Thank you! I'm really happy to hear it was helpful. I really should buy stock in Princeton brushes, Fredrix canvases, and Jerry's Artarama because of how much I buy. Thankfully art can pay for itself. But I'm with you on the art supply addiction 🤣😉. Maybe we need ASA = Art Supply Anonymous like AA for Alcoholics Anonymous. Haha
Excuse my ignorance, I am very new at painting. At the beginning of your video you dip your brush into a liquent (sp?). What is it you are talking about. Thank you. Your work is wonderful. I am just trying to learn to paint fur.
Thank you so much! And I'm very happy that you're diving into oils. It is a drying medium called Liquin. Winsor & Newton makes it. They have a few varieties like Fine Detail Liquin, but I encourage you to start with Liquin Original. It's great for serval things: glazing, drying, and making brush strokes more fluid. Glazing is where you mix a small amount of paint with a medium like Liquin so that it's see through (translucent) still but stains the prior, dry layers of paint. Great for color correction without massive work! There are a ton of options for speeding up the drying process of oil paint. Liquin is my preference because it does not get sticky as it does like so many others do. It does have a strong odor that some do not like and some people react to like an allergy. If you buy some, start with a smaller container. When it's on your palette in a dollop the size of a nicks or quarter, you really won't notice the smell, just keep the bottle closed and shouldn't be bad. I've gotten stronger smells from most of the other drying medium options. If you'd like any other direction or coaching, DM me on Instagram and I'll send you links to the Liquin. You can find me as SuzanneMoseley.FineArt. Good luck and keep painting! It's about building that connection between your arm and your eyes/brain. Before you know it you'll start to see colors in a whole new way, and painting gets easier and faster.
@@janineschreiber2790 no, you need the opposite. Acrylics are fast drying on their own. If you use a slowdri medium, which comes as a spray and as a pour type bottle, you can mix directly in small amounts on your palette. The spray you can spritz on your palette overall to keep it from drying as fast. Golden brand Acrylics makes a good one!
Suzanne greetings! I respect your work and your effort to share the secrets of drawing with us, but if oil paints bother you and if they are dangerous for you, why not switch to acrylic paints. I would like to know how the great artists took care of themselves because there were no rubber gloves back then. It seems that Olga Bazanova or Igor Sakharov are in mortal danger because they do not shy away from even touching colors and drawing with their fingers...
I adore oils, I just can't give them up over acrylics. They are so luminous and give you transparency with some colors for unbelievable layers, and there are few art materials with that ability. There are a ton of ways to protect yourself. Most oil color options are not toxic or have non toxic options available. You just need to pay attention to the warnings on the tubes to avoid the problem colors. With many that are toxic, having clean flowing air is important, avoiding putting brushes in your mouth or touching you eyes, face, nose when you have paint on your hands. Also, they did have gloves back then made of fabric like linen etc, they just didn't have vinyl or rubber gloves. I've read that you should never clean your hands with thinner since it breaks down the binder in oil making it easier to enter the blood stream. And washing with a good soap like dish soap that breaks down grease and oil is excellent as well and sufficient when you get oil paint on yourself. There are also lotions you can add to your skin called liquid glove. If you want to feel like you aren't wearing gloves that also protect you it's a good option. So long as you protect yourself, you are perfectly safe. Pastels are very dangerous with our the right mask gear due to the extremely fine particles that go into the air. They cause lung tissue damage. Watercolors use the same pigments as oils, so you must also be cautious there as well. Some brands of acrylics also use the same minerals as in oil paints, the difference is the binder used for the minerals to create the paint. Always check the tubes for warnings!!
I'm sorry that I only just saw your comment. Hopefully I'm not too late to be of help. Grizzly bear eyes are pretty small since they rely much more on their sense of smell than sight. And it's because they're so small compared to other predators and compared to the size of their heads, that they tend to look darker since there is less of a surface area to reflect light. I'd start off with a dark gray brown (start with a small amount of white, add your brown of choice: either burnt umber or van dyke brown or raw umber to the white in almost equal amount for a soft gray brown color, then add black to the mix in small amounts until you are happy with the color. You want to make it darker than the final color will be. It needs to be darker because you're using the dark to contrast other colors that follow in the next steps. Bright highlights can't shine unless they are contrasting against darker neighboring or underpainting colors. Apply that dark brown gray mix to the iris of the eye with a small filbert (easiest brush to control), then add just black to the pupil and along the top of the eye ball itself to act as a shadow from the eyelid. Next, depending on how warm you want the eye to be, use burnt sienna alone, (or for a warmer color add orange to the burnt sienna), and along the area of the iris where the light shines through to create the warm glow to the eye use a small Filbert to blend in the sienna mix to the existing mix described in the prior paragraph. Keep it to a tight area kind of in the shape of a crescent moon lying on its back. At this point you'll have 3 color values to the eyeball with the darkest along the top and into the pupil, a middle tone along the middle point on the left and right sides of the pupil in the iris in small amount, and a warm area crescent shaped at the bottom area of the eye. Having these 3 tonal differences will give the eye depth by the end of the price, but without the light shine highlight it may feel dull at this stage. But don't rush it! After the iris and pupil are painted, then come in with the black for the eyelid. Mix French Ultramarine Blue and white to create the highlight on the black eyelid, and use straight white for the wet looking brightest highlight where needed. Let that dry, then come back and add the bright point of light shine on the eye, which should be a small point, do not be tempted to blend. Just dip your brush tip (small round brush is best!) Into white, and just touch it to the canvas, no blend, no paint strokes , just lightly stamp it. This one little mark will suddenly make the eye look glassy and fill of depth! Of course, after you've gotten to the order eyelid section you can move into the fur. I hope this made sense. Please let me know if you have any questions. I do have a couple of videos painting eyes.
