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Welcome back to the studio for the intermediate and advanced techniques of enamel painting.
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I'm going to be using these Englays vitreous enamel paints once again and I want to show
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you a little bit more detail about how different mediums can affect the colour of particularly
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fugitive colours and they tend to be the reds and purples.
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So I'm going to take say turquoise and purple red and show you the effect on a tile of using
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different mediums.
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Now with turquoise there's absolutely no problem.
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I've got different media labelled along here and you can see that there's no change in
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colour at all.
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Turquoise is very stable along with most of these colours in the sunshine and ceradel
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range.
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But when it comes to the purple red, this one, which is used in portrait painting and
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is a lovely colour to use in any sort of painting, you can see there's quite a dramatic change
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in many of the media that I've used.
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And what I'm looking for is a really steady pink like for paraffin for example, rosemary
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oil and it's something you probably need to do yourself.
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If you get a different medium, don't expect it to behave in the way that the previous medium
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has behaved.
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You need to do a test.
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So for this I would take just a little test tile like this and anchor it with some blue
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tack, ticky tack, whatever you call it and then try something like sewing machine medium
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for example.
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This is something that the Russian painters use all the time.
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It looks yellow, it's very very runny but it's amazing how much paint it holds when
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you add paint by grinding.
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So just going to take a little bit of the purple red, put it on a tile like that, just
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a tiny bit.
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That's all it needs for a test.
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And I just need some paper towel to wipe the palette knife, keep that clean.
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My spatula is going to have some sewing machine oil there, just next to it as before.
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I don't need to use all of it having put that out, just put the water to one side and just
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blend enough and you can see that just a little bit and you've ground the paint which is fine
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already at 325 mesh.
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When I pick it up like that it will form a little bit of a lump like toothpaste which
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is ideal for painting from because if you make it runny like that it's just going to
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be hopeless.
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The colour will be really diffuse and what you need is intensity of colour in the mix
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that you've got.
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So I'm going to wipe this section away and work from the same machine medium here.
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So I'm going to take a miniaturist brush now and this is a number one, here's a zero and
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here's a number two.
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So in that order the two is the largest one.
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I've got these tubes on which could be straws as well and just pull those off and then you
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can see the brushes.
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People think that we paint with one hair of the brush, no.
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If you did that you just couldn't hold enough paint on the brush so it's conical the shape
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and that means that it's a bit like a pen that the paint is driven down the brush to
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the fine tip and there could be just one hair at the very tip that you're working but that's
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what makes it such a beautiful brush that holds the tip.
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If you're testing brushes it's really important to make sure that that tip is a point and
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hasn't split already.
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So synthetic brushes are fine as long as they make that tip at the end.
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So you're going to be using the same medium here to wash the brush.
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Just put that to one side and first of all I'm going to put some into the medium and
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the brush is already clean so that's fine and then I'm going to roll the brush in the
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paint that I've mixed up and transfer across to the test piece and it's just going to be
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a little test like that, like the line that I did before, just to show how the paint flows
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and you can see that there are kind of little lines within because as I bounce the brush
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up and down it's as if there's like veins on the leaves I'm leaving behind and that's
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because this paint in the medium, the medium is an open oil which means it takes a long
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time to evaporate and therefore that's excellent for working pieces like portraits where you
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need to do many many hours on the piece before you fire it.
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You want it to stay open to accept more paint.
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It takes a long long time to dry and you can also, because it's sewing machine oil, it
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means that you can lay down quite dense little dots of colour and they will stay there unlike
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some medium, other mediums that I'll show you.
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So this is just one example.
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You can do some pointillism which is very rough here but just to give you an idea that
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would have to be so fine that you didn't see the dots but working quickly you get the idea
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how the sewing machine medium works really well for that.
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So just wipe off the brush and then use zest it for the solvent.
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So this is something you've got in your pack and I just wipe the brush on the tissue and
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then into the zest it so that I've got a clean brush now.
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So that goes on there and I'll put the sewing machine medium away there with the lid.
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Now you could make yourself a chart to just do tests, scientifically really isn't it,
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looking at the different media down the side here and then how they behave along the top
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and how you like them yourself.
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So if you've got something like the two water-based media you'll know that uni-media dries very
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quickly and glycerol which I'm going to be using today, that takes much longer to dry.
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It's more open as a medium, takes longer, less evaporation goes on and therefore you've
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got longer time to work it and it takes longer to drive off the glycerol at the kiln.
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The pros and cons of using oil and water-based media are that if you use water-based generally
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it's going to be quick work, glycerol will take a little bit longer but with oil, genuine
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oil it's going to take longer to dry and therefore they're open media and they'll accept more
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oil and the paint will stay wetter for longer which is an advantage.
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But against it would be that putting sewing machine oil into a kiln when it's drying it's
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not very nice smelling those vapours so you've got to be careful of your health.
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Some other oils like lily oil and spike lavender oil they smell really nice.
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My studio smells more of pine oil because that's the one that I trained with and I like
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it very much and it just harmonises with my speed of working so it would dry within a
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day and my paints are mixed for that day.
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So I'll try another medium here which will be that pine oil which is called painting
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medium from Victram Signum in UK and it has got that distinctive smell of pine in it.
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So we'll just take another little bit of the purple red, the fugitive purple red which
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is used for testing and this time put some pine oil beside it.
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Now you can see that that holds its shape like a blob and that's because the oil is
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much thicker than the sewing machine which flooded.
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So here we've got a close up showing pine oil painting medium next to the paint, the
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purple red and you can see that it's holding its shape like a little mound where the sewing
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machine oil which is even more open and very runny just spread everywhere.
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So I'm going to wipe away the sewing machine oil and this time blend the purple red with
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the painting medium just a bit at a time and to me the lovely smell of pine oil is coming
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off here.
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I don't know what you think Oscar, do you like that or not?
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Oh it's a lovely smell.
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A fresh forest.
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Right 100% of us here like the smell of pine oil.
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So it's really gorgeously glossy, it's a bit like silkscreen printing ink I think, the
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look of it.
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I've mixed way too much but at least you can see what that dollop looks like and I haven't
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put too much in so although I put all that painting medium there I haven't mixed it all
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in. I'm just going to wipe that away now and then roll the brush into the paint mix.
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So that's dipped into the solvent, clean it and zest it and bring over the paint medium
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and put the brush in there and wipe it so that it's a damp brush before I roll it into here.
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Now you'd never put zest it into the paint mix, it will spoil the colour.
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Only use the medium that's in there already.
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So painting medium next, you'll see the silkiness going down here and that's why I like it so
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much because I think I can get a smoother wash like this by just gently pulling the paint
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down where with sewing machine as you saw it shows every little stroke of the brush
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brushing.
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So that's silk here, could spend more time on that.
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As I said before when you've got your first layer down it's like the icing on the cake
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and then you can add more colour to intensify it so that that colour is darker at the top
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and then you're working down towards the half tone.
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So that's blended beautifully.
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So I would say to me painting medium, the rate of evaporation is good, the viscosity
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is good, the runniness and it's not too runny and I like the way you can use brush strokes
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on it.
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And when it fires up it will give a lovely pinky colour.
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Here it is in the bottom right hand corner of the chart that I made.
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So there's the good pink and when you study the chart in my book you'll see that I've
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got the sewing machine medium up here.
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And so there's sewing machine medium, paraffin oil, pine oil and instead of paraffin oil
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you could actually use Johnson's baby oil because that's paraffin based.
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You can get paraffin oil from the pharmacy because I think it's used for stomach problems
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or something and it's also used for cats that have got fur balls to bring the fur ball up
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if they're coughing on it.
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So just get rid of the painting medium and show you how paraffin oil works.
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So once again a little touch of the paint transferred to there.
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And then some paraffin oil just placed alongside.
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And that holds its shape quite well but because I'm here noticing that it is slightly more
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runny so it's less viscous than the pine oil but it's more so, it's stickier than the sewing
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machine oil.
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So just going to mix a little bit, blend that in.
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When it comes as Johnson's baby oil I think it is runnier so whatever else they've put
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in it doesn't upset the paint but they obviously make it go further.
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Just put that down there.
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Holds its shape quite well because I didn't slud it with the medium.
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I'll leave a little bit there to roll the brush in.
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It's possible to work off one little tile like this.
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I'm going to wash the brush in zest it but make sure I've dried it so no zest it goes
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into the paraffin oil.
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And then roll the brush in the paraffin oil and lay down the paint like this.
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To me it's behaving between these two.
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It's showing some streakiness left by the brush strokes but it's also making quite a
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good wash.
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So this is one that I recommend and when I was teaching in the States we used this but
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I felt it was safe because we were firing the pieces outside.
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And so please make sure if you're using sewing machine oil or paraffin oil or any of these
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really that you've got good ventilation in the room.
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I'm afraid you'll have to keep the windows open or have an extractor fan or something.
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The final medium here that I'm going to try is glycerol which you have in your kit that
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I've recommended because it's water based.
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So instead of having the zest it it's just going to be water from here.
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I meant to mention that other solvents could be white spirit but incredibly fierce smell.
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Nobody really likes that.
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Or you could use pure, well it's not so pure alcohol now which is called surgical spirit
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from the pharmacy and that's used for cleaning wounds.
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In UK it has a 15 pound tariff on it but if you buy it or as we used to buy it on the
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continent it was just a couple of quid and it's now 70% purity but it used to be 97.
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It just shows how things have changed because of the pandemic.
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So I don't know what the charge would be but you could bring back this pure alcohol in
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bottles about two litres was the maximum and it was sold so cheaply because and I think
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it is as well in the States because it's used for preserving fruit.
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So I've seen it in the supermarket by the litre very very cheap and probably that's
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what I'd go for.
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It's no smell at all.
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So here I'm now going to add some purple red.
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You just want a little again.
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And then blend just a bit of it to see how it takes.
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See the way those balls of powder scatter they've just got to be gathered in mashed down.
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And as you work the paint it becomes thixotropic is the word because the act of grinding makes
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it runnier.
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And after a while it forms more of a lump like toothpaste.
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So this one being the final one just wash the brush in the water solvent then into the
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glycerol.
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Roll the paint into the glycerol paint mix and then just apply this and that's behaving
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really nicely.
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It's a very smooth silky look and I like that very much and that's why I've recommended
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it to you.
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So we'll just put a little bit more at the top end and it's super saturated you wouldn't
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want it any thicker than that otherwise it won't fire properly.
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So very good to just work it down like this going to the half tone at the bottom and then
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wash the brush and that's the sample test that's all you need to do really rather than a chart.
