Very interesting Liron. I learnt a real lot. It takes courage to do this on a live stream, and making mistakes as you say, talking, figuring out stuff, learning as you go in challenging pieces. I have recently learnt from Charles Evans youtuber and watercolour artist, to mop up the bead of water with a very large damp brush horizontally under the skyline horizon, and he also uses the very dry brush to remove pigment or value, leaving some pigment behind from lifting. Particularly for clouds or dark value changes. I didn't know you could use an opaque over your second picture with the green grassy knoll. I think I would have either tried to glaze a yellowy orange over it, to get a muted olive, or one wash of cool to warm green and added a touch of red, to get a yellow olive base, and perhaps added Jane's grey glaze or a neutral tint glaze as a second pass. I find phthalos much too cool and too strong. Ultramarine and white. Looking for warm colours in skies to not make greens? I can handle greys. But if I want yellow,sienna, or ochre, or pinky clouds, I need it to sit next to blues, calmly and realistically. Jane Blundell suggests some Pbr7 with ultramarine for the glowing clouds. I always make a cobalt grey or an ultramarine grey for most skies as a massive shape, and some opaque colours with whites mixed in work well in getting a closer value. then take the edge off with neutral. By your own measure of success, it is brush mileage, the more mileage, the more we may like our own work say a mere 10 percent of the time. By the way, I call these "tension points". Eg on the first painting between the two buildings, negative space. A tension point is like in a sculpture, "to capture air closely" Eg a ballerina arms open wide and up, as opposed to a ballerina as a sculpture, with arms up high, hands and fingers nearly touching. In the second painting, you removed the "tension point near the left side of the house", as it became a distracting focal point, so when you moved the house away from the left edge, further to the right, our eye didn't go down the narrow tension side...... I agree with the design changes and composition tweaking in both examples The strong diagonals worked well in both cases. Thanks for your time and video uploading. In kindred spirit, Eliza Dulwich Hill, Sydney Australia 12:28am Tuesday 22nd of March, 2022. ready for sleepy time now....
Such a great livestream Liron 👍👏🎨 I really appreciate & value the way you are so authentic & humble in your painting process. This is what makes for such great learning & improving an artists skill & mind set, when facing similar mistakes , like you encountered today👍 Thank you Liron 🙂
I love your artwork !! I'm following your channel for a long time, learned alot from you thank you for inspiring me! Thank you SO MUCH for the paper recommendations!
@@johnswatercolours7436 I had a pretty good week for a change. I actually had a brush in my hands..to shakey to do anything but I am hoping this reprieve continues. I haven't painted along with Liron since the sunflower I don't think. But he helps me stay sane...such a focused young man..
It's so difficult when health issues prevent us from painting and I totally understand Marjorie. Liron's passion & enthusiasm for painting is so contagious and I find he builds me up and keeps my mindset in a 'Get ready to paint stage'. I hope you manage to paint soon Marjorie 🙏❤🙂 Best wishes John 🙋
Ooops slept through my reminder but here now 0700hrs enjoying ! Love your first wash madness of the sky and as you always do keeping the belief it can be great ! What red is it your using please Liron?
Do you mean the drawing stage? (: Or taking pictures like this one? For drawing follow this approach - large to small. First big shapes and composition. For pictures I just try and snap what feels good haha, don’t have a tactic yet 😉
@@LironYan I would also like a demo on the drawing stage, if possible. Not how to draw in general, but what to incorporate into the drawing stage of a painting and what to leave out, and how to see what to draw in reference photos that will help the painting stage. If that makes sense. Fun livestream though, you've done it again! Engaging and informative 😃 I will probably paint the first barn picture later this week.
Very interesting Liron. I learnt a real lot.
It takes courage to do this on a live stream, and making mistakes as you say, talking, figuring out stuff, learning as you go in challenging pieces.
I have recently learnt from Charles Evans youtuber and watercolour artist, to mop up the bead of water with a very large damp brush horizontally under the skyline horizon, and he also uses the very dry brush to remove pigment or value, leaving some pigment behind from lifting. Particularly for clouds or dark value changes.
