How to paint Pre-Raphaelite | La Belle Dam Sans Merci | Valentines Angelooney


(opening music) Cinnamon: Hey. It’s Cinnamon Cooney, your Art Sherpa. A live today bringing you the Raphaelite painting by Dicksee. Um, wow, you’re like, “What kind of day is this gonna be?” Just to give you an idea, this is what we’re painting today. We’re painting this beautiful piece. John: Ooh. Cinnamon: It’s so big I can’t tell if I have it in camera. (laughs.) John: Yeah, we can barely see it. Cinnamon: Huh? John: We can barely see it. Cinnamon: Really? John: Yeah, it’s- Cinnamon: You wanna put- Well, you can put the other one up. So, we’re gonna be painting that today. In the description are some important links for you to help you. There’s the materials list. I need to correct a couple things on the materials list. We won’t be using unbleached titanium or zinc. That was a mistake on my end. And we will be using Naples Yellow. So that’s… Those will be corrected after the live event so this will make no sense into perpetuity, but for those of you who are here live that’s very important information. Um, we do have a traceable and that’s how we got the image on canvas. Thanks to Chuck Carson, The Animated Pencil. And I also put that up on Facebook in its little segments. So you could do the tapey tapey thing to transfer it. I didn’t show it what I need to show with that. John: Oh. What didn’t you show? Cinnamon: The back that I had charcoaled. Let me just get it. John: Oh. Grab it. Cinnamon: I’m gonna grab it. Well, no, it flew away. John: Oh, ok I’ll grab it. Ha! (Cinnamon laughing) Cinnamon: Apparently it’s aerodynamic! I’m back! John: Ok, you’re back. Cinnamon: This is worst ever…(laughs) Oh my goodness! So you can see how I took some charcoal and I put that on the back. And then you can put this on the canvas. And then you trace this in. John: Yeah. Cinnamon: Right. And I gave you guys some good places to take the just full traceable to do that with and you can also just free hand this in. Um, this is definitely gonna be an interesting experience. This is… We’re gonna call this a three hoot. But that’s a loose interpretation of the hoot system. (both laugh) Cinnamon: And why would I bring such a challenging painting to you guys? It’s because understanding how this painting breaks down, or any of the great landscapes, or master paintings helps you understand how all paintings are built. John: Mm-hmm.
Cinnamon: This is really about the construction of a painting so our first hour is going to be blocking it in. Second hour is going to be defining it out. The third hour is going to be refining what we’ve got. John: Mm-hmm. Cinnamon: Right. So that’s how we’re gonna get through this piece. You could put twenty hours into this piece. Description. Two links. There’s a link to the traceable. The finished image is also with it, right now, at this minute. So, that will get you to the finished image so you can print that out and look at that. I’ve also given you the Wikipedia reference for the painting, for the original painting and I’m gonna be looking at that. As well as my study of it this whole class. I recommend that you do too. I hope you took my meaning and got a snack. John: I’ve got over here for you, just in case you need it, on your screen. There’s the picture you’re actually doing today. Cinnamon: Yeah. So that’s about the level we’re gonna take this to today. So this is gonna be good for you to understand the background, middleground, foreground, concept in painting construction, and a little bit of layering and glazing. We’re gonna cover a little bit of skin tone. All things you guys have been hot to do and I think this is just a great Valentine’s day painting. This is part of a collaboration with Angela Anderson. John: Mm-hmm Cinnamon: Who is doing “The Kiss” right now on her channel. Linked into my i-Card. You can go there and see that at anytime. And also, in the description, a link to her channel and her video. So she’s doing a step-by-step of Klimt’s “The Kiss.” John: Oh yeah. Cinnamon: Today. She’s been at that since noon and we’re starting this on- We’re gonna be at this for a little while. John: Hers is very golden-y. I was looking.
Cinnamon: It’s very golden.