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So I'll just get the tacky stuff off the back and next time you'll see us at the kiln.
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Here's the test piece sitting on the titanium mesh for a quick firing.
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I'm going to lay it down there I've got the blue glasses on just to shield my eyes from
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the infrared of the kiln to demonstrate safety.
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I'm going to open the kiln door and just present the tile in there so it's not a shock just
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for drying off the oil.
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Now this is actually evaporating the oil isn't it?
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So you won't see steam rising you've got the oil vapour coming off when you see that.
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If you can see that Oscar can you?
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Just about.
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So as you do that it's going to be quite chastely now just a last little bit of vapour probably
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coming off the sewing machine oil at the moment because that is the heaviest oil.
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And obviously at this end where I put more paint and more medium that's going to take
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longer to dry off so just make sure that all that's gone otherwise the oil driving off
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in the kiln with the heat is going to spit off the paint and spoil the work.
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Just check that that's all off.
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Yep that's ready to go so it's going to go at the back of the kiln where it's hot
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just going to use that spatula to lay it down gently and then shock the kiln quickly and
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then the next time you'll see it come out of the kiln when it's 750 just like everything
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else for 1382.
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Right I've got the cold tile back here at the bench and it's really interesting what's
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happened here.
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I'm going to quickly label up how I painted down the medium so this one first one was
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sewing machine oil then it was painting medium then it was paraffin oil and finally glycerol
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and using the marker pen you'll notice or with a sharpie that it burnt out in the kiln
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and that can be really useful because you can mark up your tile and then you can paint
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within those lines knowing that the lines are going to disappear.
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So you can see that the successful pinks are up this end sewing machine oil painting medium
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very successful paraffin oil and glycerol not so good.
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Now another factor in this fugitive red is the actual base that you're using and the
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bases that you have those who bought the kit it's from AJ Wells in UK and you can see that
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all of these are beautifully pink.
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Here's the glycerol compared with the test base not successful it's gone brown and here's
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the liquid paraffin oil and here it is brown so you can see quite dramatically what a change
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that makes and it may not matter if you're not using these fugitive colours but if you
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are it's really well worth getting the right base on there and it says in my book the bases
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that I recommend are DW1 dial white and a medium white and a couple of medium whites
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T6 is a good one and you'll find your own as well so as long as you've tested them out
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that's fine.
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So I've done lots of tests over the years and I kept them from the student days and
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it's really good to refer back to them from time to time.
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This was using first of all making a swatch of colours with a palette and the colours
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are just mixed colours and then of course there's the very detailed one that I've made
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of my palette using sunshine and ceradel so I've got the pure colours up the side here
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and I've got them repeated along the bottom so I've given them a number so here's number
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17 which is this black here's the strong black here's the half tone black and then mixing
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it with white you can read the grid as you go up and along so whatever colour you choose
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if it's reed green then mixed with something like orange you're coming along here and
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you'll find the mix there which is a lovely smoky sort of khaki colour so just get familiar
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with your paints and what they can do and then the brush strokes here was an exercise
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for actually stippling out so that you've got the pale stipple at one end and the intense
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colour at the other end and it's been tidied up with the brush after the painting you just
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dip the brush into some medium and dry it so using a damp brush and just go down the side
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like that and then you've got a fabulous band of colour which everybody would think well
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how did you do that but you can remove the paint so easily because it's on this glassy
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base so here are more tests and more colours that we used when we were learning and going
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into the palest sort of colours there just to see how it holds the colour in the kiln
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firing because that's the other factor you've got the medium the base and the firing temperature
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and that's why I recommend 750 or 1382 fahrenheit but you need to know that some pieces fire
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more quickly obviously if it's a piece as big as that with a one millimeter piece of
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steel there it's going to fire much more slowly than a piece that just has half a millimeter
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there that's going to be a very quick firing and if you left it in too long then it would
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begin to the paint would drop into the white and it would begin to burn out and go lacy
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so this needs watching more closely it may fire quicker than 750 as this one did so I've
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got a spike lavender oil on the end which came from held of harrogate that are now held
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of holland and it's the spike lavender that is the beautiful oil that is collected from
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the leaves at the beginning of spring when that's at the top of the plant and that's
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got the most oil in it and that was used very traditionally in the 18th century and lily
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oil was used in is used today in switzerland in the clock watch industry industry and they
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use it for their paintings to do watch dials and it has got the most wonderful smell but
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a pot like this costs about 50 pounds so I think go for something that's cheaper when
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you're learning and glycerol should work well with this aj well so that you're safe as well
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using water as a base
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so now I'm going to show you some flower painting where there are different approaches you're
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already familiar with using an outline pen line and then filling in with a wash so this
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sequence shows the pen line just on its own and obviously using different colors appropriate
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to what you're painting later and then adding the wash and then finally using lacquer resist
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to protect the flowers and sponging over in the sequence and then another thicker layer
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of this background color and using scroffito or and lacquer resist to reveal the layer
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below to give more three dimensions to the design so that's fairly easy to follow this
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one is where you just do some free painting as washes using brush strokes you can actually
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build up these lines by using a wet in wet method so that's the base paint that you've
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painted on is wet and then you introduce more paint which is wet there's another which is
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more risky method of wet on dry so you've allowed the base to dry somewhat and then
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you add little flicks of color but if that goes wrong you have to wipe the whole off
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a whole lot off and start again but if you get it just right and the bottom layer is
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damp and you introduce more color it can look really intense and good and here a little
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bit of scroffito where there's a layer being fired on below which is the pale tone of this
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leaf and then apply more darker green the richer color on top and then scratch back
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and you can see the little vein lines there and here again that's had two firings to achieve
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that effect I hope you can see that now in detail so it's interesting with the pencil
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outline that I showed you here's a strong pencil outline which is on a piece of copper
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and I had hoped to keep the copper flat because it's quite thick just like the steel but inevitably
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it's gone saucer shaped which you can see when it's lying flat like that it doesn't
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lie flat like the steel tile so this is a much better plaque to use and here's the outlining
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pencil for a sequence that I'm about to show you very very fine pencil just scribed over
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to transfer the pencil line and fire it first so that's been completely fixed and if I was
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going to then paint it up I just use a little bit of spit which is a great degreaser just
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to wipe over and then it's ready to go and try not to touch anything with your fingers
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because no matter how clean they are they've still got a bit of grease on that can spoil
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the painting so this sequence goes like this there was a design which was violas and then
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I transferred the line to the enamel and fired it and it was just a pale guide it didn't
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show through on the first wash of color where I was just adding paint freely with a brush
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and here's the next firing of paint color and the next one so that's the final one where
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it's looking richer and the colors have gone darker so just like a watercolor sequence
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that's how you would build up the color but you fire in between the layers and you don't
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add one color or another at the end like the fugitive reds it's possible with this sunshine
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ceradel range to mix them and use them all at the same time but that little bit of intensity
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works quite well in the final firing so if I just do a little demonstration to show you
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how to do say this piece here I'll move these up a bit and then show you the paints now
