that. cinnamon: a lot.john: a lot. cinnamon: you do it in charcoal, and you do it in pencil, and then you do it in watercolor. and then you do it in acrylic, and you're like, i'm- is anything- can we paint anything, anything, anything else? john: no, remember we got in the advanced, and we got the cylinder, and we got the polyhedral,
and then we got, i think we got one other shape, so. because, then you had multi-faceted. ( cinnamon laughs) cinnamon: not to knock on school but it's like five in the morning, right, and you're like there with your little bag of supplies, 'uh, i was up last night, and you're like, wait, was it the sphere? john: yeah, let me tell you how bad you feel when look by the room of the physics guys. (cinnamon laughing)john: uh, no, sorry. anyway, just- cinnamon: yeah, just our experiences, is all i'm saying is i thought we'd have a little more fun doing an apple. john: yeah.cinnamon: than a ball.
john: ok, so, i got questions. now that i've been (?) shenanigans. uh... cinnamon: we get critiqued for this all the time. they're like, "can you stop chatting?" and i'm like, "i don't think we can." we've tried and it's failed. (laughs) we tried. john: so, miss cunningham was asking, how do you get dark and light primary colors? prime colors. so, i'm guessing, you know, your- cinnamon: well, that's, uh, that you would tint it, or you would tone it, or you would shade it, right? you would do your red, your blue, or your yellow in tints tones or shades. john: ok.
cinnamon: so if i was doing a painting in say the primaries, which is a triadic painting, i would definitely be using tints and shades to lighten and darken.john: mm-hmm. cinnamon: right. to make it more pastel or deeper and richer the different reds and blues. i just wouldn't be mixing the red, the blue, or the yellow together. i hope that answers that correctly. john: i think so.cinnamon: ok. john: so pt is asking, is it better when doing these little studies, to paint the darkest first, then go lighter, or lighter first then go darker? or doesn't it matter?
cinnamon: ok. in acrylic painting, i generally paint from the darkest to the lightest, so i tend to try to put in my shadows first, and then build up lights and lights and lights, you may have seen that. it's really noticeable in moana, the speed paint. so i shared that with you guys so you could be like, cause there's this dark crazy purple hot mess, then she's sort of kind of comes out of it, but she looks crazy for a while. cinnamon: where, as in watercolor, i paint the lightest colors first, and i retain those, i preserve those, and then add glazes and layers of darker colors, which is why it looks in a timelapse as if a watercolor is developing. cinnamon: right. so i like to think acrylic is carved out of the universe. (both laugh)
you know, and watercolor develops. john: yeah, i really liked that side by side study. you know, cause it was... it was like slow train wreck on the right, that got better at the end. (both laugh) cinnamon: yeah, it's like in the last third, i'm always saying, in the last third, acrylic paintings come together. john: yeah. it really was. cinnamon: now, you can do like this, what i'm showing you here, you get really good at this, you can do that thing that oil painters like to do, the colorists and the oil painters that like to do dabs of color next to each other that's impressionistic.
you'll see it a lot in the daily paints. where they're like, this, this, this. there's a lady who does- there's a new lady on youtube, did a chicken. shes like with this big weird wide brush and went ch-ch-ch-ch-chicken... and i was like, yep. john: that's wow. cinnamon: chicken. painting that alone, but yep. i mean, i'll paint the chicken, but i mean, that's a really- that's not something that you can even... you could, in a workshop of people who were very familiar with these skills,
explain how you did that chicken, but to somebody new to painting, it's, it's like, you know, hitting them with caulk. cinnamon: it's just crazy to drop that on somebody. i have some artists i really love in life, and they have workshops, they're not on youtube, they have workshops, and sometimes they'll be like, for beginning artists, and i'm looking at the work, and i'm like, "what?!" (both laugh) what. come on guys. like, i'd be like hustling to keep up in this workshop.