John: It’s very reflective and shiny. I liked it. Makes me think of tapestries and Cinnamon: So this is acrylic paint. Acrylic brushes. Sixteen by twenty pre-gessoed canvas. Water. Other weird tool I’m going to be using today is palette wetting spray. I’m gonna talk about the benefits of this, and the negatives, as we go. John: cool Cinnamon: We have wishes. John: We do. I have lots of wishes here. I have- We’re kinda limited on time so we’re just gonna grab a few of these wishes today. Cinnamon: Alright. And I’m gonna put them in some places Where you have- I hope our light keepers can catch the wishes that we miss. John: Yes. Thank you for all of our moderators and light keepers out there. We really appreciate you guys here and we’ve got like 250 people here with us today so I just thank every one of you for coming and joining us. So, but real quick, Cinnamon. I know we that have We have a wish for strength and love to surround Maria, who’s lost a family member. And we’d like to send lots of love to ALL people who have lost loved ones here. Cinnamon: I have that in. Strength and love to Maria. I’m sorry for your loss. John: And for Glen. Cinnamon: Ah. This painting, for me, to me, I dedicate this painting to Glen. John: Yeah. Thank you, Glen, for, uh, helping us understand what we’re doing this for. Cinnamon: So, Glen, this is your painting. Where- John: Thank you very much. Cinnamon: Hopefully you see it. (laughs) John: We appreciate it. And , uh, (chuckles) we have a lot of people wishing you for good health. Cinnamon: Uh, that’s why I’m a little bit breathy today. It’s- I’ve got kind of a respiratory thing going on and, uh, I’m feeling it. John: So, we’re gonna wish happiness, and we’re gonna wish for health, for everyone today. Cinnamon: Health! Health for everyone. Health! John: So if any of the little flu bugs are going around, we’re gonna wish Cinnamon: For everyone! John: Yeah. Cinnamon: The world is just well, today. John: And especially our little Sherpa over there, so we can get her back on the mend. Cinnamon: Wooo. I b- It’s gonna be a breathy day. People are gonna be like, “Why are you so breathy?” (breaths hard) John: So we have, so there’s an outpouring of wonderful wishes here. Just saying how much they’ve worked. Kelly was just saying her dad completed her chemo this week and come back with a clean scan. So, you know, love to your dad, Kelly and we really appreciate everybody out there. Cinnamon: We really do. Put wishes in your canvas. If you see a wish that speaks to you definitely, definitely put it in there. And Oh, I have one last wish. For anyone who’s trapped in anger, and we talked about this in our group, who’s lost, or feeling hurt, and is hurting back, I wanna just wish you to return to your happiest, best self. John: Mm-hmm Cinnamon: If you’re ever lost in anger, for you to return to your happiest best self. Cause that can be really hard. We can get lost in anger. That is something that we’ve seen in our own lives, among our own friends and we certainly have seen it out in the world. I’m sure all of us have been touched by that and it’s just, anger’s one of those things. It’s a wonderful tool when you own it, but sometimes it owns you! John: Mm-hmm. Cinnamon: So I just wish everyone to return to their best self. (John laughs) Yes, best self. (Cinnamon laughs) John: We’ll have to- They’ve got me cracking up out here in the audience today. There’s a whole- There’s a whole lot of shenanigans afoot. There’s 280 sherpettes out here, ALL full of shenanigans today. Cinnamon: Yeah. Pay attention, cause it’s a day. John: It’s a day (both laughing) Cinnamon: It’s a day! So I’m gonna be painting- Wait! John you know what you moved far far away? John: What did I move far far away? Cinnamon: My bucket of brushes. John: Oh! I did, I’ll go get it. (Cinnamon laughing) Cinnamon: You’re like, you get no bucket of brushes! The obligatory lipstick. Cause when the lipstick is on, the art party’s going on. No, it needs to go there. We’ll just put them there. Yeah. So, the