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here's the color wheel as a reference and I keep my paints in just a plastic food box
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so this lot I've mixed up with glycerol as I've recommended for this course and on top
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I've got the mixed color portrait painting and I'll introduce those in a minute but here
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is the whole warehouse of colors just like these but it's got a couple of mixes as well
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you've got the great black that I've spoken about before and you've got the rich dark
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brown there the rich dark brown is the purple and the blue and the rich chestnut so those
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three colors make that one and if you just change this chestnut for reed green that's
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your purple black so two mixes there two dark colors and for portraits later it's going
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to be this cream color as well but don't need to talk about that quite yet let's put these
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ones down and then you need to bring in the medium and the solvent so I put the paints
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closest to me and then I'll put some tissue down here just to wipe the brush on and I
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put the solvent first and then I put the medium so that I'm washing the brush first that makes
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sense so I'm going to take not the zero but the number one brush and these are Kolinsky
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miniaturists and actually the labels worn off on this one I've used it so much but here
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we are here's the remains of it it's the Kolinsky series 7 miniature finest sable by
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Windsor and Newton England if you can find some equivalent that works that's absolutely
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fine but as I said just make sure it reaches that very fine point or you'll be frustrated
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so I'll put down the number two brush and just wipe it into the solvent and just get
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a little bit of this roll which all these paints are mixed in already and I'm going
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to put a slightly darker green over the top of this base so let's get a bit of the chrome
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green and some of the reed green which is a very dominant color and just for the purposes
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of this demo you'll see the effect of putting one layer over the original firing okay so
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coming around here I'm just gently stroking the paint into place like this and then I
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can do a bit of tidying later and roll the brush in more of the paint and you're virtually
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pulling the paint over the surface to get that effect clean that off and then using
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the damp brush just wipe down here to make that point finer and go around and then take
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out the middle to reveal the layer below we've got a bit of a bright light in my eyes but
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I hope that you can see how it's looking and just turn the painting around so that you've
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got it in the right direction for yourself to pull paint towards you so don't go across
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like that it's very difficult to make a horizon that way but if you turn it through 90 degrees
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to pull down to make a horizon is much easier so that just gives you the basic idea there
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and once you've got something fired on then you can build up the detail and just put in
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these little touches if you put it straight into the yellow it would blend too much so
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just plan the layers and the firings okay so if I've got just three little lines like
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that I can show how I would then tidy these up to get refined lines so it looks clumsy
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at first but with the paintbrush you can tidy and make it look really much more miniaturist
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so this is really wash colors like light watercolor that I'm demonstrating not miniaturist techniques
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quite and then you would fire that in the kiln when you've gone all over it and that
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would be the next layer and it would look like that and then you'd add the next layer
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on top so I hope that gives you a good idea for flower painting
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in this exercise I'm just going to first of all show you the paint palette for portrait
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painting and this is set out in quite a different sort of way as you can see with the mixed
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colors being there for the flesh tones but your warehouse of colors is exactly the same
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as I've shown you before and I've circulated all these sheets to allow you to chop up your
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own size of charts so that you can cover it with a film to protect it from getting grubby
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and then just lay it under the paint palette if you're using glass so here's the flesh
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tones matching beautifully and here's what I call the warehouse of colors just below
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almost matching that dark grape black is just slightly over to the right but as long as
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you know where you're going with it in the end you won't need these charts but it's
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just initially to just see what the mixes are you've probably all got an airtight box
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and that's to slow down the rate of evaporation and I recommend putting the paints into the
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fridge to slow down the evaporation even more between painting sessions and inside I've
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got these two little pieces I've made from copper which help you to make the double decker
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paint palettes now if you go to Russia they're far better organized they've got mini chests
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of drawers and they just slide these plates in and they're completely dust free and because
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they're using sewing machine oil they're just not going to gather any dust and they're going
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to stay wet and they can just bring out the palette mixed palette for that particular
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subject that they might be repeating but here this was the method that I was taught in Barcelona
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and it works for me so I've still got the original little copper pieces that my my teacher
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chopped up for me so I'm quite fond of them so just to show you that if you bring out
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your palette from working say the previous day you must just freshen up the paints because
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they tend to get a little bit dry around the edge if you've used something like pine oil
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and particularly if you've used unimeter if you're working quickly anyway you will need
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to grind them probably every half day like every two and a half hours depending on the
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ambient temperature of the room that you're working in because that will influence evaporation
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with the glycerol they do stay wet for a while I I mixed these earlier and there's no need
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to freshen them up but I'll just show you what I do anyway as a matter of course every
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day that I'm painting I would take the first color the white then the yellow then I would
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mix up this color which is the waxy color cream color which is the the basis for the
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flesh tones that I'm going to introduce for the portrait painting or any flesh so make
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sure that that's all well ground and anything that's dried around the edge it's ready to
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then put back so I would use a cotton or linen cloth this time rather than tissue because
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I'm becoming more purist now that this is advanced techniques and I don't want any dust
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or little hairs to go onto the paint get stuck in there and then show in the fire so
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I'm going to put that back there where it's nice and clean now and show you how I actually
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mixed that color so having mixed up the white polar white there the cloth over here it can
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just be a handkerchief this is an old napkin tiny little bit of the yellow because it's
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quite a dominant color so mix that in and of course depending on the complexion this base
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color has to match the the the lightest tone of the complexion of the person that you're
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painting so you'd need to look at your color chart to see where that would come in this
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area here well obviously not the blues but somewhere in in this area and just practice
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by mixing two colors together but in different proportions just as I showed you with the
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yellow tiny little bit of yellow it may need a third color as well to make the base so
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that I'm just adding in so I think it's quite important that you see how the flesh tones
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are mixed so I'm going to wipe away totally ones that I did earlier but you've seen them
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as a reference and just use the cotton cloth to wipe over and of course it's water that
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I'm using as my solvent but what I'm going to do is look here you've got Ruchdefer this
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one plus a little bit of ochre thanks Oscar and then you've got a touch of purple red
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so I'll mix this up to show how that's done so some Ruchdefer I would say about that much
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I then tend to put a little bit more of the ochre mix that in so it's that sort of a tone
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and then it's just calmed a little bit by a touch of the purple red here just a little
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touch of it there and I'll scoop that up and put it in place so that's the color mixed
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and that's really what they would call in the past traditionally the carnation color
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or the flesh color now the shadow of the flesh color is chestnut and purple so I'll mix this
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one first and then purple itself it's about equal quantities here so a little bit more
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purple and place that here so that will be into the shadow the crease of the eyelid things
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like that then you've got this color here blue clair with some of the chrome green so
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little bit of look here a little bit more because this is this tends to be a male flesh
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tone so if you use it on a woman or a girl it's going to give her five o'clock shadow
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there's the the tone of it a little bit more blue and then there's the chrome green going
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in to there and the final one here is the blue clair again that one with touch of purple
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and this is more a female softer shadowing color just a little bit more and this is for
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the flesh so four basic colors there which you'll be using all the time and for all my
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portraits that's pretty well all I've used although I have done portraits obviously of
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people have different complexions and I've matched that very carefully to get brown tints
