I purchased the DVD. His colorful acrylic underpainting took 26 minutes, which was quite considerable considering the size of his putty knife and the small scale of the painting. I was surprised to see him trace directly from a Xerox copy onto that underpainting. He premixed colors referring back and forth to a color photograph of the scene. But when he blocked in the first series of colors, the painting was quite fresh and lively, revealing some of the beautiful reds, blues, and lavenders of the underpainting. His use of a cumbersome tool like a 6 or 4-in putty knife is masterful. And that stage of the painting truly felt intuitive and fresh. However, after he scrubbed the surface of this blocked-in painting (the first time) and buried the most beautiful aspects under a large field of opaque chartreuse, I felt like the balance of the first DVD and the second DVD was Douglas Fryer trying to work his way out of a giant faux pas. The current UA-cam video eliminates this giant misstep. Again and again, in the DVD, he developed the buildings and background trees only to bury them under a slightly tinted redish, yellowish, or bluish white.. (I think I counted six times he did this.) I found myself praying that he would leave these areas alone and move on, but to no avail. The Xeroxed image was again retraced onto the painting with white Saral transfer paper and a straight edge. Eventually after achieving a painting containing a propensity of acidic yellow-green, colored glazes were applied which redeemed the painting. In the long run, he ended up reestablishing the darks that he buried under the chartreuse and bringing out some of the colors with a second sanding and glazing that had already been within the original underpainting. Yes, this is a 10 hour DVD (2), but much of it is painting around in a circle, returning again and again to the same point. Am I disappointed? Yes. Save your money and just watch this UA-cam video.
Jeanie Laramie I read with interest your comment. It sounds very harsh but I get what you’re saying although I didn’t see the DVD. I think that because the artist Eric is painting intuitively,nothing is planned ( or on a minimum scale) and so it would almost have to be expected that unexpected results occur. I love to paint intuitively and sometimes an intuitive painting can take off as though it has wings and a mind of its own. However, if I’m doing this painting as a commission or on a time schedule then everything changes and I can keep overworking an area instead of taking a break and coming back to it more relaxed. In this way, I have destroyed probably a lot more paintings than paintings I carried out to the end. It’s a like a loss of vision where you can no longer see and you throw different things at it in an attempt to bring it back . This can take hours and hours. I have been trying to remedy this recently by just taking photos of it before any real damage is done, moving myself away when the trouble starts and then when I see the photos later I usually have an idea of where to go.
@@kaygoski Yes, I believe we have all made bad decisions on some paintings. My frustration with this DVD set was the exorbitant amount of time devoted to the redemption of this painting. Douglas Fryer did pull it off in the end and produced a remarkable work of art. The area of the first DVD that is covered in this video is informative and filled with substance. I am only pointing out that the last third of the first DVD and the majority of the second DVD are muddled. Toward the end of the second dvd, the artist recaptures his focus and the painting as well as his narrative are commendable.
@@jeanielaramie6617 I read your thoughts here and think that you may be missing the point of what this artist is actually doing. I believe that he is in tune with his intention from the get go and as an intuitive painter is used to moving from one layer to the next to infuse emotion and depth. Nothing is lost when there are layers covered… the history of them will always be there. The layers all give their essence in the finished result. If you actually were able to see the painting in real life… I believe you may see it very differently. To the untrained eye watching an artist bring his emotions to the fore by working with his intention looks like “re-doing”… but it is not… each layer is built on and even if he plans parts of it and completely changes it, the painting has a journey that it needs to go on….often an artist has to follow those intuitive feelings… to leave control and any thought of it behind to end up with a masterpiece. This artist is not a cookie cutter artist… he is a genius in my mind. Cheers
I purchased the DVD. On the DVD, his colorful acrylic underpainting took 26 minutes, which was quite considerable considering the size of his putty knife and the small scale of the painting. I was surprised to see him trace directly from a Xerox copy onto that underpainting. He premixed colors referring back and forth to a color photograph of the scene. But when he blocked in the first series of colors, the painting was quite fresh and lively, revealing some of the beautiful reds, blues, and lavenders of the underpainting. His use of a cumbersome tool like a 6 or 4-in putty knife is masterful. And that stage of the painting truly felt intuitive and fresh. However, after he scrubbed the surface of this blocked-in painting (the first time) he buried the most beautiful aspects under a large field of opaque chartreuse. I felt like the balance of the first DVD and the second DVD was Douglas Fryer trying to work his way out of a giant faux pas. That portion has been eliminated in this UA-cam demonstration, which makes this video much better than the "Painting with Intuition" DVD. He uses his Saral transfer paper a second time with a Xerox copy and a straight edge to reconfirm the image and continue painting. Stroke after stroke he compares the colors exactly to the copy he holds in his hand to match colors. He achieved some beautiful areas of tree lines and darks within the building areas only to block them out with light values again and again. I think I counted six times where he repainted the white around the building and the background trees covering them up needlessly. Glazed areas were covered over with white so often that I found myself holding my breath praying that he not do this again, and invariably here came that extremely light valued blue, yellow, and red. Again and again he defined and redefined areas of the structures. I did not understand why he kept changing these and going back to what he already had previously. Yes, it is a 10-hour DVD, but a large portion is devoted to painting around in a circle (again and again) trying to resolve the painting. In the long run, he ended up glazing in colors which were similar to those used in his initial blocked-in painting and adding dark values that he eliminated with the chartreuse. Am I disappointed? Yes. Save your money, do not purchase the DVDs (2) and simply watch this video.