bucket of Simply Simmons that I’ve been painting with lately. I want you to know my mom also- No I took all the brushes out of that anyway. My mom is also a big fan of Simply Simmons. She’s really been enjoying them as well. Um, you know, I’ve cracked a couple, but they’re holding up. And we all know how hard I am on brushes. So here we’ve got this painting. I’m gonna put this one up here so we can look at this and just understand what we’re gonna be doing. John: Yeah. Oh, you know what- Cinnamon: So, in painting we have background we have middle ground, and we have foreground. And whenever you’re laying in a photograph, or you’re reproducing a painting, you need to identify where these spaces within the painting exist. Because that’s how you figure out how to do your layers. And so when you’re taking on a challenging painting, that’s the first thing to do. So even when you’re trying to decide how to sketch these in, we were deciding what to do about the traceable, you’ve got this little run of back mountains. You’ve got this little mountain coming down here. This little run of trees coming up here. This little pond. This tree- This little hill’s gotta come down. The horse, believe it or not, is sort of our middle ground coming back. Cause extreme foreshortening that Dicksee did here was- tripped me out. And we’ve got this little tree object here and the foreground which includes the knight and the floral work. John: Mm-hmm. Cinnamon: So that’s what I had to do when I’m breaking down this painting. I’ve painted this painting before, never so quickly. (laughs)
John: Yeah. Cinnamon: This is the first time I have speed painted Dicksee or any of the Raphaelites. So that was a new thing. So when I sketched that in that’s what I did. I used the traceable to get the objects in. Um, unless your figure drawing skills are incredibly on point, I would really recommend the traceable. John: Yeah. Cinnamon: Cause this is some interesting positioning. And as it was, I was relying on John’s sense of armor and structure. He’ll be talking about that as I do this. To make sure that I have the armor lines correct. And the horse was the only thing that I was even familiar with, like, for this piece. So, I’m gonna start out with Goldilocks. I’m gonna find my goldilocks. Where’s goldilocks? John: In there somewhere. Cinnamon: She’s in there somewhere. John: The camera’s so dark I’m gonna turn it up in a minute. Cinnamon: I feel like I put her somewhere and I don’t know- There she is. Which camera’s dark? This one? John: That one. That main camera. Cinnamon: Alright, and while he’s got- Can you get it on this camera while you’re fixing it cause I want to talk about the palette colors. So, I have Phthalo Blue, Dioxazine Purple, Cad Red Medium. Cad Yellow Medium, Yellow Ocher sometimes called Yellow Oxide, this is the surprise color: This is naples yellow, also known as nickel yellow, yes it comes in a student grade. You can lighten this up a whole bunch to flub it and add a titch of blue to green it up but, if you can just get um, this soft color, that helps you. I did this for the skin tone. This is actually in the skin tone formulas. This is Sap Green. Now, Hooker’s Green, and I’m not being funny, it’s Hooker’s Green or forest green would work here. What you want is a deep, olive-y green that’s gonna help you get those forest colors. Ultramarine Blue, which looks pretty much on the palette like the same as Phthalo, but it is very different when you mix it. Burnt Umber, Burnt Sienna, Titanium White heavy body. And then I also have Mars Black in a fluid and Titanium White in a fluid. So, it’s like, maybe the most robust palette we’ve done, and because the lights in here are incredibly bright, I’m gonna mist this sucker. So this misting spray keeps my paint from drying out and then allows me to really moisten it without losing the pigment or the, uh, polymer connection on my paint. The issue with the misting spray is it clogs up, super super easy. And then you got to soak it in nail polish to fix it. John: Huh.