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more yellowy tints whatever it is more ochre tints so just have a selection there that
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match the portrait that you're going to be using so I'm going to put these back in the
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box again because just leaving them in the open isn't too good no the next thing I'm
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going to do is to show you how to blend colors to actually use these four colors here and
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then paint this sphere that actually shows the 3d look that you will need if you're able
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to paint that or an apple as they say or anything then you're thinking of the face with all
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these flesh tones so this is just a little exercise to show that I'm going to anchor
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this tile which is a blank onto here with a bit of blue tap and onto a piece of cardboard
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now you could also use this is a cake support and it's all beautifully it's got ball bearings
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so that it can spin and that way you can turn the subject around without having to touch
420
00:45:40,960 --> 00:45:47,320
it so this is quite a cheap little bit of kit that's really useful if you're working flat
421
00:45:47,320 --> 00:45:55,720
like this as I say I tend to work vertically but for this exercise I need to bend over
422
00:45:55,720 --> 00:46:04,600
the work so I've got everything lined up here and I'm going to use the glycerol which I
423
00:46:04,600 --> 00:46:13,680
put to one side here and I put the solvent first and then I put the medium so you'll
424
00:46:13,680 --> 00:46:19,240
be able to get at it like that and then wipe the brush on your napkin or handkerchief whatever
425
00:46:19,240 --> 00:46:31,080
you have I'm going to use the number one brush again and I take off the tube to protect it
426
00:46:31,080 --> 00:46:35,720
and sometimes I give these brushes a hair wash with shampoo and it's just a very good
427
00:46:35,720 --> 00:46:41,400
way to keep them and finally I would just draw through to leave it as a point don't
428
00:46:41,400 --> 00:46:48,000
leave it with medium in it definitely not with solvent in it so we've got everything
429
00:46:48,000 --> 00:47:01,880
lined up now and I'm going to be putting down this first flesh tone here so start quite
430
00:47:01,880 --> 00:47:16,400
intensely and then draw it out and then the shadow of that color here so this was the
431
00:47:16,400 --> 00:47:29,440
purple and the chestnut going as thin as possible there just becomes automatic to wipe on the
432
00:47:29,440 --> 00:47:36,600
hanky and then into the water to clean the brush and then finally dip into the glycerol
433
00:47:36,600 --> 00:47:41,840
which is the medium this time and if you turn it around like this then it's the easiest
434
00:47:41,840 --> 00:47:51,160
thing to draw the brush down and make a lovely tidy line like that and I'm going to pull
435
00:47:51,160 --> 00:47:58,480
it that way because it's easier so that's the beauty of being able to swivel around
436
00:47:58,480 --> 00:48:11,760
a piece of cardboard or the cake stand okay so there you've got two tidy lines two tidy
437
00:48:11,760 --> 00:48:16,320
bars I'm not going to put these in until the end because they'll get in the way I'm just
438
00:48:16,320 --> 00:48:23,080
going to show you the secret of building up a portrait is to put the base down which I've
439
00:48:23,080 --> 00:48:29,980
mentioned before is like icing a cake and you have to have this covering the whole portrait
440
00:48:29,980 --> 00:48:38,800
except for the actual eyes so anything that's flesh just lay this color down this waxy color
441
00:48:38,800 --> 00:48:44,600
you can't see it that well because it's not that yellow but it's the thing that is a key
442
00:48:44,600 --> 00:48:53,160
to receive the other paints so I'm putting in I think a little bit of a sphere it's a
443
00:48:53,160 --> 00:48:59,160
rough shape of a sphere can you see that Oscar is it looking any different from the background
444
00:48:59,160 --> 00:49:06,680
no not really it's not yeah if I hold it up and just you'll probably catch the reflection
445
00:49:06,680 --> 00:49:11,480
then so that you can see the matchness of the paint cool that if you could tilt it back
446
00:49:11,480 --> 00:49:18,200
up to the light again back up there yeah yeah okay so that's laid down and this is how I
447
00:49:18,200 --> 00:49:26,400
started this one just to match it the next thing I do is put in the carnation tone and
448
00:49:26,400 --> 00:49:37,920
introduce that very very gently here just working it in coming around there just imagining
449
00:49:37,920 --> 00:49:45,320
I'm going around the highlight so you've got the light on the cheek and then you've got
450
00:49:45,320 --> 00:49:52,200
it coming into the flesh tone the carnation tone and then it will be going into the richer
451
00:49:52,200 --> 00:50:00,640
shadow tone and just coming around there if you need a bit more of the waxy color then
452
00:50:00,640 --> 00:50:05,920
you can add it in but don't make it so thick that it's not going to fire properly so you
453
00:50:05,920 --> 00:50:13,120
can just blend the color gently like that and just keep adding until you're satisfied with
454
00:50:13,120 --> 00:50:19,160
it so I'm making quite bold brush strokes being in a bit of a hurry but you can refine
455
00:50:19,160 --> 00:50:24,360
this to your heart's content because the glycerol stays wet quite a long time but when it begins
456
00:50:24,360 --> 00:50:30,480
to get tacky that's when you must stop painting because it doesn't you can't really wet the
457
00:50:30,480 --> 00:50:36,600
colors and rework them and that applies to the paints as well if you've allowed them
458
00:50:36,600 --> 00:50:42,640
to dry out then you must wipe them all off and start again I do that naturally between
459
00:50:42,640 --> 00:50:48,080
portrait miniatures anyway I would start with a new palette just because you're looking
460
00:50:48,080 --> 00:50:57,120
at it all afresh and considering what the flesh tone really is for your subject then
461
00:50:57,120 --> 00:51:11,120
I come into this darker color here and just work this in so you can tell I spent a bit
462
00:51:11,120 --> 00:51:16,600
longer on this one but you'll get the idea and it's just quite a good exercise to try
463
00:51:16,600 --> 00:51:26,840
for yourself just to see whether you can get that gradation of color you can get a bit
464
00:51:26,840 --> 00:51:41,880
of an overlap but obviously colors will go muddy if you're mixing three colors plus two
465
00:51:41,880 --> 00:51:48,040
and then some shadow tone here say this is what I mentioned was a female tone it's quite
466
00:51:48,040 --> 00:51:56,000
a warm color and you can use it in men as well and you can use the male flesh tone in
467
00:51:56,000 --> 00:52:11,320
women but just use it sparingly it may look masculine okay just now working some of this
468
00:52:11,320 --> 00:52:22,920
underneath here I'm just playing with the four colors mixed just to see how they work
469
00:52:22,920 --> 00:52:30,640
it's really dabbing them on and then blending them in and I'm going to make this color a
470
00:52:30,640 --> 00:52:35,560
bit richer around the edge so because I've got some color there already it takes it very
471
00:52:35,560 --> 00:52:42,260
easily and it's still wet if I were to leave it to dry I'd be working wet on dry which
472
00:52:42,260 --> 00:52:52,280
is a bit alarming you can sometimes get away with it and then you go around the easiest
473
00:52:52,280 --> 00:52:57,640
way possible if you're right-handed is to have it like this and just carve around with
474
00:52:57,640 --> 00:53:03,920
the brush and because it's a damp brush it's like a mop and it's just soaking up the paint
475
00:53:03,920 --> 00:53:13,960
and you're getting a crisper outline and that's looking more all like a little sphere a flesh
476
00:53:13,960 --> 00:53:38,180
sphere and because it's still wet I can add some more flesh tone under here just tiny
477
00:53:38,180 --> 00:53:50,760
little strokes called cross hatching I'm just blending into the blue but I'm not wanting
478
00:53:50,760 --> 00:53:59,240
to make it very muddy so just stopping short of that and I'm going to roll it into some
479
00:53:59,240 --> 00:54:17,360
of this just to pull that down and any just sort of high points of color I'm actually
480
00:54:17,360 --> 00:54:24,080
mashing down with the brush so that I'm also doing puntalism which gets finer and finer
481
00:54:24,080 --> 00:54:35,120
as you work into it so this is just how I work a portrait on any particular detail of
482
00:54:35,120 --> 00:54:55,800
the face rolling a bit more of the waxy color and along the top there and if there's a really
483
00:54:55,800 --> 00:55:15,480
strong highlight you could add a little bit of the polar white just in there and just
484
00:55:15,480 --> 00:55:24,800
blend the color that was there just add that in that's quite strong and intense so I'll
485
00:55:24,800 --> 00:55:34,680
just blend it backwards here and you can just totally lose yourself in this just perfecting
486
00:55:34,680 --> 00:55:44,440
perfecting you know if you've got time on your own then you're just practicing and seeing
487
00:55:44,440 --> 00:55:49,240
how it looks and if you're not happy with it at any time you can just wipe it off and
488
00:55:49,240 --> 00:55:55,000
start again and that's the beauty of enamel effectively any brushstroke is a spontaneous
489
00:55:55,000 --> 00:56:03,040
one and that's got to be good because it's one that you're pleased with so as usual I'm
490
00:56:03,040 --> 00:56:08,840
not particularly pleased with that but it does demonstrate what I'm trying to achieve
491
00:56:08,840 --> 00:56:14,160
with the painting of a sphere and I'm now going to put in the other two colors which
492
00:56:14,160 --> 00:56:25,280
are the the female color which is the blue-clear mixed with purple and more intense at this
493
00:56:25,280 --> 00:56:39,240
end that's about as much paint as you dare add when you're doing a portrait and you know
494
00:56:39,240 --> 00:56:44,640
quite often I'd be starting a portrait one day and my husband would come into the studio
495
00:56:44,640 --> 00:56:49,280
and she'd been doing and I'd show him these and he'd say you can't see anything there
496
00:56:49,280 --> 00:56:54,800
what have you been doing and it's just because I paint very tentatively when I'm starting
497
00:56:54,800 --> 00:57:00,080
a portrait because first of all you're putting in the physical features and you're really
498
00:57:00,080 --> 00:57:07,440
concentrating on the contours of the face and what is it that makes that expression
499
00:57:07,440 --> 00:57:14,240
and then later you have a dialogue with that person as you begin to see the features in
500
00:57:14,240 --> 00:57:21,000
place and you're working on the flesh tones and modeling the face and the whole thing
501
00:57:21,000 --> 00:57:35,200
starts to develop like an old-fashioned photograph in the fixative so I put the brush into a
502
00:57:35,200 --> 00:57:44,640
little bit of glycerol the medium only not water on the painting ever and just thin that
503
00:57:44,640 --> 00:57:51,400
out a bit and then I'm going to turn it through 90 degrees so that I can just draw the brush
504
00:57:51,400 --> 00:58:01,760
down there and get more of a fine line and the same on the other side or if you want
505
00:58:01,760 --> 00:58:08,520
to leave it frilly then do and you could label this up of course with your pen oil you could
506
00:58:08,520 --> 00:58:14,040
just mix the color up and just say which these flesh tones are just for reference if you're
507
00:58:14,040 --> 00:58:22,840
not sure so it's a very good aid to use and I'll fire that so that you can see how it
508
00:58:22,840 --> 00:58:31,640
how it fires up and how the colors are fixed you'll put that over on the side and I want
509
00:58:31,640 --> 00:58:42,320
to next show you a portrait sequence and this sheet you've already had but I'll put the
510
00:58:42,320 --> 00:58:51,600
paints away because it's good to have them in the airtight box before I start showing
511
00:58:51,600 --> 00:58:59,320
you an eye portrait that I'm going to demonstrate so that's away and now we can talk about this
512
00:58:59,320 --> 00:59:07,720
sheet here this chart for which you have a feather copy but I've got the originals here
513
00:59:07,720 --> 00:59:14,000
so it's much better color quality shows the complete sequence from a piece of copper all
514
00:59:14,000 --> 00:59:19,200
the way through to a finished portrait although I haven't done the full face it just would
515
00:59:19,200 --> 00:59:25,120
have taken a long time it was an enamel painting friend who I trained up who helped me with
516
00:59:25,120 --> 00:59:30,560
this and it took 60 firings as it was to complete this whole sequence and that's mainly done
517
00:59:30,560 --> 00:59:38,960
that side obviously so it's got many layers about seven layers all together to this point
518
00:59:38,960 --> 00:59:44,320
but starting with a piece of copper this is domed already and it's actually been punched
519
00:59:44,320 --> 00:59:51,640
out with hydraulics and what I've done is to counter enamel it because as you know if
520
00:59:51,640 --> 00:59:55,760
you don't have counter enamel on the back and you just have enamel on the front at some
521
00:59:55,760 --> 01:00:01,760
stage it may just ping off because it's not an equal tension on both sides of the copper
522
01:00:01,760 --> 01:00:10,280
making a sandwich of glass copper glass on the other side I you can also paint on steel
523
01:00:10,280 --> 01:00:17,760
as you've seen or on silver or 18 karat gold the dream of all because it just doesn't move
524
01:00:17,760 --> 01:00:22,480
in the kiln it just stays completely stable the shape that you've made and it will also
525
01:00:22,480 --> 01:00:28,960
go through many many firings about 30 maximum whereas silver and copper they take about
526
01:00:28,960 --> 01:00:34,440
12 firings and same with steel before they begin to get a little bit tired so you just
527
01:00:34,440 --> 01:00:42,680
have to plan accordingly so the top coat on the front side of the enamel is actually a
528
01:00:42,680 --> 01:00:49,680
clear flux that I fired on and I started with diamond flux or it could be gold flux or it
529
01:00:49,680 --> 01:00:55,400
could be a silver flux which is a little bit more blue but the gold flux is a lovely warm
