I'm excited to get started. God can provide a spark/ talent at a young age, but this doesn't deny the knowledge gaps that stem from too much confidence due to early success found among childhood peers. The mastery of the fundamentals are what make artists captivating figures that withstand the tests of time, rather than the alternative which seems to be artistic death by drowning in one's so called "style"
Tramendous appreciation to Evolve teacher Kelvin , Daniel and May! Thank you very much for your wonderful teaching and rendering so amazing art works! Best wishes to Evolve and all of you teachers !!! ❤❤❤
It's great to see what's learned in blocks one and two are still relevant in an advanced painting like the one in this video. Kevin's method of teaching builds solid skills in students, and, as a result builds confidence and a growing appreciation of art. A person couldn't ask for more from an instructor. Kevin manages to change lives for the better.
You talk about standing to paint. My back doesn't allow me to stand for long periods of time. Why do you feel it necessary to stand and what suggestions do you have to confinsate for that? Thanks
Hey Kelli, if you are unable to stand to paint, don’t worry about it! As you can see in these live stream paintings, Kevin is able to make great paintings from a sitting position 🙂 Kevin likes and recommends standing to paint so that you can step back from your work more easily/frequently. Viewing your work from a distance is very helpful in capturing the overall (and first) impression of your work. You may be able to compensate for this by taking photographs of your work and viewing it on your phone and even shrinking it down to see it from a distance. Of course, it’s better to view it from a distance in person, but that would suffice. Another option is to paint with a rolling chair so that you can slide back instead of having to stand up every time. Hope that helps 🙂 ~ Daniel
Hey Kevin, I’m a big big fan of your work but I still struggle with one thing. In your videos and a rule in art when working with light and shadow is that your darkest light should never be darker than the lightest shadow vice versa. But when I look at the girls hair it’s really just a big dark shape with a very small spot of light and darker than the shadow even on the side where the light still hits. I understand that this is because of the glossy material hair has but how do I apply this separation of keeping light and shadow separated when it comes down to glossy materials like this?
Hey Freya, great question! There are exceptions to the rule that your darkest light should never be darker than the lightest shadow vice versa. Here, Kevin is making an exception. In the Evolve program, we don't allow exceptions to that and other rules until you get to Block 4. The rules are there to give us an understanding of how light and shadow works. In the words of Picasso, "Learn the rules like a pro so you can break them like an artist." In Evolve we focus heavily on learning those rules, but eventually those rules can hinder us from going above and beyond. So in this case, Kevin is making this painting without any fetters to hold him back. I hope that helps! ~ Daniel
@@evolveartist Helps me greatly thank you! I’m thinking about following the program but I already have a 9 till 5 job in the game industry as a 2D artist and which means I can only follow the program in the evenings after work and during the weekends. Is this a reasonable amount of time to participate in a program like this? I really feel like this program is great for me but I’ve never painted with oil paints before.
@@FreyadeVries98 Absolutely! We recommend spending a minimum average of 5-7 hours / week on the program, but you can go at your own pace (fast or slow). When you join, you have access for life, so you won't need to worry about rushing the learning journey. You won't be the first student to join who works a 9-5. And we teach our students how to use oil paint as if they've never painted before, so you'll be fine! Let me know if you have any other questions 🙂 ~ Daniel
i'm a beginner in the art of painting, anyway one of my worst problem is blending. i've noted that a person on your chat asked how you blend from a value to another, i suppose to give a smooth transition. but at 2:15:00 you, i hope not debliberately , turn your canvas on one side, with the resalt that cannot be seen anything on how you blend. anyway it would be a nice subject for a video... Now, excuse me, even if it's not your case but i find very difficult to find a youtube instructional honest video on advanced painting technique, every one try to selling something and treat the relevant technique like it would be secret.