Cinnamon: Yeah. Kind of a pain. So, our background. We’re going to come over and pull a little of our… Oh, I got too much water into my brush. John: Did you? Cinnamon: Yeah, it happens. Wasn’t paying attention. So I might dampen my brush to warm it up, but I don’t want it sopping and there it was a little bit sopping. So I’m pulling that out. So I pulled this out. Interestingly enough, I’m gonna take a little bit of dioxazine purple, I don’t know if you can see that on there. It’s just tipped, and I’m gonna gray my yellow. Right. If you were in the color class, what else could we call graying my yellow? John: Yeah. Cinnamon: Toning it, right? John: Oh yeah. Sorry, I was reading comments. Cinnamon: So I’m adding a little white to this, and this is the basis of my sky color that I’m going to be putting. I don’t know John: I think I got some of the white balance back on that camera. Cinnamon: Did you? John: Man, that’s a tough camera to work with! Cinnamon: I’m gonna be putting this back here. This sky is a play of the grayed yellows right It’s a play of the grayed yellows. John: Now, you’ve already traced this in order to save time today, yeah? Cinnamon: Yeah, I had to. John: And, if anybody has any questions about tracing, they can go over and check out the Big Quest, yeah? Cinnamon: The Big Quest, transfer, tracing it on the canvas video. Is all about that. John: So, there’s a whole training video just in case you need help with that. On how to do it, yeah. Is that- Is that linked in the description below? Cinnamon: That did not get linked, but it should’ve been. John: Well, we’ll add that in the description below. Cinnamon: But it’s in the Big Art Quest, um… It’s in the Big Art Quest playlist. John: So if you’re- Cinnamon: And it’s also pretty recent, so if you were to just search the videos, the tracing one is there. So I- You can see I’ve got this little layer here, right, cause I’m blocking in. Now, I’ve divided I took my mountain down here Right. And then I’ve got this sort of butte I’m gonna use my watercolor pencil here. Right. So I need to get my butte in. And my butte was, interestingly enough, purple. John: Oh yeah. Cinnamon: But I want to gray that purple. I do, I do. So I’m gonna take a little of my yellow oxide over to my dioxazine purple, and I’m gonna gray it out a little bit because this is a far away butte. (John laughs) It’s far away. Was that funny? John: What’s funny is that they’re joking about whether or not there’s gonna be a potty break for you today. Cinnamon: Oh Lord, I don’t know. John: They’re just being rather funny. (John laughs) Cinnamon: This is one of those things that I’m sharing with you because maybe not today but someday you’re ready for this. John: Yeah. Cinnamon: and that’s important to know. You seeing me, maybe you paint along with me, and you experiment with this right Maybe you do. And you experiment with this. Maybe you just observe how it’s- John: You just wandered right off the canvas. I was talking to Luna and I didn’t know. Ha! Cinnamon: I have? John: I was on the close-up camera and she came over to whisper in my ear so. Sorry, folks. Cinnamon: Alright, I’m back on there. So, see this sort of grayed out little butte. I’m putting in here. This is blocking in. We’re blocking in this canvas. We’re creating- That’s a very bright sky, I need to knock that back. (laughs) I don’t usually paint under the weather so this is gonna be interesting for all of us. John: So, can you use frisket over paint? Cinnamon: Can I use frisket over paint? Yes. John: So like if you painted a painting and then you wanted to put some frisket down over that acrylic? Cinnamon: I don’t know for the acrylic that that’ll work because it’s designed for watercolor or washes. And acrylic paint is very thick, so the frisket might not come up. I’ve not experimented with that and I would read the website to be sure. John: But you can frisket over watercolor for sure? Cinnamon: Yeah. Yeah, you can frisket over watercolor or water based media. Alright, so I put that far off object, far off. John: Far off. Cinnamon: Far off. Things that are farther away are not as vibrant. Not as bright, and are often grayed out. Just a little something that you can do. So, I’m gonna take a little of this sap green over to my yellow oxide. And I’m gonna gray it with a little of the burnt sienna. Needs to be greener than what I’ve got here, though. (kid talking in background) Cinnamon: Ok. John: There’s some children out there. (both laugh) Cinnamon: My daughter’s babysitting. It’s not really her skill set. (laughs) But she’s good natured and she does it. John: We’ll get through it. (Cinnamon laughs) Cinnamon: Yeah, we heard you, sweety. So, I’ve got this grayed out, far away hill happening here. And so we’re just putting that in. So these are the layers. This is the way that we’re building up the world that our two lovers exist in. Now, on the traceable, I would highly recommend that you just pay attention to the structural lines. Chuck loves to make them where they’re good coloring pages as well. So he gives you a lot of detail. Like every leaf, all the barding on the horse, a lot of the detail of the knight. But just pay attention to the outside outlines. Right. Just the top of the hill. Not all the detail in the hill. Just the top of the trees. Not all the detail on the trees. So I’m gonna come here and I’m gonna get a little of my burnt My burnt umber. John: Burnt Umber.