cinnamon: you know, that's some crazy stuff you're covering. that's some... this is some intense stuff. so, but this will get you that, the quickest. if you were to say do some black and white photos that you have always wanted to do, and just try to match the grays, paint in the areas that you see cinnamon: practice that a few times. you're going to find that if this is gonna be like, you're gonna be like, five, really? five to ten of these stuff will start to click. your brain will start- all that's happening is your asking your brain a question and it says, "i don't know." you ask it again and it goes, "i don't know." if you ask it again, eventually it's like, "well, i'm gonna go figure it out because you're clearly not gonna shut up about this."
cinnamon: that's literally what your brain does. i do it all the time too, it's like, "i have to ask you a perspective question," and it goes, "no!" i don't know anything about that, go away. i'm like, yeah, i really have to match these lines here and this vanishing point, can you go find that information. i don't have it! so you just keep asking that question, eventually it's like, you know, the right side of your brain gets put back in charge of you. cinnamon: that's really what's happening, is your creative side of your brain is spacial and and experiential comes back in and says, "oh." don't think of it as line and shape.(john laughs) cinnamon: let me show you, and it gets you through, but you have to make
you have to consistently ask of yourself these things for it to happen. but it can. and that's, i think the real magic trick in art is not that somebody who practices a hundred thousand hours gets really really skilled. even though that's completely admirable but it's kind of like, of course they got really skilled. they spent a hundred thousand hours. it's when people who don't know they can paint develop the skills. i think that's what's magical in art, is that anyone can develop the skills. cinnamon: that to me is the secret sauce. cinnamon: any questions?
i got monologuing like a villian. john: no, no, i mean, we have everyone out here. first i wanted to say thank you because we have a bunch of moderators, we have a bunch of really great sherpettes and they've been jumping in here and answering. cinnamon: i hope you guys liked seeing your portraits. i have to say something about portraits. cinnamon: so listen, those of you that did the portraits, those of you that are looking at the portraits, going quest 4, freaking me out! that is the trust fall of art that you guys did. that is the creative trust fall of the art world. the self portrait is the hardest thing you'll ever do in art. mountains? not hard. water. not hard.
smoke. not hard. if you get through your self portrait you've now set a benchmark where you've faced the most challenging thing you're going to face. everything else after that is just cake. cinnamon: see. mad genius up in here going, yes. and because we did it with tracing, we put kind of a safety net over that very dangerous space and some of you will find that doing a self portrait is extraordinarily clarifying. i saw a couple that were like, ooh, i could enter this in a show and cinnamon: like, these are very powerful, moving, topical pieces that speak to a human experience. self portraits are ridiculously honest. john: hmm. cinnamon: it's just, it's crazy how honest they are, and when you add the quotes to it, it gets really...
powerful stuff, so if you've done that you pretty much know everything else in quest. you've already climbed the hardest hill. now you're just mixing colors of gray. doesn't seem that bad. cinnamon: yeah, i can match up the grays on this cow. i already did a self portrait. john: well, faydra was asking, does the grayscale help when making skin tones? cinnamon: yes. john: other side. there you go. yes. (laughs) cool.
cinnamon: yeah. it's like you guys are asking for skin tones. i can't get you to skin tones til we cover the grayscale. a lot of stuff we can't get to til we cover the grayscale. i can't tell you how to knock mountains back into the distance by graying them out, until we cover the grayscale.john: mm-hmm. cinnamon: so, in this particular case, this is a useful, useful (laughs) just, i'm sorry, that movie was too much for me. this is very useful. john: now, pt was asking where to post pictures that she's painted. cinnamon: ok. i love to see them. i have the hart party facebook page. um, you can message me privately. i'm getting caught up on those. i'm getting into those. um
there is, you know, just facebook, instagram, twitter, i'm on pinterest. so you can share anywhere. you can share any way you want to. a lot of people share in the angelooney group, which is angela anderson and i have a group cause sometimes we do projects together cause we crazy like that. and she and i are very similar minded, like hearted and that. we come from kind of a fine art background and love sharing the magic that is being creative. cinnamon: so, all those places. any of those. even email. i just, i love to see it, john loves to see it.john: oh yeah. cinnamon: i read your comments to john. i'm like, look at this, look at this, look at this, and he actually
he hates facebook, but he's been back on facebook to see what y'all are painting. and theresa was asking, you know, is it, can she do her self portrait in any medium, or does it have to be in acrylic? cinnamon: any medium. cause it was taking on acrylic and self portrait at the very beginning. cinnamon: you could color it in in crayons, you can do it with just pencil, you can do it with pens. john: right now it's just about taking it on. cinnamon: trace it trace it, just practice the tracing skill embellish it in some way with something and write a quote that's meaningful to you.
