All language subtitles for 10 Detail and Changes

(bright, ethereal music)

- Okay, so last time I was here,

I said I was going to let
this sit a couple of days.

Well, that was yesterday.

I've decided to come back.

I wanna get on it some more.

I just can't let it be.

Hoping I don't regret that.

But I wanna come in, and I wanna work

on this foliage some more, throughout.

And got definitely some
places over here I wanna work.

Got a couple things here I wanna do.

I went out and got a cadmium green,

light.

It's a very good kind of green for

areas that are catching light.

That mixed with the
yellow can really give us

some nice colors.

And I wanna hit some of that in these,

up in some of these leaves up in here.

And this is where I wanna
also really dive into

my reference.

And

I'm really running out of space on my

palette, too.

So I'm just gonna go in.

Let me go in right now and just kinda hit

a couple of spots.

I feel maybe, I'm gonna try mixing up

some of the green first,

that really light green.

I'm gonna mix it over here,

because I think I'm gonna

put some yellow in with it, as well.

There.

Like that.

I wanna make sure I'm not
hitting it everywhere.

There.

There we go.

Getting some nice color in there now.

Mixed a little cad
yellow with it, as well.

I'm using this, basically, as accents.

I'm looking at my reference,

and I definitely need to
let this dry some more.

But I'm getting some
color in here that I like.

So I'm gonna jump away from
the green for a little bit,

just a touch.

And I'm gonna go over
to some of the twigs.

And I wanna hit some
highlights in the grasses

in here, as well,

and get really, almost white,

like there's almost a white,

although I'd never be completely white

on anything that I would do in here.

I'm getting pretty close
to some of the highlights

on some of these dead grasses,

where we'd get almost white on them.

So I wanna mix that up.

Think I'll use my palette knife for that.

I'm gonna grab a little
bit of color over here,

just put it here.

We'll just mix that right up right there.

Running out of space.

There, I got just enough color in there,

just to make it off white.

Might even hit some of this on the cat,

on some of the hairs.

There we go.

Expect to go through a lot of paper towels

when you do this.

I go through them very quickly.

And the lighter I go in my
paint, the more I load it.

And when you load up a lot of white,

it tends to, in your light areas,

you tend to get a little
bit more of a shimmer.

Still got a little bit of green in there

I gotta get out of there.

So all I'm doing here is I'm gonna

go in and just tick

couple of highlights here and there.

There.

Just little,

there, just to vary it up

just a touch.

It's gonna give it a little
bit more interest and depth.

There.

Don't wanna go too much,

but enough to get some interest in here,

to get it to feel like it's

kinda sparkling in different directions.

So again, this isn't pure white.

It's toned down just like a
quarter step from pure white.

Hardly ever go that bright with anything.

But you can hit some nice
accents like I'm doing now

to bring it out.

I'm just gonna keep running these

highlights right

along here,

building a little bit more depth.

One of the other things I wanna do, too,

is I wanna experiment with some
of this really bright green,

that cadmium green.

I wanna try hitting it in
some of the negative spaces

between the grasses to get
some of that foreground,

well, not foreground, but the grass

that's behind these dead grasses,

that grass that's supposed
to be in sunlight.

I wanna, as it comes closer,
I want it to get hotter.

So I'm gonna hit that
with some of this hotter,

warmer green that we've got now.

So what I'm doing here is I'm
just going in between the,

some of the negative spaces

and getting it a little hotter.

So just getting some hotter areas

in the negative spaces right in here,

just to give it a little
bit more depth, again.

And I like this type of paining, you know,

where you're just building
up color over color.

I've mentioned it 100 times.

It gives it a nice feel.

There we go, just getting that
a little hotter out there.

Wanna bring the temperature
up on everything.

Hitting all these little negative spaces.

It all kinda brings the painting,

it unifies the painting
when you're able to do this.

And I like, I personally
like looking at a painting

that's really chunky like this

and exploring all the color

and then stepping back and
seeing how it all comes together.

I've always been interested
in that type of painting.

'Cause up close, you can see it all,

all the individual strokes and

everything that's going on.

But then you step back, and you see it all

kind of optically mix.

So I'm gonna step back from this

to see how that's feeling.

Yeah, I love that bright green.

And adding those extra lighter
blades of grass in there,

when you step back from
it, really gives it

some great depth.

And adding those little, that hotter green

in the negative spaces has
really helped it a lot, as well.

It gets less and less flat.

That's really the goal that we want here.

Okay, now, so I wanna go in now,

and I want to, I'm gonna
take my line brush.

So I wanna take some of these,

some of this color that I've got here.