Cinnamon: Burnt Umber is a lot like Burnt Sienna. (laughs) Shockingly. And to darken this even more, and deepen it, I’m gonna add a little Phthalo blue, and that’s going to give me a very deep deep deep color. And I’m gonna come here and I’m gonna make these dark little trees. I’m still working this bright, and I’m dabbing this brush. Right. I’m gonna be adding highlights, and lowlights, and all kinds of things. This is the underpainting. Now, if I was just freehanding this, probably I wouldn’t even trace these objects in. I would just free hand them in, and I would have done a burnt umber wash over the whole canvas. But that would have been really hard. Really hard to teach. From there. That’s really just a workshop, Oh money! And I’m hoping that some of you, hopefully I’m gonna explain this in a way that some of you are going to be able to do this painting. Just putting this in here. This nice, dark dark space. In the dark, dark wood. Hopefully this is ok. John: Mm-hmm. Cinnamon: You know. Hopefully everyone is seeing this. John: And everybody in the channel is really excited. We have a lot of viewers with us here. We’ve got like 277 hanging out with us right now, so. Cinnamon: Really? That’s awesome. So I would love to know how this is working for them in the way that we’re explaining it. Is this helpful? What are they feeling like they need? Cause this is kind of a not on YouTube sort of event in general. We’re breaking some ground here. John: So, could you talk about who the Raphaelites are? Cinnamon: Yes. John: Most of the people can’t understand what a Pre-Raphaelite is. Cinnamon: (laughs) Well, the Pre-Raphaelites and the Raphaelites was a group of artists during the romantic period that as things were becoming, um…. maybe a little more risque, and maybe a little wilder, maybe a little more industrialized, wanted to return to a noble sense of thinking. So in poetry, in writing, that’s why it’s actually a whole movement. It was a group of artists that decided that art and poetry and writing is this thing and not this thing. And whenever a group of them go it’s this but not this, then it’s a movement. If it’s just one person saying I’m doing it this way, then it’s a style. So, this group got together and they said it’s this, and let’s return back to these high ideals of painting. These high ideals of romanticism. And let’s depict these great scenes and let’s tell epic stories and lets share epic, epic scenes. And the paintings are for their time, quite large, and very involved, and lush, and dramatic. John: Hmm. That helps quite a bit, I think. Cinnamon: Does it? John: Yeah. (both laugh) Cinnamon: It’s one of my favorite, like, that’s my favorite time in art. Um, it’s funny. The paintings, many of these paintings, depict medieval legends, John: Mm-hmm. Cinnamon: But you would have never seen a painting done like this in medieval times. John: Right. Cinnamon: It’s so crazy. And sometimes people think that they are medieval paintings. Because their narratives are often from those types of storylines. I may have to switch to a smaller brush for around her hand. John: Yeah, this photo is actually- uh, er, photo- this painting is actually of a man- the gentleman in armor there, is wearing armor from about 1450 to 1490. Cinnamon: Is he? John: Yeah, which is the Maximillian period of armor. Cinnamon: Well then, you have to think that Dicksee would have had to done quite a lot of research at that. He would have had to have looked at that suit of armor and done studies and sketches. Probably he had a friend somewhere that either had a set or was at a museum where a set was being kept. John: Yeah Cinnamon: And then he would have been allowed to come in and do pencil sketches and studies. It’s unlikely that anyone of his time could have fit the armor, correct? John: Well, no, they probably could have. I mean, you know certainly people have gotten taller as time went on but you know, a lot of times