Of course talent is real. Some musicians are born with an ear for music that others don't and will never have. Mozart proves this. Others are talented with math, sports, etc.. This idea put forth by Eric Rhoads that talent is not real seems to me to be a marketing strategy. After all, his talent is marketing.
Now this is what a demo should be. Thank you for your time. Great to see
Mr. Fryer paints so beautifully & uniquely. Love his work!! TY so much for sharing this informative video!!
Loved listening and watching more than once!
I will be back.
Really enjoying this. His painting is beautiful and he is a natural teacher. If I miss a part, I back it up. Thank you so much for sharing this.
having a fever and this video is soooo soothing-thanks
🤔 I don’t see any traces of the underpainting
Fantastic painting! This is a video I’ll watch over and over again. Thank you!
I would be interested to know if Doug uses something like a clear gesso on top of the initial acrylic layer, to aid adhesion.
Thought the demo was extremely interesting, clear precise communication,just what I needed to learn to help loosen my creativity ,thanks
Am loving this. Even though I only paint watercolour. Very wise words 💕
me too
Love this demo… and the explanation of the tools
Love how doug uses his palette knife but wish you hadn't cut out the part where he does the building.!!!
Unique and beautiful !
Just saw this video. Love this artists work. The colours excite me. Can’t wait to try something similar
Gerry C.
I’ve always liked how you handle the foreground. Would you please speak on the color field in front and it’s detail suggestions?
Very informative video ..thank you so much.. ❤
The link for Doug’s supplies doesn’t work. Have emailed you but no response. Great video!
I purchased the DVD. His colorful acrylic underpainting took 26 minutes, which was quite considerable considering the size of his putty knife and the small scale of the painting.
I was surprised to see him trace directly from a Xerox copy onto that underpainting.
He premixed colors referring back and forth to a color photograph of the scene. But when he blocked in the first series of colors, the painting was quite fresh and lively, revealing some of the beautiful reds, blues, and lavenders of the underpainting. His use of a cumbersome tool like a 6 or 4-in putty knife is masterful. And that stage of the painting truly felt intuitive and fresh.
However, after he scrubbed the surface of this blocked-in painting (the first time) and buried the most beautiful aspects under a large field of opaque chartreuse, I felt like the balance of the first DVD and the second DVD was Douglas Fryer trying to work his way out of a giant faux pas.
The current UA-cam video eliminates this giant misstep. Again and again, in the DVD, he developed the buildings and background trees only to bury them under a slightly tinted redish, yellowish, or bluish white.. (I think I counted six times he did this.) I found myself praying that he would leave these areas alone and move on, but to no avail.
The Xeroxed image was again retraced onto the painting with white Saral transfer paper and a straight edge. Eventually after achieving a painting containing a propensity of acidic yellow-green, colored glazes were applied which redeemed the painting. In the long run, he ended up reestablishing the darks that he buried under the chartreuse and bringing out some of the colors with a second sanding and glazing that had already been within the original underpainting.
Yes, this is a 10 hour DVD (2), but much of it is painting around in a circle, returning again and again to the same point. Am I disappointed? Yes. Save your money and just watch this UA-cam video.