I am so sorry that I did not see your comment sooner! And my response will potbelly be long because I want to squeeze in as much info for you as I can. I keep my materials fairly limited. I only use Winsor & Newton Original Liquin as both a flow additive so the paint goes on smooth but also for fast drying and glazing. I tend to use Winsor & Newton oils more than any other brand as it's fairly silky and smooth while also affordable. There are different levels of their paint, student grade up to professional grade. Either is fine, but the professional grade has less junk filler and more just straight linseed oil and denser, more finely ground pigment. There are often huge sales on it through many art supply companies. Jerry's Artarama ships internationally, Dick Blick as well, Utrecht I believe has locations in Belgium. Utrecht even has a store in my area in the States. But Jerry's has cheaper shipping and I love how well they package brushes and canvas, and the sheer quantity and quality of their bargains as well as supplies. The colors used in this video are titanium white (I prefer this one as it is more dense and opaque, and doesn't yellow in the sun or with time, but wear gloves due to the heavy metal just to be extra safe), ivory black (you can mix your own black with French Ultramarine Blue or phthalo blue mixed with burnt umber, and sometimes I'll include permanent alizarin crimson fairly equally, super rich black) but if you're vegan you might prefer lamp black since that's an artificial pigment with out the use of carbon from animal bones. Personally, I prefer ivory black for just a mixing color, less work! Lol. Naples yellow is as opaque as titanium white but warm and along the yellow side of color. Excellent for adding warmth to some areas without standing out to much. French ultra blue mixed into white (so start with white and add the blue, don't mix light colors into dark as it takes very little of the dark colors to overwhelm light colors so wastes paint) then burnt umber added will give you a warm gray which is far better than mixing black and white for gray. Burnt umber by itself to add warmth to some areas of the fur as well while still being a dark mark. I add very small amounts of Original Liquin to my mixed color on my palette. Just touch the very tip of the brush to the Liquin, no need to dip it, just touch, then gently swipe into your paint mix, add more if needed, but better to add than start with too much. Once you get a flow similar to average lotion, it'll flow well on canvas with each brush mark. The brushes used here are from Princeton brand. I find myself going back to them all the time, though I also love a few others that I'll share later if you're interested. Princeton Select Pointed Filbert was the one with the blue handle and used with the white highlights mostly in the video. Princeton Velvet Touch Mini Dagger Stripper is the other seen at the start. And a mop brush, my favorite being Lunar half inch mop. That one is amazing on so many levels, especially with underpaintings and doing sections of fur. Another item that is incredibly important: your painting surface. Rough canvas reduces your brush stroke flow and interrupts the mark. So if you want refined marks, look for smooth canvas. The brand I've been hooked on for many years is Fredrix Canvas Blue Label. Blending is like a dream on it. The painting in the video above is on that canvas, size 12x16. Please let me know if you have any questions anytime. Happy painting!
Thanks for your video, help me to much when you show the brushes ! And your voice is very soft explaining carefully . God bless you 🙏🏽
@@noraromero7231 you are so kind! I'm glad it was of help. Please feel comfortable about asking any questions. I'm always happy to share
Wow! I am glad to stumble upon your site! You are THE master of fur and eyes!
Thank you so much! I'm sorry it took so long to respond, I didn't see your kind comment till now.
Excellent tutorial.
Thanks for sharing.
The painting is so realistic 👍❤️ Fantastic Job
Thank you so much! I'm happy to hear it was useful for you. Please feel free to ask any questions anytime.
This channel is very helpful thank you so much
Thank you so much, Joan. Please feel free to ask questions any time as well if you ever need.
really impressive work
Thank you so much. I'm glad you enjoyed it.