people find Maximillian armor to be what they consider a man in shining armor, a knight in shining armor because that’s the height of jousting. And It was the height of armor making. It was the height of the renaissance, the romanticism, I mean jousting was like NASCAR and Superbowl and world soccer cup all rolled into one and that still doesn’t compare- Cinnamon: I think you said something to me very interesting. You were talking about what it was like when a tournament came to an area. John: Oh, yeah. Cinnamon: Why it was such a big deal for people. Can you… um, I’m trying to paint in this little green area. I want to make sure that my negative spaces here are paid attention to. And so I realize that this area around her hands I need to make sure that I’ve got some green showing through. So, wasn’t it like for people that have never seen the colors, the music, like, any of it? John: Yeah, so, you know, the tournaments at the time were a really amazing thing cause they were a party. They were a show. They were an amazing festival and a merchanting opportunity all sort of rolled into one. And when these tournaments would go on, they would be amazing parties that would- that you know, where an entire city would be set up for a joust to happen and Cinnamon: How long could they go on? John: Well, sometimes they would be very short, for days, and sometimes they would last weeks. I believe there were some that lasted months, and even, there’s accounts of them going on into a year. and you know, that’s a little- I don’t want to speak out of turn, but these were during a time period. There were fountains that flowed with wine. Cinnamon: That was the roses, wasn’t it? John: Yeah. Cinnamon: The tournament of the roses.
John: Mm-hmm. And there were amazing tents and pavilions that were all made of exoctic fabrics and things brought from all over the world to demonstrate, you know, to sort of illustrate the prowess of the fighters that were there. And there was- I mean it was just colors and tapestries and sense and smells that came from all over the world. And you know people just didn’t have the experience of seeing that, so you know when a tournament- Cinnamon: Pretty special. John: Yeah, it was extremely special. Cinnamon: I’m gonna pull some white here and get back into this yellow. And I’m gonna pull it down into my pond. John: So Lisa is saying it’s the Field of Gold that had the wine fountain. She was right.
Cinnamon: Ah. Thank you. John: And yeah, so it’s- so armor’s a really interesting thing. I kinda get into it, so… Cinnamon: So a neat thing we can do while this yellow is here, cause we’re trying to say that this is water we’re gonna pull a little of this green Can you see how I’ve just tipped my brush with it? John: Yeah. Cinnamon: The white isn’t even off. And I’m gonna pull straight down. John: You wanna see if you can get your close up on that a little bit? Cinnamon: Yeah. Alright, I’m just pulling straight down. John: Ok Cinnamon: This is how I’m creating this edge here. See? Isn’t that nice? John: That looks really good.
Cinnamon: There’s our water.
John: Yeah. Cinnamon: Just laid in. I’m gonna come back over here. I know this is quite a lot to take in, but this is how you build the painting. John: It is. It’s a lot. It’s a lot of layers. Cinnamon: It’s a lot. This is a lot of layers. So, I’m just gonna take some yellow oxide. And some of this green. So see how this hill is just a little brighter than the hill behind it. Just a shade. But then it creates, what we like to call in painting, atmospheric perspective. Cause, again, this is a flat canvas, there’s no three dimensional objects.We’re just lying. (laughs) About everything that’s going on here. Or maybe we’re telling the truth. It’s kind of the debate in art. Isn’t it?
John: Mm-hmm. Cinnamon: So I’m getting this in. And so the idea of this is, is I’m blocking in these objects, and then I can come back and refine and define them. Right?
