1. For the first time in five years, the Van Gogh Museum has purchased a work by Vincent van Gogh: a watercolour entitled "Pollard willow". Van Gogh completed the work during the summer of 1882 in The Haque, near his house on the outskirts of the city. The powerful, graphic work shows a pollarded willow tree, a ditch and a rough track, with the Rijnspoor rail depot in the background. Curator of prints and drawings Marije Vellekoop explains why this watercolour is a crucial addition to the Van Gogh Museum's collection.

    camera: Lars Berg
    sound: Toon Westra
    montage: Lars Berg

    # vimeo.com/59139001 Uploaded 228 Plays 0 Comments
  2. I created this painting demo to help students with mixing flesh tones. I am painting over a dry, scraped out, quick 10 minute demo from a previous class to help students understand how to approach a painting on the second session, how to rework a previous painting, and how to adjust anatomy/composition during the painting progress (especially notice how the left eye had to be moved considerably). This painting is a self-portrait, painted from a mirror (real time - approx. 30 mins).

    PALETTE (counter clockwise from bottom left corner of palette):
    - French Ultramarine (FUM)
    - Alizarin Crimson
    - Cadmium Red Light
    - Burnt Sienna
    - (Raw Sienna - missing in this video... I ran out of it, but usually it's there)
    - Yellow Ocher
    - Naples Yellow
    - Raw Umber
    - Burnt Umber
    - French Ultra Marine (yes, again... I keep FUM next to my Aliz Crimson for violets, and also next to my Burnt Umber for blacks)
    - White
    - Cobalt Blue
    - Vermillion

    Regarding different skin tones - I use the exact same palette, adjusting the ratios of color for all skin types.

    - Cobalt Blue and Vermillion for shadow colors
    - Alizarin Crimson and FUM for very deep shadows
    - Adding Burnt Sienna creates "sun kissed" tones
    - Adding a hint of Cad Red Light to light flesh tones "rosies" them up
    - Use all ratios of colors. "Swirl" paint on palette, adding a little of this and that, until you find the color. Also, while the paint is wet mix on the canvas. Avoid using a palette knife to try and make the "perfect" color before you paint.
    - Use lots of brushes. Wipe your brush off a lot. Avoid too much thinner.
    - Darks are always darker than you think they are.

    My medium is 1 part Damar Varnish, 1 part Stand Oil, and 2 parts Turpentine (or other solvent - students must use Gamsol).

    I am using soft, synthetic, white-hair brushes.

    This painting is painted on a cheap, store bought canvas. I only use these for class demos. To learn how to build, prime, and stretch a canvas, go here: vimeo.com/sarahstolar/stretcher

    Videography by Jeff Medinas
    Editing by Sarah Stolar
    Music by Thievery Corporation


    # vimeo.com/52395394 Uploaded

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