530
01:00:55,400 --> 01:01:07,040
color and just enhances the portrait on the copper then I would add a layer of opalescent
531
01:01:07,040 --> 01:01:14,600
so you've got your two firings here and under here firing at the same time it's quite good
532
01:01:14,600 --> 01:01:19,440
if you can put the counter enamel on the other side of the gold flux and the counter enamel
533
01:01:19,440 --> 01:01:29,960
on the other side of this opal the opal used to be soya 101 it can also be shower 64 and
534
01:01:29,960 --> 01:01:35,280
that works very well and you may have other ideas and then share them with us please so
535
01:01:35,280 --> 01:01:44,000
there's a second coat of opal that's wet laid and dried and then fired and a third layer
536
01:01:44,000 --> 01:01:50,000
and as you can see it's going white whiter but it still has a pinkness to it which enhances
537
01:01:50,000 --> 01:01:57,400
the portrait and finally that layer when it's cooled has been stoned back and then it's
538
01:01:57,400 --> 01:02:04,920
fired again and then it's absolutely smooth so if there's any roughness in these two and
539
01:02:04,920 --> 01:02:10,680
then the third layer in fact then you just stone it back with diagrit to make it completely
540
01:02:10,680 --> 01:02:17,720
smooth so this side now shows the sequence of the portrait painting and you've first
541
01:02:17,720 --> 01:02:24,040
of all got the pencil line that's been added to modelling clay has been rolled over this
542
01:02:24,040 --> 01:02:30,960
piece and it's then acting as a key for the pencil line that's transferred with a fine
543
01:02:30,960 --> 01:02:37,000
scribe because if you use a thick pencil lead then it's obviously going to show as a wide
544
01:02:37,000 --> 01:02:43,400
line so the finest that you can manage just to see enough to follow the contours for the
545
01:02:43,400 --> 01:02:50,200
painting and you're going to be replacing each of those fine pencil lines with paint
546
01:02:50,200 --> 01:02:56,320
so if you're not confident which I'm not when I'm doing a portrait I would fire the pencil
547
01:02:56,320 --> 01:03:04,320
line in place no higher than 750 degrees centigrade or 1382 Fahrenheit and then you've fixed the
548
01:03:04,320 --> 01:03:10,120
pencil line so that when you're adding painted line if you're not sure about putting that
549
01:03:10,120 --> 01:03:14,320
painted line in the right place you can wipe it off knowing that you've still got the pencil
550
01:03:14,320 --> 01:03:21,360
line there for reference so you fire on the painted line and then you start to model the
551
01:03:21,360 --> 01:03:27,960
portrait so this is the first wash laying it on very very thinly so that it just shows
552
01:03:27,960 --> 01:03:34,720
through because it's like layers of tissue paper where one layer shows through another
553
01:03:34,720 --> 01:03:40,920
so that's then fired and fixed and then the second layer is applied and it's gradually
554
01:03:40,920 --> 01:03:50,400
developing using this follow through until you here you've got four and fifth and sixth
555
01:03:50,400 --> 01:03:55,240
that's been through the kiln three more times and it's like adding seven layers of skin
556
01:03:55,240 --> 01:04:05,720
really so that's actually had six layers of the painted so each time 750, 1382 and you
557
01:04:05,720 --> 01:04:12,360
can't go wrong really so we're now going to move on to an actual portrait of a loving
558
01:04:12,360 --> 01:04:18,720
eye but first I'm going to fire up this sphere to show you how it looks when it comes out
559
01:04:18,720 --> 01:04:31,200
of the kiln so there it is looking rather matte because the glycerol has dried
560
01:04:31,200 --> 01:04:36,400
I've got some family portraits of my own in my own collection that I've brought to show
561
01:04:36,400 --> 01:04:46,960
you and it shows over about 20 years I suppose a sequence this was the first one and I put
562
01:04:46,960 --> 01:04:53,480
in a very tentative background around this child you can see the pinkiness of the opal
563
01:04:53,480 --> 01:04:58,200
I rather liked it and I've just enhanced it a little bit around the shoulders and the
564
01:04:58,200 --> 01:05:04,440
hair and so on otherwise I've left it pretty well natural and I rather like the stripiness
565
01:05:04,440 --> 01:05:14,040
of Lucy's outfit with the with the cat stripes the next one round about the same time the
566
01:05:14,040 --> 01:05:21,880
background was inspired by a trip to Turkey and saw Turkish tilings and just thought that
567
01:05:21,880 --> 01:05:28,760
that would work quite well so here's the background to this brother and sister it's my niece and
568
01:05:28,760 --> 01:05:39,000
nephew and I used white transfer paper at that stage that was the method that I was
569
01:05:39,000 --> 01:05:44,720
taught and it's described in the book but it was very difficult to actually see the
570
01:05:44,720 --> 01:05:49,960
white line you had to remove the chalkiness it's the transfer paper that they use in dress
571
01:05:49,960 --> 01:05:55,080
making and then you remove the chalkiness and then you've just got a greasy line and
572
01:05:55,080 --> 01:06:01,840
that's what you put the paint line over to start the sequence and in this one I've used
573
01:06:01,840 --> 01:06:10,600
pencil and this is the baby 14 years later and in this it's interesting to show how I
574
01:06:10,600 --> 01:06:17,480
was exploring backgrounds made with underglaze painting so when I'd finished the background
575
01:06:17,480 --> 01:06:24,200
painting it was pretty well black using underglazed black not the overglaze and I've got a test
576
01:06:24,200 --> 01:06:31,300
piece here because I discovered that putting the third layer of opal over the top made
577
01:06:31,300 --> 01:06:38,080
it go this gorgeous inky blue so I rather enjoyed that background and in some I've then
578
01:06:38,080 --> 01:06:44,080
tinted it a little bit more with some blue and lavender coloured paints just to enhance
579
01:06:44,080 --> 01:06:49,720
that but otherwise that's the effect you get with underglaze black and you don't get it
580
01:06:49,720 --> 01:06:57,760
with overglaze I did the same with this one of my grandfather and he loved writing poetry
581
01:06:57,760 --> 01:07:03,720
so I wrote one of his poems in the background using underglaze and then put the opal layer
582
01:07:03,720 --> 01:07:09,680
over the top so I had a white silhouette and then I started the painting so all the background
583
01:07:09,680 --> 01:07:18,600
was done before the painting then I did this one of my mother when I'd moved on to working
584
01:07:18,600 --> 01:07:25,720
with gold and I really wanted to put in a background that that would represent her love
585
01:07:25,720 --> 01:07:32,240
of shawls so I've got the Paisley shawl in the background although she's known for her
586
01:07:32,240 --> 01:07:39,240
studies of the Norwich shawl and all of that background was worked again with a white silhouette
587
01:07:39,240 --> 01:07:47,120
and before I did any sort of painting I had the all the gold in place that's gold foil
588
01:07:47,120 --> 01:07:58,560
in the background and gold luster and painting it up and the most recent one this is a loving
589
01:07:58,560 --> 01:08:07,040
well faithful eye I would call it of my dog Spice and I thought it would be quite interesting
590
01:08:07,040 --> 01:08:14,080
to show my silhouette in the pupil of her eye I just noticed it after I had taken the
591
01:08:14,080 --> 01:08:21,240
photos they're just catching the light there hope you can see that so any eye is a great
592
01:08:21,240 --> 01:08:33,200
study if you have access which you do to your own eye your pet's eye or whatever now magnification
593
01:08:33,200 --> 01:08:40,560
I have changed over the years when I was taught my teacher had a handheld pocket lens like
594
01:08:40,560 --> 01:08:46,460
this and she held that in her left hand and painted with her right so that she had everything
595
01:08:46,460 --> 01:08:56,600
in view I've got this piece here which has a halo light around it and it can be used
596
01:08:56,600 --> 01:09:03,640
for all sorts of craft work so it's got the magnifying lens in the middle and for using
597
01:09:03,640 --> 01:09:08,280
larger pieces this is really useful because the microscope that I'm going to show you
598
01:09:08,280 --> 01:09:16,320
is quite confining in the pool of light and the sight size that you're looking at so that's
599
01:09:16,320 --> 01:09:26,080
another option another way is to get some magnifying specs like these ones and you can
600
01:09:26,080 --> 01:09:33,000
also get clip-on magnifiers like these that you can attach to your normal spectacles so
601
01:09:33,000 --> 01:09:41,520
here's the clip and this is my preferred method when I'm sitting at the easel painting so
602
01:09:41,520 --> 01:09:46,160
these are another sort and make sure that they're absolutely vertical in line with the
603
01:09:46,160 --> 01:09:56,280
work and then along here we've got the actual magnifying wizard of all which is a Leica
604
01:09:56,280 --> 01:10:03,760
microscope and I was lucky enough to be able to make a donation for this only rather than
605
01:10:03,760 --> 01:10:12,280
have to buy it because some people in our village used microscopes to reclaim gold from
606
01:10:12,280 --> 01:10:19,400
computer parts so all their workers were working under microscopes and getting the gold back
607
01:10:19,400 --> 01:10:24,120
and when they finished their business they had all these microscopes in their barn and
608
01:10:24,120 --> 01:10:29,480
I was very interested in this one and they were very generous in giving it to me and
609
01:10:29,480 --> 01:10:36,240
I made a donation to the village and I've got LCD lighting here which is bendable and
610
01:10:36,240 --> 01:10:43,360
wonderful to really focus in on what you're looking at here and you can adjust this up
611
01:10:43,360 --> 01:10:48,840
and down according to your height to be able to get it at the right and it is really nice
612
01:10:48,840 --> 01:10:54,400
to be able to stand to your work sometimes rather than sitting down all the time so I
613
01:10:54,400 --> 01:11:00,200
like working at the microscope at the beginning of a portrait when I'm making the fine lines
614
01:11:00,200 --> 01:11:05,880
and at the end for the final layer of painting that works very well to be able to see the
615
01:11:05,880 --> 01:11:12,120
final detail that you're putting on and although you can't necessarily see the detail when
616
01:11:12,120 --> 01:11:18,480
you're holding a piece and looking by eye it is there under the microscope and you know
617
01:11:18,480 --> 01:11:24,320
that everything that you see under the microscope has to be able to be magnified to actual size.
618
01:11:24,320 --> 01:11:30,080
So to recap we've got various stilts to put into the kiln and this is the one that I recommend
619
01:11:30,080 --> 01:11:37,560
which is ceramic fiberboard and it's got kiln clay slip over the top of it which has been
620
01:11:37,560 --> 01:11:39,840
baked on.
621
01:11:39,840 --> 01:11:47,560
Titanium mesh we've been using because there's no chance of any nasty dusty oxide bouncing
622
01:11:47,560 --> 01:11:49,840
off onto the work and spoiling it.
623
01:11:49,840 --> 01:11:57,760
Just going to do a demonstration of putting a stack of stainless steel supports of various
624
01:11:57,760 --> 01:12:03,200
kinds onto the ceramic fiberboard to show you what happens when it goes in the kiln
625
01:12:03,200 --> 01:12:14,120
and when you bring it out and a nice bit of clean ceramic fiberboard piled high with other
626
01:12:14,120 --> 01:12:18,000
supports which I don't recommend using.
627
01:12:18,000 --> 01:12:21,760
This is going to go into the kiln for some time.
628
01:12:21,760 --> 01:12:25,640
There's already something in there because I've got some ceramic fiberboard in there
629
01:12:25,640 --> 01:12:27,640
for firing the next piece.
630
01:12:27,640 --> 01:12:35,440
Just put that on top and just leave it for a little while.
631
01:12:35,440 --> 01:12:41,560
So the kiln temperature's dropped to about 700 and it's just going to climb back up again.
632
01:12:41,560 --> 01:12:46,400
So when it's at say 760 I'll be taking that out.
633
01:12:46,400 --> 01:12:52,160
The kiln has now reached a high temperature and everything's glowing in there so I'm just
634
01:12:52,160 --> 01:13:01,240
going to flip it all out and place it down there to cool down and shut that down.
635
01:13:01,240 --> 01:13:06,320
Actually while that's cooling we can fire the sphere so don't be tempted to touch it
636
01:13:06,320 --> 01:13:12,120
with your fingers, use a butter knife and just slide it across there for faster cooling and
637
01:13:12,120 --> 01:13:16,240
it also gets any oxide well away from what I'm going to do now.
638
01:13:16,240 --> 01:13:20,520
So I'm going to take out this piece of ceramic fiberboard that's been sitting in the kiln
639
01:13:20,520 --> 01:13:26,560
so it's nice and hot and we'll fire more quickly because this piece which I'm just going to
640
01:13:26,560 --> 01:13:35,520
lower gently onto there is quite a thick piece of stainless steel.
641
01:13:35,520 --> 01:13:38,800
Once again we'll just check has it started steaming?
642
01:13:38,800 --> 01:13:47,040
Yeah using our spestula singers just put it back in place.
643
01:13:47,040 --> 01:13:51,080
This one might not steam as much due to the fact that it already dried a bit.
644
01:13:51,080 --> 01:13:55,720
That's true it's been sitting on the side hasn't it and it's in a very hot ambient temperature.
645
01:13:55,720 --> 01:13:57,560
So that's enough.
646
01:13:57,560 --> 01:14:05,400
Put it to the back and wait for the kiln to climb up.
647
01:14:05,400 --> 01:14:13,760
Now have a look at this to see what's happened underneath here.
648
01:14:13,760 --> 01:14:14,760
Just remove these.
649
01:14:14,760 --> 01:14:18,280
I can spy a bit.
650
01:14:18,280 --> 01:14:24,720
Yep there's a few bits on there which I would not be happy with if they had come onto the
651
01:14:24,720 --> 01:14:27,240
actual enamel that you're using.
652
01:14:27,240 --> 01:14:31,160
So do not use these.
653
01:14:31,160 --> 01:14:33,200
It's just not worth it.
654
01:14:33,200 --> 01:14:39,760
And sometimes if those need cleaning and they've just been used many many times it gets worse.
655
01:14:39,760 --> 01:14:47,520
So it's just not worth even one speck.
656
01:14:47,520 --> 01:14:55,160
There is a way of cleaning those steel piles or the titanium mesh that has any bits of
657
01:14:55,160 --> 01:15:00,480
enamel glass in there and that is to heat it up to a reasonable temperature and then
658
01:15:00,480 --> 01:15:02,540
quench it into water.