And I wanna go ahead and

put some highlighted branches in here,

a little brighter than what's in there.

I'm gonna go cool, too.

And these are gonna be like
little highlight branches.

I talked about it before.

A little green right now.

I want them to be a little brighter.

Okay, I gotta see if I can
do this nice and steady.

Idea for these are to be,

is to be just bright enough

to grab your attention

and stand out among the other branches.

And I wanna do that in a few spots.

It's really to break up
the values a little bit.

Get a couple little twigs that stand out,

and it draws the eye
and kind of balances out

the composition.

The idea here being that this is kind of a

dried up twig.

Messed up on the drawing on that.

I gotta pull that in a little better.

Then inside there's always little

twigs here and there that will get

a little bit more light.

They'll be lighter in value.

You can just

accent them, like so.

So I'm getting a little
too bright in here.

And I have a feeling what I'll do

later

is just like I did a tone on the

lion's mane,

I'll do a little bit of a dark tone

over everything that I've put in here

and just push it all back
into shadow a little bit more.

I'm getting a little bit bright with it.

Gotta get a little bit of orange,

gets those little accents in
there to pop a little bit.

Here.

There we go.

So I had to color in the whole leaf.

And I'm using my liner brush.

I'm getting lazy.

I gotta pull out my flat and do it.

I wanna simplify these leaves a little bit

and just get some nice

color on them.

Simplify, simplify.

There, that feels better to me.

There we go.

Trying to get some nice, bright, vivid

color hitting here,

make little spots of

sunlight hitting the ground,

making it through the leaves in the trees.

Now, I'm gonna back away from this

before I overwork it
and turn it all into mud

and work over on the other side.

All right, I'm just
gonna step back for this

and see what we got going so far.

Yeah, it's getting a little
too busy down there now.

So I wanna let that sit.

Then I'm gonna go in and darken,

after it dries, I'm gonna
go in and darken some areas.

But so far I'm liking all the scrub

and everything we have in there.

I'm gonna get in here now,

I'm gonna hit a couple,

I wanna hit some of the mane,
or the shoulder blade up here

with some of this brighter
white that I mixed earlier.

Right here.

We'll see how that looks.

That might be too much and too bright.

Just a touch.

There we go.

Gave it a little
brightness, and I was able

to wipe the back a little bit.

Kinda wanna do the same on the back now.

Right there.

Just tinting it a little bit brighter.

There.

Very, very subtle I'm
trying to be right now.

And just a little bit
brighter shoulders there,

as if he's catching a
little bit more light.

That feels pretty good.

All right.

Let's see here.

This point it's a lot of looking and

trying to scrutinize,
not be too close to it.

All these branches up here
need to be lighter, as well.

I've gotta stand up for this, Dustin.

And I am gonna have to
turn this, unfortunately.

So I'm putting all my light accents on

these branches that I
put in the other day.

Kinda gonna work my way
up this way, Dustin.

I know I just jumped way up, sorry.

I'm gonna pull out some
sap green right now,

throw that down on the front front.

This is a nice deep green
that we can really play with,

get some good color in here.

It really matches the greens that we have.

Really nice greens.

All right.

So those are some nice
greens that I'm gonna

have to get into this side,
coming back over here,

to balance that out.

That sap green is really nice.

I didn't have it before,

didn't think I needed it.

And then as I've been working into it,

I thought, you know what?

I better break it out,

just to vary up some of these
greens a little bit more.

Is that too bright, those branches?

Do those look too bright to you?

Over that, does that stand out weird?

- [Man] It looks ever so slightly

brighter than the
branches down below, but.

- I could balance it with
the branches down below.

- [Man] Huh?

- I could balance it with
the branches down below.

All right.

All right, why don't we go ahead

and take a little bit of a break.

Wanna step back from it and just kinda

assess where I'm at.

And we'll get back to it.

So I'm back.

And I've been looking at this quite a bit,

looking at my reference.

And I wanna come back into
some of these wet areas,

especially on some of the leaves.

I feel like

one of the things that
I'm missing is that on,

when you look at the reference,

when you're looking at the top of the leaf

and it's catching light, it
shines back almost white.

It gets a glare off of it.

When you're looking through the leaf,

that's when you get that really hot red,

or, hot red, hot green.

And so, and it's the
difference between those two

that gives you the nice kind of shimmer

of color and everything else.

So in looking at this,
this does definitely feel

like a top plane on here, on this leaf.

So I wanna go in real quick

with some of this lighter
value that I've created.

Hopefully it'll work.

And I'm just gonna bring
it across the top up here.