Hey Domenico, thanks for reaching out! It was not deliberate. When we had set up this live stream I hadn’t anticipated that Kevin would turn his canvas, and I apologize for that. There are a couple of videos on our channel where I paint some gradients and briefly explain our process. We have a full training session for our students how to make gradients with smooth transitions inside our Foundation Program, but hopefully these two videos work for you in what you’re looking for. Just ask me any questions here in the comments if something didn’t make sense and maybe I can help you out. Grayscale (start here): ua-cam.com/video/aoZLhRcEl5E/v-deo.html Color (this one is not very in-depth but you can see that the process is essentially the same). ua-cam.com/video/A30TGvh-imQ/v-deo.html Hope this helps! And in case you aren’t aware, we teach gradients in the second assignment of the Foundation Program. We show our students how, then they make a sheet of gradients, send us a photo, we give them constructive feedback, and then we have them do another sheet and give them feedback on it because gradients are so important for making paintings. Let me know if you have any questions! ~ Daniel
@@jamieb7342 So, I believe that when Kevin was addressing this, he was talking about treating shadows differently than the lights. Comparing the two against each other, the edges in the shadows are relatively ambiguous, vague, undefined, soft, etc. compared to the lights, where we have more clarity, defined edges, more information, sharper edges, etc. It's important to understand this in context, because - as an example, we also teach that there are form shadows and cast shadows - in a cast shadow, where the edge of the shadow meets the light, you'll have a relatively sharp edge. All that being said, you don't HAVE to have ONLY soft edges in your shadows. Remember, "soft" is relative. So, when you compare your shadows to your lights from a few feet away (from an overall perspective), yes, you should have softer edges than your edges in your lights. But this doesn't mean that every edge in your shadows should be so soft that you lose the necessary shapes. Art is all about relationships 😉 let me know if I was able to answer your question 🙂~ Daniel
Great coloring book paint in the lines copying of a photograph. I am thankful didn't have to watch the photo being projected on the canvas. Glad he isn't trying to paint an actual, living model. This only exists because of photography .
![Cheap vs. Expensive Paint [Master's Touch vs. Golden Brand]](/img/n.gif)
GIVEAWAY PAINTING RAFFLE - enter here! forms.gle/qr5i9fcDdmQJyKqs8
Thanks for watching! 😊~ Daniel
I'm excited to get started. God can provide a spark/ talent at a young age, but this doesn't deny the knowledge gaps that stem from too much confidence due to early success found among childhood peers. The mastery of the fundamentals are what make artists captivating figures that withstand the tests of time, rather than the alternative which seems to be artistic death by drowning in one's so called "style"
Tramendous appreciation to Evolve teacher Kelvin , Daniel and May! Thank you very much for your wonderful teaching and rendering so amazing art works! Best wishes to Evolve and all of you teachers !!! ❤❤❤
Awesome
It's great to see what's learned in blocks one and two are still relevant in an advanced painting like the one in this video. Kevin's method of teaching builds solid skills in students, and, as a result builds confidence and a growing appreciation of art. A person couldn't ask for more from an instructor. Kevin manages to change lives for the better.
These video's are great, you show everything clearly, take the time and you really about teaching us. Good work Kevin!
Thank you b jn! Kevin and I really appreciate it 🙂 ~ Daniel
You talk about standing to paint. My back doesn't allow me to stand for long periods of time. Why do you feel it necessary to stand and what suggestions do you have to confinsate for that? Thanks
Hey Kelli, if you are unable to stand to paint, don’t worry about it! As you can see in these live stream paintings, Kevin is able to make great paintings from a sitting position 🙂
Kevin likes and recommends standing to paint so that you can step back from your work more easily/frequently. Viewing your work from a distance is very helpful in capturing the overall (and first) impression of your work.
You may be able to compensate for this by taking photographs of your work and viewing it on your phone and even shrinking it down to see it from a distance. Of course, it’s better to view it from a distance in person, but that would suffice. Another option is to paint with a rolling chair so that you can slide back instead of having to stand up every time.
Hope that helps 🙂 ~ Daniel
What block is glazing introduced?
Block 6 in the Advanced Program. You can view those paintings on our website on the Curriculum page: bit.ly/evolveartist 👍 ~ Daniel
Hey Kevin, I’m a big big fan of your work but I still struggle with one thing. In your videos and a rule in art when working with light and shadow is that your darkest light should never be darker than the lightest shadow vice versa. But when I look at the girls hair it’s really just a big dark shape with a very small spot of light and darker than the shadow even on the side where the light still hits. I understand that this is because of the glossy material hair has but how do I apply this separation of keeping light and shadow separated when it comes down to glossy materials like this?