659
01:15:02,540 --> 01:15:08,840
Not straight away but just after about count of two or three and that will just crack off
660
01:15:08,840 --> 01:15:12,320
any enamel glass there and return the metal mesh.
661
01:15:12,320 --> 01:15:15,800
So that's quite a good idea.
662
01:15:15,800 --> 01:15:22,160
After firing the sphere when it reaches 750 I'm then going to show you how to make a loving
663
01:15:22,160 --> 01:15:24,120
eye.
664
01:15:24,120 --> 01:15:26,760
Here I've just painted my own eye.
665
01:15:26,760 --> 01:15:31,320
Nothing easier is there than just look at yourself.
666
01:15:31,320 --> 01:15:36,700
Take a photo, take a selfie of your eye and then set about painting it in the sequence
667
01:15:36,700 --> 01:15:38,280
that I'll show you.
668
01:15:38,280 --> 01:15:49,360
So first of all I've been making a photo and I've printed out on plain paper and then I
669
01:15:49,360 --> 01:15:54,960
would print a glossy version so that that's best quality.
670
01:15:54,960 --> 01:16:01,000
And then I'd make a tracing and that's what we'll do back at the bench.
671
01:16:01,000 --> 01:16:03,680
So I'm going to take out this little piece now.
672
01:16:03,680 --> 01:16:11,840
It should be fully fired because it reached 750.
673
01:16:11,840 --> 01:16:16,840
And we've got the light over just catching the light but interestingly it's not quite
674
01:16:16,840 --> 01:16:21,880
fired so it goes back in the kiln for a little bit longer.
675
01:16:21,880 --> 01:16:31,880
It's much easier to put something back in the kiln but if it's been in there too long,
676
01:16:31,880 --> 01:16:35,680
if the piece is too small and it's been in there too long and over fired, nothing you
677
01:16:35,680 --> 01:16:38,240
can really do about that I'm afraid.
678
01:16:38,240 --> 01:16:40,560
So that's got to climb back up.
679
01:16:40,560 --> 01:16:50,960
Just give it an extra boost and hope that that will work.
680
01:16:50,960 --> 01:16:51,960
Not quite fired.
681
01:16:51,960 --> 01:16:56,360
Let's have a close look at that so we can get it on camera.
682
01:16:56,360 --> 01:17:03,560
There you can see the matte texture and it's perhaps because I've used more of the white
683
01:17:03,560 --> 01:17:07,360
which is slightly higher firing than any of the other paint colours so it's going to go
684
01:17:07,360 --> 01:17:12,360
back in again.
685
01:17:12,360 --> 01:17:26,600
Let it sink for a bit, rise in temperature and then hold it.
686
01:17:26,600 --> 01:17:33,640
Okay so the temperature is climbing back up to 750 quite quickly now and I shall take
687
01:17:33,640 --> 01:17:38,800
out the enamel at that point and check that it's smoothly fired.
688
01:17:38,800 --> 01:17:43,720
It's got to be glossy all over to work.
689
01:17:43,720 --> 01:17:52,480
This is near the point and you're so easily distracted at this point possibly.
690
01:17:52,480 --> 01:17:58,080
So I've got a mat to stand on and once you're standing on the mat you're glued to it.
691
01:17:58,080 --> 01:18:00,080
Do not leave it.
692
01:18:00,080 --> 01:18:04,000
You could just walk away and look at your phone and get distracted.
693
01:18:04,000 --> 01:18:08,080
So here we go.
694
01:18:08,080 --> 01:18:11,240
That's it.
695
01:18:11,240 --> 01:18:18,840
Out she comes and shut the film door quickly and then look at that.
696
01:18:18,840 --> 01:18:27,000
Under the light you can just see it's gone glossy all over so I'm happy with that firing
697
01:18:27,000 --> 01:18:28,000
now.
698
01:18:28,000 --> 01:18:29,000
Can you see that Oscar?
699
01:18:29,000 --> 01:18:30,640
If you tilt him one more.
700
01:18:30,640 --> 01:18:32,960
Little bit so it doesn't fall down.
701
01:18:32,960 --> 01:18:33,960
Tilt back again.
702
01:18:33,960 --> 01:18:34,960
Yep.
703
01:18:34,960 --> 01:18:35,960
There you go.
704
01:18:35,960 --> 01:18:36,960
And side to side.
705
01:18:36,960 --> 01:18:37,960
Yeah.
706
01:18:37,960 --> 01:18:40,800
And then you'll see that cool down.
707
01:18:40,800 --> 01:18:44,600
Now it does stick for a little bit as I said before.
708
01:18:44,600 --> 01:18:47,640
Yeah because it's been in there quite a long time.
709
01:18:47,640 --> 01:18:54,680
The counter enamel has stuck to the clay slip which is on the ceramic fibre board but it
710
01:18:54,680 --> 01:19:00,800
will just come away of its own accord as the enamel contracts and cools it will just lift
711
01:19:00,800 --> 01:19:03,360
so it's best to just leave it now.
712
01:19:03,360 --> 01:19:11,200
I'm at the painting desk now and I've got a vertical easel set up here which was a portable
713
01:19:11,200 --> 01:19:18,000
painting easel to which I've added this block of wood and then I stick the enamel on here
714
01:19:18,000 --> 01:19:20,440
using blue tack.
715
01:19:20,440 --> 01:19:26,640
On the painting desk I've got the box which these clip-on specs came out of and the make
716
01:19:26,640 --> 01:19:30,080
is Eschenbach if you're wanting to follow that up.
717
01:19:30,080 --> 01:19:37,280
They come in various magnifications and this one is about twice and that's all I need.
718
01:19:37,280 --> 01:19:42,080
When I'm working here I would clip these two prescription specs.
719
01:19:42,080 --> 01:19:50,280
What I'm using at the bench here or the painting desk is these magnifying glasses and it just
720
01:19:50,280 --> 01:19:57,280
reminded me using the microscope that that's what I use to study the 18th century exquisite
721
01:19:57,280 --> 01:20:02,920
portraits to find out how they painted them and you could see all sorts of little scrafitto
722
01:20:02,920 --> 01:20:07,280
marks that they made in the hair to give it texture.
723
01:20:07,280 --> 01:20:13,060
You could see the pointillistic dots, the cross hatching, the layers of colour.
724
01:20:13,060 --> 01:20:20,600
On lace you could see where they had put dense dark dots of colour onto white and it was
725
01:20:20,600 --> 01:20:26,840
just fascinating to learn from people who'd been dead for centuries that it's possible
726
01:20:26,840 --> 01:20:30,640
when you go into museums to see these wonderful miniatures.
727
01:20:30,640 --> 01:20:39,200
So here I've got a sequence of the painting of my eye and starting at this end I've got
728
01:20:39,200 --> 01:20:46,520
the line drawing which has the painted layer on it and then I've got the first layer of
729
01:20:46,520 --> 01:20:53,240
paint that's been fired on just all painting quite tentatively and then the next layer
730
01:20:53,240 --> 01:21:02,560
has been built up and you can see the 3D effect beginning to take shape until the final layer
731
01:21:02,560 --> 01:21:08,520
shows it to be more realistic with all these dense shadows and so on.
732
01:21:08,520 --> 01:21:15,880
Depending on the age of the person is just how many little wrinkles you put in and how
733
01:21:15,880 --> 01:21:23,440
much the white of the eye has shading but in a baby it's just amazing to see a kind of
734
01:21:23,440 --> 01:21:31,860
porcelain white of the baby's eye and you'll just see that it's really about observation
735
01:21:31,860 --> 01:21:36,280
and what you're seeing before your eyes plus a little bit of editing and if you want to
736
01:21:36,280 --> 01:21:42,960
be kind to somebody and make them look 10 years younger then it's very obvious how you
737
01:21:42,960 --> 01:21:48,960
just lift the eyelids a bit and lift that a little bit and lower that and take away some
738
01:21:48,960 --> 01:21:53,960
wrinkles and you've got a changed person which is probably unrecognisable.
739
01:21:53,960 --> 01:22:00,160
So I'm going to go to this piece which has already had the paint line over the pencil
740
01:22:00,160 --> 01:22:05,960
line and it's been fired and I'm going to demonstrate how to build up the first wash
741
01:22:05,960 --> 01:22:08,120
to make it like this.
742
01:22:08,120 --> 01:22:12,640
So I've got the sequence there for reference we've got the paints down here and I'm going
743
01:22:12,640 --> 01:22:17,080
to be talking through which paint colours I'm using all the time.
744
01:22:17,080 --> 01:22:23,180
So I've got a little pot of water and then I've got my glycerol there as solvent and
745
01:22:23,180 --> 01:22:25,960
medium that I'm using.
746
01:22:25,960 --> 01:22:34,920
So I've dipped and dried and the first thing is to lay on this waxy layer all over.
747
01:22:34,920 --> 01:22:48,240
So this is the base for the flesh colour and this has to be put on at the same sort of
748
01:22:48,240 --> 01:22:55,680
thickness so you don't want any ridges of this waxy white you just want enough to receive
749
01:22:55,680 --> 01:23:02,320
the flesh tones on the top because when the whole thing flowers it's all got to be about
750
01:23:02,320 --> 01:23:05,160
the same level.
751
01:23:05,160 --> 01:23:10,920
I'm just working quickly with a number one brush I could have picked a number two that
752
01:23:10,920 --> 01:23:14,740
would have made it a bit faster.
753
01:23:14,740 --> 01:23:22,360
This glass paint is obviously very abrasive and so it's wearing the sable brush down much
754
01:23:22,360 --> 01:23:23,880
more quickly than you would wish.
755
01:23:23,880 --> 01:23:30,680
It gets to the point where the brush is perfect for you and then just one more little stroke
756
01:23:30,680 --> 01:23:36,360
and a hair comes away and you think oh no it's not like it used to be and you have to break
757
01:23:36,360 --> 01:23:38,280
in a new brush.
758
01:23:38,280 --> 01:23:48,380
So I get through about a brush a month I think but you can increase the life by which I try
759
01:23:48,380 --> 01:23:54,760
to by giving them a shampoo and looking after them well and not leaving them in the medium
760
01:23:54,760 --> 01:23:58,160
or in the solvent.
761
01:23:58,160 --> 01:24:12,400
We're just working around here.