Just gonna go for it.

Kinda of get a little bit of yellow.

There we go.

There, I just wanted to hit
that a little bit better.

Maybe catch this one, as well.

I like that.

And,

actually.

That really gives it a sense of light.

There.

(man talking indistinctly)

There we go.

Just trying to get a
little color in there.

There.

Got a little thunder coming in.

You can probably hear that.

There.

There we go, all right.

Gonna step back from that
and see how that feels.

Good.

Got a nice glare on those leaves.

I wanna hit,

wanna go in with some of these,

some of these leaves up in here.

And I wanna get them
with both my sap green

and the hot green that I've created.

(faint rainfall)

So you can probably hear we've got

a little bit of rain coming in.

Hopefully it won't be too distracting.

Okay, so I'm gonna start working,

start working from right to left.

I really wanna get rid of that dark

color that I put down.

So right now it's basically the same value

as the sky in the background.

I just want to start
adding a little bit of

color to this.

With this sap green.

The sap green is a great color.

It's perfect for

these leaves right here.

Then I'm gonna jump over to here.

- [Man] Over to where?

- Over to here.

I'm actually gonna move the board, though.

Actually, I'm gonna
stay right here for now.

I take that back, okay?

- [Man] Okay.

- All right, so I think I've hit

a good stopping point again.

I've got a lot of wet
paint here and there.

There's not much more
I wanna do on the cat.

There's a little bit I wanna
do on him down in here.

But I'm gonna wait.

And once again, I know I keep saying this,

I'm gonna really wait for this all to dry.

I have to go out of town tomorrow,

so that's gonna force me to let this sit

for a day or two.

And then I can come back to it

and work into it a little bit more.

Right now the branches
are looking a bit sloppy,

but we'll be able to

tighten those up with some more rendering

once it sets up.

And actually one more thing I do wanna do

that I haven't done is I wanna get into

these negative areas that I've done here

and continue them over there.

So I'm gonna raise this up.

- [Man] Two hours later.

- I've already hit some of these colors.

This is a little bit brighter.

So I wanna hit this here.

There, I just wanna get
some nice hot green in there

where the sun

is shining in that background.

Once again, painting
in the negative spaces

and just letting that color vibrate

with the colors around it.

There we go.

Getting this nice hot

green

next to those cool grays
in here on this ankle

are really nice.

There we go.

I like letting the paint
be thick at this stage

and just kind of

glooping it on.

I love texture,

paint texture.

There we go.

Gonna come back over
here real quick, Dustin.

There.

All right, I think I'm
at a good stopping point,

once again.

- [Man] You sure about that?

- I'm pretty sure about it.

And I think what we'll do is

just take a little break,

a little break of a couple of days.

And I'm gonna let this dry.

Oh no.

What happened there?

Oh, no.

- [Man] What'd you do?

- I don't know, that's not good.

All right, well,

gonna have to rework
into that area anyway.

(man talking indistinctly)

- [Man] Wasn't even there.

- Wasn't even there.

You just don't wanna smear too hard,

'cause it'll actually take
some of that paint off.

There.

No problem.

One of the beauties of oil paint.

If it's still wet and
it's on something dry,

you can take it off.

All right, well, that's,
I'm gonna take a break.

So let's call it.

And we'll get back together
in another day or two.

Okay, so I was gone all
of five minutes. (laughs)

I stood back, and I looked at this.

And no matter how much I paint on this

and get this rendered in, I got so focused

on these branches, I really
didn't stand back from it.

I don't like these branches here at all.

It's very contrived, how it comes around

and just frames the cat.

I'm gonna scrape them out completely,

just completely scrape them out.

And I'm gonna go back in with some

of the storm color and cover that up.

And if I decide I wanna put some in later,

then we can do that.

But I think with the shadows that we have

over his body and with his
whole body in light here,

these branches confuse everything.

So I'm actually gonna
scrape all of this off.

(scraping noises)

Makes a cool sound.

All of this is coming off.

And I want, this is a big lesson.

This is one of the things
that you can do with oil paint

that's hard to do with other mediums,

especially if we were doing
the same with watercolor.

It'd be impossible to do with watercolor.

We're gonna be able to scrape this off,

and then I'm gonna be
able to paint sky color

right back over it.

I'm trying to stay away from the lion.

There we go.

Look at that.

We got right back down to our original

blue sky, our stormy sky.

Okay.

All right, we're gonna attack this.

Might do a cloud,

cloud in here.

I'm not sure.

So let me think here.

No, I wanna keep it simple.

A cloud right there would
look really interesting

coming along here, but
I think that's gonna be

too much boxing him in again.