Can’t thank you enough for your videos - so helpful! Not so helpful for my art supply addiction though lol! 🤷🏻♀️
Thank you! I'm really happy to hear it was helpful. I really should buy stock in Princeton brushes, Fredrix canvases, and Jerry's Artarama because of how much I buy. Thankfully art can pay for itself. But I'm with you on the art supply addiction 🤣😉. Maybe we need ASA = Art Supply Anonymous like AA for Alcoholics Anonymous. Haha
Looks Easy but not so much when i try,, LOL
Beautiful, Thank you!
Thank you
Excuse my ignorance, I am very new at painting. At the beginning of your video you dip your brush into a liquent (sp?). What is it you are talking about. Thank you. Your work is wonderful. I am just trying to learn to paint fur.
Thank you so much! And I'm very happy that you're diving into oils.
It is a drying medium called Liquin. Winsor & Newton makes it. They have a few varieties like Fine Detail Liquin, but I encourage you to start with Liquin Original. It's great for serval things: glazing, drying, and making brush strokes more fluid. Glazing is where you mix a small amount of paint with a medium like Liquin so that it's see through (translucent) still but stains the prior, dry layers of paint. Great for color correction without massive work!
There are a ton of options for speeding up the drying process of oil paint. Liquin is my preference because it does not get sticky as it does like so many others do. It does have a strong odor that some do not like and some people react to like an allergy. If you buy some, start with a smaller container. When it's on your palette in a dollop the size of a nicks or quarter, you really won't notice the smell, just keep the bottle closed and shouldn't be bad. I've gotten stronger smells from most of the other drying medium options.
If you'd like any other direction or coaching, DM me on Instagram and I'll send you links to the Liquin. You can find me as SuzanneMoseley.FineArt.
Good luck and keep painting! It's about building that connection between your arm and your eyes/brain. Before you know it you'll start to see colors in a whole new way, and painting gets easier and faster.
Oh, I am working in acrylic and I am trying to paint the fur on a portrait of my dog. Do I need a product like that for acrylics?
@@janineschreiber2790 no, you need the opposite. Acrylics are fast drying on their own. If you use a slowdri medium, which comes as a spray and as a pour type bottle, you can mix directly in small amounts on your palette. The spray you can spritz on your palette overall to keep it from drying as fast. Golden brand Acrylics makes a good one!
Thank you so much for your help. Have a wonderful holiday!
Suzanne greetings! I respect your work and your effort to share the secrets of drawing with us, but if oil paints bother you and if they are dangerous for you, why not switch to acrylic paints. I would like to know how the great artists took care of themselves because there were no rubber gloves back then. It seems that Olga Bazanova or Igor Sakharov are in mortal danger because they do not shy away from even touching colors and drawing with their fingers...
I adore oils, I just can't give them up over acrylics. They are so luminous and give you transparency with some colors for unbelievable layers, and there are few art materials with that ability. There are a ton of ways to protect yourself. Most oil color options are not toxic or have non toxic options available. You just need to pay attention to the warnings on the tubes to avoid the problem colors. With many that are toxic, having clean flowing air is important, avoiding putting brushes in your mouth or touching you eyes, face, nose when you have paint on your hands. Also, they did have gloves back then made of fabric like linen etc, they just didn't have vinyl or rubber gloves. I've read that you should never clean your hands with thinner since it breaks down the binder in oil making it easier to enter the blood stream. And washing with a good soap like dish soap that breaks down grease and oil is excellent as well and sufficient when you get oil paint on yourself. There are also lotions you can add to your skin called liquid glove. If you want to feel like you aren't wearing gloves that also protect you it's a good option. So long as you protect yourself, you are perfectly safe. Pastels are very dangerous with our the right mask gear due to the extremely fine particles that go into the air. They cause lung tissue damage. Watercolors use the same pigments as oils, so you must also be cautious there as well. Some brands of acrylics also use the same minerals as in oil paints, the difference is the binder used for the minerals to create the paint. Always check the tubes for warnings!!
AMAZING! Thank you for sharing! :)
Thank you! I'm glad you enjoyed it
How do you paint a grizzly bear eyes?
I'm sorry that I only just saw your comment. Hopefully I'm not too late to be of help.
Grizzly bear eyes are pretty small since they rely much more on their sense of smell than sight. And it's because they're so small compared to other predators and compared to the size of their heads, that they tend to look darker since there is less of a surface area to reflect light.
I'd start off with a dark gray brown (start with a small amount of white, add your brown of choice: either burnt umber or van dyke brown or raw umber to the white in almost equal amount for a soft gray brown color, then add black to the mix in small amounts until you are happy with the color. You want to make it darker than the final color will be. It needs to be darker because you're using the dark to contrast other colors that follow in the next steps. Bright highlights can't shine unless they are contrasting against darker neighboring or underpainting colors.