Jeanie Laramie I read with interest your comment. It sounds very harsh but I get what you’re saying although I didn’t see the DVD. I think that because the artist Eric is painting intuitively,nothing is planned ( or on a minimum scale) and so it would almost have to be expected that unexpected results occur. I love to paint intuitively and sometimes an intuitive painting can take off as though it has wings and a mind of its own. However, if I’m doing this painting as a commission or on a time schedule then everything changes and I can keep overworking an area instead of taking a break and coming back to it more relaxed. In this way, I have destroyed probably a lot more paintings than paintings I carried out to the end. It’s a like a loss of vision where you can no longer see and you throw different things at it in an attempt to bring it back . This can take hours and hours. I have been trying to remedy this recently by just taking photos of it before any real damage is done, moving myself away when the trouble starts and then when I see the photos later I usually have an idea of where to go.
@@kaygoski Yes, I believe we have all made bad decisions on some paintings. My frustration with this DVD set was the exorbitant amount of time devoted to the redemption of this painting. Douglas Fryer did pull it off in the end and produced a remarkable work of art.
The area of the first DVD that is covered in this video is informative and filled with substance. I am only pointing out that the last third of the first DVD and the majority of the second DVD are muddled. Toward the end of the second dvd, the artist recaptures his focus and the painting as well as his narrative are commendable.
@@jeanielaramie6617 I read your thoughts here and think that you may be missing the point of what this artist is actually doing. I believe that he is in tune with his intention from the get go and as an intuitive painter is used to moving from one layer to the next to infuse emotion and depth. Nothing is lost when there are layers covered… the history of them will always be there. The layers all give their essence in the finished result. If you actually were able to see the painting in real life… I believe you may see it very differently. To the untrained eye watching an artist bring his emotions to the fore by working with his intention looks like “re-doing”… but it is not… each layer is built on and even if he plans parts of it and completely changes it, the painting has a journey that it needs to go on….often an artist has to follow those intuitive feelings… to leave control and any thought of it behind to end up with a masterpiece. This artist is not a cookie cutter artist… he is a genius in my mind. Cheers
What did you use for making the drawing? A white pencil?
Emotional aesthetic. Nice term
I like how it became an abstract of a landscape when he was blocking in background.
Sorry I missed the live video. I was going on 3 pm Mountain time, oops!
I don't see where the "intuition" happens? Seems quite extensively planned from beginning to end. Nice result, tho.
I purchased the DVD. On the DVD, his colorful acrylic underpainting took 26 minutes, which was quite considerable considering the size of his putty knife and the small scale of the painting.
I was surprised to see him trace directly from a Xerox copy onto that underpainting.
He premixed colors referring back and forth to a color photograph of the scene. But when he blocked in the first series of colors, the painting was quite fresh and lively, revealing some of the beautiful reds, blues, and lavenders of the underpainting. His use of a cumbersome tool like a 6 or 4-in putty knife is masterful. And that stage of the painting truly felt intuitive and fresh.
However, after he scrubbed the surface of this blocked-in painting (the first time) he buried the most beautiful aspects under a large field of opaque chartreuse. I felt like the balance of the first DVD and the second DVD was Douglas Fryer trying to work his way out of a giant faux pas.
That portion has been eliminated in this UA-cam demonstration, which makes this video much better than the "Painting with Intuition" DVD. He uses his Saral transfer paper a second time with a Xerox copy and a straight edge to reconfirm the image and continue painting.
Stroke after stroke he compares the colors exactly to the copy he holds in his hand to match colors. He achieved some beautiful areas of tree lines and darks within the building areas only to block them out with light values again and again. I think I counted six times where he repainted the white around the building and the background trees covering them up needlessly. Glazed areas were covered over with white so often that I found myself holding my breath praying that he not do this again, and invariably here came that extremely light valued blue, yellow, and red.
Again and again he defined and redefined areas of the structures. I did not understand why he kept changing these and going back to what he already had previously.
Yes, it is a 10-hour DVD, but a large portion is devoted to painting around in a circle (again and again) trying to resolve the painting. In the long run, he ended up glazing in colors which were similar to those used in his initial blocked-in painting and adding dark values that he eliminated with the chartreuse. Am I disappointed? Yes. Save your money, do not purchase the DVDs (2) and simply watch this video.
Is the Muslim used only on boards ( which board)or on canvas too
Beautiful! Is that knife available online or in stores? If yes...by what name? Thanks
Putty knife, found any hardware store...dept.
Do you worry about fat over lean?
inspiring talk
Hi from Canada Ontario 👋
❤
To me it looks like 3 different paintings from start to finish,,,
👏👏👏👏👏👏😍
Of course talent is real. Some musicians are born with an ear for music that others don't and will never have. Mozart proves this. Others are talented with math, sports, etc.. This idea put forth by Eric Rhoads that talent is not real seems to me to be a marketing strategy. After all, his talent is marketing.