762
01:24:12,400 --> 01:24:21,820
So you're going everywhere except the eyeball itself so into the inner eyelid there anything
763
01:24:21,820 --> 01:24:28,480
that's flesh basically.
764
01:24:28,480 --> 01:24:37,640
Right now it's got that base acting as a key we can work into this with flesh tones so
765
01:24:37,640 --> 01:24:44,480
you can see it looks quite rich already and I should really have the photograph alongside
766
01:24:44,480 --> 01:24:51,080
that's what I want to get back to rather than copying this one but I think Oscar's just
767
01:24:51,080 --> 01:24:58,960
going to be able to reach it maybe that would be great and sometimes I will cover this with
768
01:24:58,960 --> 01:25:06,300
various photographs and work from several because I like to edit the photos in order
769
01:25:06,300 --> 01:25:08,120
to work up the portrait.
770
01:25:08,120 --> 01:25:10,600
Oh thanks Oscar that's brilliant.
771
01:25:10,600 --> 01:25:16,720
Yep we'll just put that there.
772
01:25:16,720 --> 01:25:21,060
Good so now I've got the photo in place that's important to be able to have that as the original
773
01:25:21,060 --> 01:25:24,880
reference rather than Chinese whispers all the way down here.
774
01:25:24,880 --> 01:25:30,160
I'm looking back to this and just looking at where all these little lines are these
775
01:25:30,160 --> 01:25:33,880
tiny little wrinkles that give it personality.
776
01:25:33,880 --> 01:25:43,040
So let's pull that in and carrying on with the flesh colour I'm going to work along here
777
01:25:43,040 --> 01:25:53,920
and down and around here just keep charging up the brush with paint and it's a case of
778
01:25:53,920 --> 01:26:03,760
dispersing the paint and mixing it with this waxy layer so that you've got a soft pinky
779
01:26:03,760 --> 01:26:06,680
flesh tone coming in here.
780
01:26:06,680 --> 01:26:24,880
Just a little bit of shadow there but that's a bit more bluey later.
781
01:26:24,880 --> 01:26:36,880
Just a bit there and then I'm going to come down here with this little frown line there
782
01:26:36,880 --> 01:26:40,920
and this one here.
783
01:26:40,920 --> 01:26:46,160
It's just incredible how a tiny little stroke can make a difference with the likeness.
784
01:26:46,160 --> 01:26:53,640
So I've got my egg memoir there, physical features first, dialogue with personality
785
01:26:53,640 --> 01:26:58,520
and mainly getting rhythm into the whole thing.
786
01:26:58,520 --> 01:27:04,600
Sometimes I'm concentrating so much on this that even listening to classical music you
787
01:27:04,600 --> 01:27:09,640
just want to switch it off and just empty your mind and be totally fixed on what you've
788
01:27:09,640 --> 01:27:11,280
got in front of you.
789
01:27:11,280 --> 01:27:16,160
And then other times I'm able to listen to a radio play or something like that because
790
01:27:16,160 --> 01:27:18,600
it requires less concentration.
791
01:27:18,600 --> 01:27:24,040
I know where I'm going with it but when I'm wrestling with the likeness it's the most
792
01:27:24,040 --> 01:27:26,720
critical phase.
793
01:27:26,720 --> 01:27:36,520
And several times I've had to do an edition of portraits like for our Queen's Diamond
794
01:27:36,520 --> 01:27:46,320
Jubilee and each one to me was just very slightly different but people at a glance wouldn't
795
01:27:46,320 --> 01:27:51,280
tell but if you had them all alongside each other you could line them up as to which you
796
01:27:51,280 --> 01:27:54,280
thought was the best.
797
01:27:54,280 --> 01:28:01,320
And one man, I had to do six portraits for his six children and he decided who got what
798
01:28:01,320 --> 01:28:09,800
according to how his look sort of subtly changed so that was quite interesting.
799
01:28:09,800 --> 01:28:16,280
But otherwise you try your best to make everything the same but we're not machines and the
800
01:28:16,280 --> 01:28:25,560
this is how it comes out when it's hand painted.
801
01:28:25,560 --> 01:28:34,600
So now just working down here and I go into this darker flesh tone now to just catch a
802
01:28:34,600 --> 01:28:43,240
little bit there and into this part.
803
01:28:43,240 --> 01:28:49,880
And coming down here and off it goes into that direction.
804
01:28:49,880 --> 01:28:55,480
Now if you were to use what you see as perhaps a black line it just wouldn't look right it
805
01:28:55,480 --> 01:29:02,360
would look like very heavy makeup so just use what you know is there and that's where
806
01:29:02,360 --> 01:29:12,360
you're using these flesh tones just like notes to play a tune on a piano.
807
01:29:12,360 --> 01:29:21,760
And just coming across there.
808
01:29:21,760 --> 01:29:26,440
Now just emphasize that one with a fine line it's probably a bit dark now so I'll have
809
01:29:26,440 --> 01:29:33,760
to lighten that again and just feeling my way with these little bits and strengthening
810
01:29:33,760 --> 01:29:41,040
them a touch.
811
01:29:41,040 --> 01:29:44,840
And when I'm painting I just have to have everything just right the way I'm sitting
812
01:29:44,840 --> 01:29:51,640
otherwise you become aware that your neck's uncomfortable or your legs are just getting
813
01:29:51,640 --> 01:29:56,320
weary or something so that's why I've got the balance variable here.
814
01:29:56,320 --> 01:30:03,920
I haven't got any back support but I'm feeling comfortable.
815
01:30:03,920 --> 01:30:10,520
I've still got the kiln on for firing this piece later to show you that as a demo and
816
01:30:10,520 --> 01:30:15,920
normally I wouldn't have the kiln on in the room until the next morning when I just come
817
01:30:15,920 --> 01:30:22,280
in and I check the work and I think ah no that's not quite right and it's still wet
818
01:30:22,280 --> 01:30:24,960
to be able to work into it.
819
01:30:24,960 --> 01:30:30,320
If it's dried up it's too late you're committed the only way is to scratch it off with some
820
01:30:30,320 --> 01:30:35,660
scraffito and then fire and then patch in.
821
01:30:35,660 --> 01:30:42,260
That's not a very good way but I just want to check before I fire it that morning so
822
01:30:42,260 --> 01:30:51,240
I leave it covered up overnight putting this easel horizontal and just laying a cardboard
823
01:30:51,240 --> 01:30:57,440
box over the top or something like that to protect it from any dust and then of course
824
01:30:57,440 --> 01:31:02,520
it has to be fired straight away.
825
01:31:02,520 --> 01:31:09,720
So now I've got some of the purpley blue which is the soft female shadow here just coming
826
01:31:09,720 --> 01:31:33,520
up there and going around and it just so happens to match nicely.
827
01:31:33,520 --> 01:31:38,600
Okay I'm going to come back to here I'm going to load the paint with a little bit of the
828
01:31:38,600 --> 01:31:48,240
waxy white just to patch this in.
829
01:31:48,240 --> 01:32:09,520
And I'm going to put a tiny bit of this shadow which is the purpley blue into here.
830
01:32:09,520 --> 01:32:16,440
And when you fire this paint on if you slightly under fire so it looks glossy but the paint
831
01:32:16,440 --> 01:32:23,160
will act as a key for the next layer so the brush will drag over it and leave a deposit
832
01:32:23,160 --> 01:32:29,360
of paint just where you've left it and it will begin to paint itself where you've got
833
01:32:29,360 --> 01:32:38,480
some lines and it will just emphasise them even more.
834
01:32:38,480 --> 01:32:45,920
So because you've seen the video of my mother that portrait this one is a rough example
835
01:32:45,920 --> 01:32:51,520
next to it.
836
01:32:51,520 --> 01:32:58,060
Working live and to time schedule but I hope it will give you confidence to make your own
837
01:32:58,060 --> 01:33:08,120
portraits of the eye at least and then post it onto the Facebook page that I've set up.
838
01:33:08,120 --> 01:33:13,480
It would be lovely to see what you do and everyone can learn from everyone else and
839
01:33:13,480 --> 01:33:22,360
I'll make a comment if you like, positive one and then a little tip how to improve so there's
840
01:33:22,360 --> 01:33:31,360
incentive.
841
01:33:31,360 --> 01:33:38,480
Right the eye colour here is quite like the green and blue that I mixed already so I'm
842
01:33:38,480 --> 01:33:44,640
going to lay this down as the base coat a bit like I used the waxy layer.
843
01:33:44,640 --> 01:33:49,120
I'm putting that down and then I can lift anywhere where there's a highlight so I'm
844
01:33:49,120 --> 01:33:54,400
just putting it all over and trying to follow the iris with the brush strokes so it's got
845
01:33:54,400 --> 01:34:02,240
these paint lines radiating out like this.
846
01:34:02,240 --> 01:34:08,360
I'm just washing the brush dipping it into the glycerol and then just tidying here by
847
01:34:08,360 --> 01:34:13,920
seeing that there's a highlight coming around here so may as well lift the paint off and
848
01:34:13,920 --> 01:34:18,840
definitely over the top there and already it's just got a little bit more life into
849
01:34:18,840 --> 01:34:22,200
it.
850
01:34:22,200 --> 01:34:42,000
And then strengthen up the colour around the outside while it's still wet.
851
01:34:42,000 --> 01:34:59,000
And I remember looking into my grandfather's eyes just before he died and I saw this little
852
01:34:59,000 --> 01:35:05,760
rough coloured speck on his iris or in the eye which I didn't know whether it had been
853
01:35:05,760 --> 01:35:11,280
that all the time or whether that was just because he was 96 but then I discovered I'd
854
01:35:11,280 --> 01:35:18,040
got something similar myself at my age and I thought well I've inherited that from him.
855
01:35:18,040 --> 01:35:23,920
So you really begin to look at all the colours in the eye itself if you just want to paint
856
01:35:23,920 --> 01:35:26,520
the iris that's enough.
857
01:35:26,520 --> 01:35:35,880
I've added a touch of ochre in here just to make a shadow and I need to darken that
858
01:35:35,880 --> 01:35:46,040
so I've added a little bit of the darkest blue the Blenui and then I've got the blue
859
01:35:46,040 --> 01:35:54,000
and the green mix and I'm just making that more intense there coming along the top.
860
01:35:54,000 --> 01:36:00,480
So just refer to your colour chart if you're not confident and you can see the colour mixes
861
01:36:00,480 --> 01:36:07,120
there or you could do a test piece before you fire the whole thing just to see how they
862
01:36:07,120 --> 01:36:15,280
work.