I'm getting pulled into framing him in.

I gotta let this all just be open.

Just gotta let it be open.

I need all, I need some quiet
space, is what I need here.

I'm looking at all of this busyness.

There's so much busyness
that I've built up.

Interesting things to look at,

but I'm starting to put
it all over the place.

So I got caught up,

that I'm stepping back from and realizing

I need a place of quiet.

I need a place where the eye can rest,

and we can just look at our main subject.

So I'm gonna leave this open.

It's so tempting to put
some clouds in there,

but I'm just adding busyness again.

And I don't wanna do that.

So I want to,

so I'm just gonna mix up that same blue

that we had before

for the sky.

And

it just needs a little bit of ultramarine,

some white, some cadmium orange.

I think we're gonna be in a good spot.

I'm gonna keep it really simple.

That cadmium orange really tones it down

so it's not so intensely blue.

We want a little bit of gray in there,

which is what the orange gives us.

It grays it down, tones it down

so that we end up with something

that's more like a storm.

We're still a little bit,

gonna go a little darker.

Or actually, it could go over here.

I can be, actually, I'm
in the right pocket.

I just need to be toned
down a little bit more.

I'm a little bit blue still.

Well, we're in the pocket.

So now that I'm kind of in
the pocket for that color,

I'm going to grab my bigger brush here.

Actually, I think I'll, no,
I'll use my bigger brush.

Does that look too intensely blue?

It's a little too blue.

Let's bring in.

Okay, so what I'm gonna do here

is I've got the right
colors working this way,

which is perfect.

I even gave him a little
haircut there. (laughs)

Gonna cover up his
whiskers on his forehead,

'cause I don't like those right now.

How's that look without the leaves?

- [Man] Looks better.

- It does, doesn't it?

There, I'm just

kind of letting that get a little lighter

over to the left side, as if the rain

is catching a little bit of light.

And I'm trying to slightly

just kinda blend it,

just kinda blend it into,

there.

So that feels way better.

- [Man] Not in his face
though, right, the eye?

- No, that's actually shadow.

- [Man] Just on his mouth.

- It's on his mouth and down here.

No problem.

Those are both areas
that are the same color.

So I just need to,

doesn't that look better?

Please-

- [Man] I think it looks
way better without them.

- Yeah.
- Right there.

- [Man] It was too distracting.

- Oh, I forgot I put
some dark there before.

That's okay, I can fix it.

- [Man] It's all starting to fall apart.

- (laughs) Yeah.

Aaron ruined the painting that day.

(man talking indistinctly)

- [Man] It all started
with the drip of a brush.

- There.

Better.

I forgot I gobbed it in there.

Does it look, can you see anywhere

where it doesn't feel like it's,

like the color's not right?

- [Man] Well, those three,

those three spots that you cleaned off.

(person talking indistinctly)

- That just needs to
dry, 'cause that's from

the turpentine, or the turpenoid.

See, it's all gone.

Does all this look right?

Does it blend in with the clouds okay?

- [Man] The spot that feels odd to me is,

there's a little-

- [Person] This?

- [Man] That, yeah,
that blotch right there.

- [Person] This area.

It looked better when I
was up close like that.

But back here it looked a little-

- [Aaron] Is it because
of the brush strokes?

- [Person] It looked a little green.

- [Man] It's easier to see in here.

See?

- [Aaron] See, move your finger.

Yeah, okay, I can get that.

Just gotta-

- [Person] Overall, it looks-

- [Aaron] So much better.

- [Person] So much better.

- [Man] It looks great.

- [Aaron] So, so much better.

Is that better?

- [Person] You want it to be gray, right?

- [Aaron] Yeah.

I want a little variance.

I don't want it to be as blue.

Matter of fact, I should
probably get some of it

over on the right side.

- [Person] Behind it?

- [Aaron] Yeah.

So I'm just gonna lightly
get this indicated in here.

It's gonna be a little sloppy right now.

When I get these other
branches in, I'm gonna go and

get that a little, right,
that streak of rain

that was coming down was getting

a little too

distracting for me.

There.

Okay, so now that I've
got that taken care of,

this feels much, much, much better for me.

Sometimes you just
gotta dive in and do it.

I may decide still to go in

and put some clouds in here.

I know I can't, I sound
like a broken record.

But at least now I've got,

I feel like this has some balance to it.

I've got areas that are nice and complex,

and then I've got a nice big,

nice quiet area that you can sit

and just let the eye relax.

So with that, now I'm
going to take a break.

- [Man] Are you sure this time?

- I am 90% sure.