I didn't know you could use an opaque over your second picture with the green grassy knoll.
I think I would have either tried to glaze a yellowy orange over it, to get a muted olive, or one wash of cool to warm green and added a touch of red, to get a yellow olive base, and perhaps added Jane's grey glaze or a neutral tint glaze as a second pass. I find phthalos much too cool and too strong. Ultramarine and white.
Looking for warm colours in skies to not make greens? I can handle greys. But if I want yellow,sienna, or ochre, or pinky clouds, I need it to sit next to blues, calmly and realistically.
Jane Blundell suggests some Pbr7 with ultramarine for the glowing clouds. I always make a cobalt grey or an ultramarine grey for most skies as a massive shape, and some opaque colours with whites mixed in work well in getting a closer value. then take the edge off with neutral.
By your own measure of success, it is brush mileage, the more mileage, the more we may like our own work say a mere 10 percent of the time.
By the way, I call these "tension points". Eg on the first painting between the two buildings, negative space.
A tension point is like in a sculpture, "to capture air closely"
Eg a ballerina arms open wide and up, as opposed to a ballerina as a sculpture, with arms up high, hands and fingers nearly touching.
In the second painting, you removed the "tension point near the left side of the house", as it became a distracting focal point, so when you moved the house away from the left edge, further to the right, our eye didn't go down the narrow tension side......
I agree with the design changes and composition tweaking in both examples
The strong diagonals worked well in both cases.
Thanks for your time and video uploading.
In kindred spirit,
Eliza
Dulwich Hill, Sydney Australia
12:28am
Tuesday 22nd of March, 2022.
ready for sleepy time now....
Such a great livestream Liron 👍👏🎨 I really appreciate & value the way you are so authentic & humble in your painting process. This is what makes for such great learning & improving an artists skill & mind set, when facing similar mistakes , like you encountered today👍 Thank you Liron 🙂
Thank you.
I love your artwork !! I'm following your channel for a long time, learned alot from you thank you for inspiring me! Thank you SO MUCH for the paper recommendations!
Thank you Nika!! You’re always so supportive and encouraging 😊🙏🏼🙏🏼 Means a lot
Great! You're real and provide more confidence and support to your audience as a result if errors. See?
Missed this..makes me sad. Love to all,
I'm like you Marjorie, I don't like to miss Liron's livestreams. I hope you are doing well Marjorie 🙏❤🙋
@@johnswatercolours7436 I had a pretty good week for a change. I actually had a brush in my hands..to shakey to do anything but I am hoping this reprieve continues. I haven't painted along with Liron since the sunflower I don't think. But he helps me stay sane...such a focused young man..
It's so difficult when health issues prevent us from painting and I totally understand Marjorie. Liron's passion & enthusiasm for painting is so contagious and I find he builds me up and keeps my mindset in a 'Get ready to paint stage'. I hope you manage to paint soon Marjorie 🙏❤🙂 Best wishes John 🙋
@@johnswatercolours7436 thank you and keep up the spirits..and Best Wishes to you also.
Ooops slept through my reminder but here now 0700hrs enjoying ! Love your first wash madness of the sky and as you always do keeping the belief it can be great ! What red is it your using please Liron?
I tried to make this reference photo a lot , but it is not made can you teach us, what will be the method of making it😭
Do you mean the drawing stage? (: Or taking pictures like this one?
For drawing follow this approach - large to small. First big shapes and composition.
For pictures I just try and snap what feels good haha, don’t have a tactic yet 😉
@@LironYan I would also like a demo on the drawing stage, if possible. Not how to draw in general, but what to incorporate into the drawing stage of a painting and what to leave out, and how to see what to draw in reference photos that will help the painting stage. If that makes sense.
Fun livestream though, you've done it again! Engaging and informative 😃 I will probably paint the first barn picture later this week.
I love your hints and tips - but this just frustrated the hell outa me…sorry!