Apply that dark brown gray mix to the iris of the eye with a small filbert (easiest brush to control), then add just black to the pupil and along the top of the eye ball itself to act as a shadow from the eyelid.
Next, depending on how warm you want the eye to be, use burnt sienna alone, (or for a warmer color add orange to the burnt sienna), and along the area of the iris where the light shines through to create the warm glow to the eye use a small Filbert to blend in the sienna mix to the existing mix described in the prior paragraph. Keep it to a tight area kind of in the shape of a crescent moon lying on its back.
At this point you'll have 3 color values to the eyeball with the darkest along the top and into the pupil, a middle tone along the middle point on the left and right sides of the pupil in the iris in small amount, and a warm area crescent shaped at the bottom area of the eye. Having these 3 tonal differences will give the eye depth by the end of the price, but without the light shine highlight it may feel dull at this stage. But don't rush it!
After the iris and pupil are painted, then come in with the black for the eyelid. Mix French Ultramarine Blue and white to create the highlight on the black eyelid, and use straight white for the wet looking brightest highlight where needed.
Let that dry, then come back and add the bright point of light shine on the eye, which should be a small point, do not be tempted to blend. Just dip your brush tip (small round brush is best!) Into white, and just touch it to the canvas, no blend, no paint strokes , just lightly stamp it. This one little mark will suddenly make the eye look glassy and fill of depth!
Of course, after you've gotten to the order eyelid section you can move into the fur.
I hope this made sense. Please let me know if you have any questions. I do have a couple of videos painting eyes.
Thank you 🙂
💗 let me know if you have any questions
So so realistic and nice .Can you please whrite a list of Materials that you used ? Thank you ❤
Best Regards from Germany
I am so sorry that I did not see your comment sooner! And my response will potbelly be long because I want to squeeze in as much info for you as I can.
I keep my materials fairly limited.
I only use Winsor & Newton Original Liquin as both a flow additive so the paint goes on smooth but also for fast drying and glazing.
I tend to use Winsor & Newton oils more than any other brand as it's fairly silky and smooth while also affordable. There are different levels of their paint, student grade up to professional grade. Either is fine, but the professional grade has less junk filler and more just straight linseed oil and denser, more finely ground pigment. There are often huge sales on it through many art supply companies. Jerry's Artarama ships internationally, Dick Blick as well, Utrecht I believe has locations in Belgium. Utrecht even has a store in my area in the States. But Jerry's has cheaper shipping and I love how well they package brushes and canvas, and the sheer quantity and quality of their bargains as well as supplies.
The colors used in this video are titanium white (I prefer this one as it is more dense and opaque, and doesn't yellow in the sun or with time, but wear gloves due to the heavy metal just to be extra safe), ivory black (you can mix your own black with French Ultramarine Blue or phthalo blue mixed with burnt umber, and sometimes I'll include permanent alizarin crimson fairly equally, super rich black) but if you're vegan you might prefer lamp black since that's an artificial pigment with out the use of carbon from animal bones. Personally, I prefer ivory black for just a mixing color, less work! Lol. Naples yellow is as opaque as titanium white but warm and along the yellow side of color. Excellent for adding warmth to some areas without standing out to much. French ultra blue mixed into white (so start with white and add the blue, don't mix light colors into dark as it takes very little of the dark colors to overwhelm light colors so wastes paint) then burnt umber added will give you a warm gray which is far better than mixing black and white for gray. Burnt umber by itself to add warmth to some areas of the fur as well while still being a dark mark.
I add very small amounts of Original Liquin to my mixed color on my palette. Just touch the very tip of the brush to the Liquin, no need to dip it, just touch, then gently swipe into your paint mix, add more if needed, but better to add than start with too much. Once you get a flow similar to average lotion, it'll flow well on canvas with each brush mark.
The brushes used here are from Princeton brand. I find myself going back to them all the time, though I also love a few others that I'll share later if you're interested. Princeton Select Pointed Filbert was the one with the blue handle and used with the white highlights mostly in the video. Princeton Velvet Touch Mini Dagger Stripper is the other seen at the start. And a mop brush, my favorite being Lunar half inch mop. That one is amazing on so many levels, especially with underpaintings and doing sections of fur.
Another item that is incredibly important: your painting surface. Rough canvas reduces your brush stroke flow and interrupts the mark. So if you want refined marks, look for smooth canvas. The brand I've been hooked on for many years is Fredrix Canvas Blue Label. Blending is like a dream on it. The painting in the video above is on that canvas, size 12x16.
Please let me know if you have any questions anytime. Happy painting!
🔥🔥🔥