Hey Freya, great question! There are exceptions to the rule that your darkest light should never be darker than the lightest shadow vice versa. Here, Kevin is making an exception.
In the Evolve program, we don't allow exceptions to that and other rules until you get to Block 4. The rules are there to give us an understanding of how light and shadow works. In the words of Picasso, "Learn the rules like a pro so you can break them like an artist." In Evolve we focus heavily on learning those rules, but eventually those rules can hinder us from going above and beyond. So in this case, Kevin is making this painting without any fetters to hold him back. I hope that helps! ~ Daniel
@@evolveartist Helps me greatly thank you! I’m thinking about following the program but I already have a 9 till 5 job in the game industry as a 2D artist and which means I can only follow the program in the evenings after work and during the weekends. Is this a reasonable amount of time to participate in a program like this? I really feel like this program is great for me but I’ve never painted with oil paints before.
@@FreyadeVries98 Absolutely! We recommend spending a minimum average of 5-7 hours / week on the program, but you can go at your own pace (fast or slow). When you join, you have access for life, so you won't need to worry about rushing the learning journey. You won't be the first student to join who works a 9-5. And we teach our students how to use oil paint as if they've never painted before, so you'll be fine!
Let me know if you have any other questions 🙂 ~ Daniel
i'm a beginner in the art of painting, anyway one of my worst problem is blending. i've noted that a person on your chat asked how you blend from a value to another, i suppose to give a smooth transition. but at 2:15:00 you, i hope not debliberately , turn your canvas on one side, with the resalt that cannot be seen anything on how you blend. anyway it would be a nice subject for a video...
Now, excuse me, even if it's not your case but i find very difficult to find a youtube instructional honest video on advanced painting technique, every one try to selling something and treat the relevant technique like it would be secret.
Hey Domenico, thanks for reaching out! It was not deliberate. When we had set up this live stream I hadn’t anticipated that Kevin would turn his canvas, and I apologize for that. There are a couple of videos on our channel where I paint some gradients and briefly explain our process. We have a full training session for our students how to make gradients with smooth transitions inside our Foundation Program, but hopefully these two videos work for you in what you’re looking for. Just ask me any questions here in the comments if something didn’t make sense and maybe I can help you out.
Grayscale (start here):
ua-cam.com/video/aoZLhRcEl5E/v-deo.html
Color (this one is not very in-depth but you can see that the process is essentially the same).
ua-cam.com/video/A30TGvh-imQ/v-deo.html
Hope this helps! And in case you aren’t aware, we teach gradients in the second assignment of the Foundation Program. We show our students how, then they make a sheet of gradients, send us a photo, we give them constructive feedback, and then we have them do another sheet and give them feedback on it because gradients are so important for making paintings. Let me know if you have any questions! ~ Daniel
So, no sharp edges on the shadow areas?
Hey Jamie, can you provide more context to your question? Then I can give you the clarity you're looking for 😊 ~ Daniel
@@evolveartist Thanks Daniel. Kevin had said on the vid no sharp edges on the shadow areas. So, just soft edges for the shadow areas?
@@jamieb7342 So, I believe that when Kevin was addressing this, he was talking about treating shadows differently than the lights. Comparing the two against each other, the edges in the shadows are relatively ambiguous, vague, undefined, soft, etc. compared to the lights, where we have more clarity, defined edges, more information, sharper edges, etc.
It's important to understand this in context, because - as an example, we also teach that there are form shadows and cast shadows - in a cast shadow, where the edge of the shadow meets the light, you'll have a relatively sharp edge.
All that being said, you don't HAVE to have ONLY soft edges in your shadows. Remember, "soft" is relative. So, when you compare your shadows to your lights from a few feet away (from an overall perspective), yes, you should have softer edges than your edges in your lights. But this doesn't mean that every edge in your shadows should be so soft that you lose the necessary shapes.
Art is all about relationships 😉 let me know if I was able to answer your question 🙂~ Daniel
@@evolveartist Thank you!
Why is it so hard for me to see shapes?
Saying that to Ukraine isn't politics, it is humane. It is going for the best for fellow humans. Thank you.
Pardon me, the word care was missing
Great coloring book paint in the lines copying of a photograph. I am thankful didn't have to watch the photo being projected on the canvas. Glad he isn't trying to paint an actual, living model. This only exists because of photography .