863
01:36:15,280 --> 01:36:21,880
And then once again the brush you can just mop up to get that line and then there's
864
01:36:21,880 --> 01:36:29,020
a little highlight there isn't there just where it sits with the eyelid there.
865
01:36:29,020 --> 01:36:37,520
And I'm now going to add some white into the eye so that I can add some tones into that
866
01:36:37,520 --> 01:36:56,360
don't paint straight on to the enamel itself.
867
01:36:56,360 --> 01:37:01,960
So there it is as a coat and I've got a tiny little bit there just to emphasise that highlight
868
01:37:01,960 --> 01:37:09,960
and a tiny bit there.
869
01:37:09,960 --> 01:37:17,520
So that's going to be a little touch of this bluey purple look just coming in here to shade
870
01:37:17,520 --> 01:37:27,520
that and on the other side as well.
871
01:37:27,520 --> 01:37:38,480
There, that's given it another few years.
872
01:37:38,480 --> 01:37:54,800
Okay some more flesh colour along the top here.
873
01:37:54,800 --> 01:38:09,680
And a little bit of make up there.
874
01:38:09,680 --> 01:38:17,400
And then instead of dipping into black itself I'm putting it into blue black that is the
875
01:38:17,400 --> 01:38:28,880
grape black, the mix and I'm just touching in those eyelashes a little bit.
876
01:38:28,880 --> 01:38:33,920
And this is where if it was on that little gimbaled mount you could swing it around and
877
01:38:33,920 --> 01:38:41,000
just draw your brush down to tidy up but because I like to paint at this vertical easel this
878
01:38:41,000 --> 01:38:50,320
is how I like to do it.
879
01:38:50,320 --> 01:38:56,440
I'll just clean up the brush and then it's going to act as a mop just to go in here,
880
01:38:56,440 --> 01:39:06,000
going to come back on the lines, come down them.
881
01:39:06,000 --> 01:39:10,000
That way.
882
01:39:10,000 --> 01:39:17,160
Okay so don't be tempted to rush it and make this as dark as that because it's like racing
883
01:39:17,160 --> 01:39:18,360
a horse.
884
01:39:18,360 --> 01:39:23,860
You've got to hold it back as much as you can and just tentatively put in the colours
885
01:39:23,860 --> 01:39:28,400
and then you've got possibilities of correcting it next time.
886
01:39:28,400 --> 01:39:33,880
Whereas if you leap to that stage straight away there's no way that you can add your
887
01:39:33,880 --> 01:39:36,440
corrections next time.
888
01:39:36,440 --> 01:39:42,880
Each time you're kind of looking at it afresh and thinking now have I got the likeness and
889
01:39:42,880 --> 01:39:49,000
you're really sitting back and making everything as thin as possible in this layer here.
890
01:39:49,000 --> 01:39:53,280
I would really normally when I'm painting up a portrait it would be thinner than this
891
01:39:53,280 --> 01:40:00,440
even so that there's every scope of changing things as you go along.
892
01:40:00,440 --> 01:40:05,880
People are tempted to get the likeness and get the anxiety out and to say well there
893
01:40:05,880 --> 01:40:13,560
is but that won't be such a good portrait as working thinly in each layer and just bringing
894
01:40:13,560 --> 01:40:19,560
the layers up each stage firing in between.
895
01:40:19,560 --> 01:40:27,840
So I'm going to come back up to eyebrows here and this will have dried a little touch so
896
01:40:27,840 --> 01:40:40,160
I can do some little flicks here over the pen work just to put those in place and you
897
01:40:40,160 --> 01:40:43,640
can refine those to your heart's content.
898
01:40:43,640 --> 01:40:49,640
So that's coming along now for this layer here just going to go into the iris and again
899
01:40:49,640 --> 01:40:54,960
I wouldn't use black at this stage even though it looks very black there I would put in the
900
01:40:54,960 --> 01:41:03,440
grape black and just touch it in and there's every chance of making it darker next time
901
01:41:03,440 --> 01:41:14,160
but for the moment I can see myself in the pupil there and the highlight doing the selfie
902
01:41:14,160 --> 01:41:32,240
and in the loving eye of spice I put myself in that as well very very tiny.
903
01:41:32,240 --> 01:41:45,200
So that's about as far as I'd go just a little bit there so soft and gentle work and just
904
01:41:45,200 --> 01:41:47,960
consideration for what you're doing.
905
01:41:47,960 --> 01:41:54,880
Now where I worked down here that was just a little bit scrappy so going to go over that
906
01:41:54,880 --> 01:42:02,720
while it's still wet and I can refine the lines better by moving the paint around that I just
907
01:42:02,720 --> 01:42:22,080
dumped down and then just refining it and pulling that down so there's more color there
908
01:42:22,080 --> 01:42:27,320
and bringing these tiny lines down and at the next stage you'll be looking more carefully
909
01:42:27,320 --> 01:42:35,880
at the color and refining it but hopefully you've got everything that makes the likeness
910
01:42:35,880 --> 01:42:43,080
in at this point and then the second layer is the most difficult that takes the longest
911
01:42:43,080 --> 01:42:48,680
time because every brush stroke is a commitment because when you fire that on it's just going
912
01:42:48,680 --> 01:42:54,040
to be there forever and it will show through into the next layer so it's just got to be
913
01:42:54,040 --> 01:43:03,400
right and just you can go back as long as it's still wet and keep refining and if you
914
01:43:03,400 --> 01:43:12,440
take a break just cover it and then come back to it and look at it afresh.
915
01:43:12,440 --> 01:43:17,760
So it's always wise to think well how does the eye work you've got this lid folded back
916
01:43:17,760 --> 01:43:23,400
here and so there's got to be a shadow in there and it's got to look quite bulky there
917
01:43:23,400 --> 01:43:29,800
and therefore there's got to be this shading here to show that's this this bit here that
918
01:43:29,800 --> 01:43:43,880
will fold away and coming down here and the colors that you're using.
919
01:43:43,880 --> 01:43:47,600
So I think we're just going to stop there and I hope that gives you a very good idea
920
01:43:47,600 --> 01:43:53,560
of a live demo what you're aiming for and I'm now going to take it off here and fire
921
01:43:53,560 --> 01:43:57,280
it in the kiln.
922
01:43:57,280 --> 01:44:02,160
Alright so here's the first layer of paint that I was doing at the easel and remember
923
01:44:02,160 --> 01:44:05,200
to take the tack off the back.
924
01:44:05,200 --> 01:44:10,280
I'm going to use the titanium mesh for speed because that's a good conductor of heat.
925
01:44:10,280 --> 01:44:20,240
I've got my kiln fork I've got the kiln ready to go so I'm just going to dry here.
926
01:44:20,240 --> 01:44:24,520
Did have the kiln door open a moment ago and it lost some heat but this is enough for drying
927
01:44:24,520 --> 01:44:33,320
it I'm just driving off the water in the glycerol but there's steam rising and that's just enough
928
01:44:33,320 --> 01:44:38,800
to lay it down there and let it fully rise and dry.
929
01:44:38,800 --> 01:44:45,640
So the kiln's up to temperature now and the painting is well dried and it's ready to offer
930
01:44:45,640 --> 01:44:53,280
up into the kiln so opening the door no big shock putting it in straight away but then
931
01:44:53,280 --> 01:44:58,880
just put it at the back where it's hottest and quickly shut the door and wait for the
932
01:44:58,880 --> 01:45:03,760
kiln to well it will first lower the temperature and then it will begin to climb back up up
933
01:45:03,760 --> 01:45:07,240
to 750.
934
01:45:07,240 --> 01:45:12,280
So now the piece is ready to remove from the kiln and I can already see just looking down
935
01:45:12,280 --> 01:45:19,600
on it glimpsing that it's gone shiny so here it is just put it underneath the light which
936
01:45:19,600 --> 01:45:25,360
you need to check and you can see it's shiny glossy all over which means that the enamel
937
01:45:25,360 --> 01:45:31,160
paint has just sunk by a hair's breadth into the base and all that is fused together and
938
01:45:31,160 --> 01:45:32,800
safe to work on again.
939
01:45:32,800 --> 01:45:41,080
Could you tilt it back there again, tilt it back towards the LEDs so other way round so
940
01:45:41,080 --> 01:45:44,560
yeah that's it.
941
01:45:44,560 --> 01:45:49,880
And I think you heard it ping maybe and that was the enamel coming away from the titanium
942
01:45:49,880 --> 01:45:56,280
mesh so it doesn't take long and just a little tap like that and off it comes and I can put
943
01:45:56,280 --> 01:46:02,880
it on the steel block just to hurry cooling down and you'll see significant colour change
944
01:46:02,880 --> 01:46:03,880
very quickly.
945
01:46:03,880 --> 01:46:11,960
There we are, I don't want it sliding onto my thumb and burning it.
946
01:46:11,960 --> 01:46:12,960
Is that the right angle?
947
01:46:12,960 --> 01:46:13,960
That's perfect.
948
01:46:13,960 --> 01:46:14,960
Yeah good.
949
01:46:14,960 --> 01:46:20,840
So that's ready for the next layer now.
950
01:46:20,840 --> 01:46:25,720
Switch the kiln off and I always switch it off at the wall as well.
951
01:46:25,720 --> 01:46:34,280
I dread burning down the Dartington Estate and we could transfer that now to the marble.
952
01:46:34,280 --> 01:46:41,120
There we are and just leave that for a bit and it's pretty well come back to the original
953
01:46:41,120 --> 01:46:46,120
colours because it's cool enough, it's still cooling.
954
01:46:46,120 --> 01:46:51,960
I always dread marble cracking or something so I put it on the steel first and this steel
955
01:46:51,960 --> 01:46:59,760
is already very hot so usually I put that into cold water to cool it and then I would put
956
01:46:59,760 --> 01:47:05,640
it back on there to help cool and then finally onto the marble.
957
01:47:05,640 --> 01:47:07,120
So that's where it's resting now.
958
01:47:07,120 --> 01:47:14,200
So I hope that's inspired everybody to have a go for yourselves and not be overwhelmed
959
01:47:14,200 --> 01:47:18,440
by the whole portrait but to try a section.
960
01:47:18,440 --> 01:47:24,440
If you like lips do that but with the eye you've got many colours there with the eye colour
961
01:47:24,440 --> 01:47:27,440
as well as the flesh tones and so on.
962
01:47:27,440 --> 01:47:31,640
So that's it for the advanced techniques now.
963
01:47:31,640 --> 01:47:33,640
Thanks for watching.
110239
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