john: yeah, just work it out. cinnamon: put it in your book. look at it in a year. it's gonna be like, woah! that's deep. (john chuckles) that's deep. i was just saying that to a friend of ours, not part of the quest, did a portrait of herself. i was like, you need to look at this in six months. it's gonna be really powerful. it's gonna really be honest about where you're at right now. john: mm-hmm.cinnamon: if you're really, really stuck in your life sometimes a self portrait will bring things into focus. not to be weird, but a weird thing happens. john: yep. and, you know, really i'm a big advocate of saying, you know, if you just pick up a paintbrush and paint.
and, you know, except for when you have a temperature of a hundred and two, stephanie, you should put it back down, go to bed... cinnamon: which stephanie is that? john: sumpter. just go back to bed. cinnamon: go back to bed, sweetie. a hundred and two? cinnamon: you don't need to be painting at a hundred and- well, i guess that would be some very interesting surrealistic painting. (both laugh) wooooo! (both laugh) some cold medicine up in here and a fever. (both laugh) it's an expressive cow.john: a little gouty from it. (both laugh)
and some melting clocks. cinnamon: yeah, you just john: dali work up in there. cinnamon: all did self portraits. van gogh and dali. all of them did it, not cause they were vain. they weren't vain at all. it was uncomfortable for them too. just so you know. john: when is colorful cow coming? cinnamon: colorful cow is saturday. john: saturday?cinnamon: mm-hmm. i hope you guys are ok with the, the splatter pieces that are coming. the splatter valentines tree.
and the splatter alice. that can be done on your pad of acrylic paper. john: yup. cinnamon: you just need to get liquid frisket and you're good for that. and it's a real fast project. once i show you this trick you'll be like, you mean i can do all the splatter paintings i'm seeing on pinterest? i'm like (nods head) yeah. all of them. super easy. john: that was really crazy last night. i saw you doing a bunch of that.
cinnamon: yeah, like a bunch. like i was like, do we want to do this kind of splatter heart? no! (laughs) john: and between now and 2:30 we're gonna find out what i make for intro and time lapse stuff. cinnamon: you can do grayed out black and white apples. cinnamon: woo-hoo. it's gonna be some black and white apples. so- john: alright guys, so go- cinnamon: go find this guy's picture. go find this guys photograph. and i just wanna- one thing to say about this. he has actually been picked, i didn't know this til after i picked him, by several youtubers, including lachri, and i think a couple others. and what i'll say about him
is this guy on paint my photo is one of my favorite still life photographers. boy is he a resource. john: really good photographer. cinnamon: really good, dude. when you see a bunch of us youtubers just sort of organically pick like from the same paint my photo person go check out their whole catalog. john: yeah. a lot of good work there. cinnamon: yeah. cause they're doing a lot of the work for you. their lighting it, they're arranging it, it's some good stuff. this guys russian. he's like off the chain, he's so like this is so cool! (both laugh) so i like him a lot.
and that's how that happens and should you ever notice that, you should be like, that should be like, like a little clue, be like, i got to go check that guy out. john: yeah. so are you guys gonna come back and join us later? cinnamon: 2:30. john: we had a whole bunch of yeses on the painting. cinnamon: alright, we're gonna work at 2:30. now that we understand the concept, and we're ready to do the work. just get all ready and i'll- sixteen by twenty canvases is what we'll do. john: we're gonna do that?
cinnamon: yeah. painting the apple's easy. john: yeah. love you guys. cinnamon: love you. see you really soon. (both) bye. (closing music) when everybody paints and forget their fears....