John: Mm-hmm. Cinnamon: Now, when I go around his hand I’m definitely, definitely going to use a smaller brush. And I may paint out my horse’s tail because I know where it is and I’ll put it back in over the green. So we don’t think this was too much or a crazy idea? John: No, I think everyone- I mean, like, so there are people who are tracing it in right now. They’re asking questions, technical questions, in chat while trying to- Cinnamon: Oh, I’m hap- Do I need to answer or you got it? John: Sure, I was, so- Cinnamon: You got them if you got them. You’ve been here for a minute. Well, I was just trying to make sure some of them- Like some of the questions, like tracing questions, we have an entire video on that, so that can help out. Cinnamon: Yeah, and there’s a lot of- there’s a lot of video’s on the transferring of images. John: Yeah. Cinnamon: The other reason I like to transfer on the raw canvas is that I can use transfer paper. John: Mm-hmm. Cinnamon: If I transfer on raw, gessoed canvas, I can use transfer paper very easily, and it’s quite responsive to delicate detail. John: Now if, uh-
Cinnamon: But if it’s painted, then it won’t go on. John: Now if you’re putting, if you’re using carbon paper, and you’re transferring it, and the canvas is all real dirty, Cinnamon: Uh-huh. John: What about using a sharpie to make those lines stand out? Cinnamon: No! John: No? Cinnamon: (laughs) No, those are gonna bleed through. The sharpie gonna bleed through the paint! John. Yeah. Cinnamon: You only wanna use a sharpie if you’re intentionally trying to create really defined lines. John: So, you would be better just to use your, your pencil or- Cinnamon: So, what I like to do when I use transfer paper is I transfer in my object and I have my very light lines, and then I go back with a charcoal pencil or a watercolor pencil and I sketch it in looking at the piece. John: Ah. Yeah. That makes sense. Cinnamon: Right. I don’t just trust my transfer to work it out for me. I still go back and look at what’s there. John: Yeah. Cinnamon: You know, like this hand’s still gonna need a bunch of attention paid to it. Just is.
John: Mm-hmm. Cinnamon: Cause this stuff is crazy. Hands be crazy hard. Hands be crazy hard. John: Hands are crazy. Cinnamon: Hands are crazy hard. John: Angela- Angela is here. She said hello. Cinnamon: Hi Angela. Did you get done? John: She- I I’ve seen her chatting here a little bit so I’m gonna have to jump over and find out if she’s done or if she’s still broadcasting and she’s with us. Cinnamon: (laughs) She’s broadcasting and chatting? John: She’s multi-tasking. Cinnamon: Then we can officially say Miss Angela has won. (John laughs) Cinnamon: She did a beautiful job. By the way I just loved how she did her skin tones. I was actually thinking, Wow, I wish I’d done it that way here. John: Now, the original painting was not an acrylic, right? Cinnamon: Oh my goodness, no! Acrylics didn’t even exist. (John chuckles) John: So this is- Cinnamon: I’m sure he would have painted it in acrylic had it been an option.
(John laughs) Cinnamon: But he didn’t have that option, so he was stuck with oils. Poor baby. John: So, you’re painting this, obviously, in a different different process than they would have been. Cinnamon: Yeah.
John: Cause you’re using- Cinnamon: He would have done an umber study, he would’ve sk- He would’ve done several studies. So how would have done this is, he would’ve had models. And then he would have found locations. And he would’ve studied light. And there’s probably, for this painting, sketches and color studies that went on for months leading up to it. John: Mm-hmm. Cinnamon: This is- Cause there’s no Kinko’s, right? There’s no Google.
John: Yeah. Cinnamon: He- This is about him really preparing for this moment, this painting. These materials are expensive. The whole process of getting the costuming. Think about that. Cause he has to, like, look at fabric. He has to look at hair. He has to have models and inspiration. There’s a whole bunch going on here for him that has to happen so he can create this. Now, very likely, something like this would be commissioned by somebody. Right? Because the expense of creating it was so extraordinary. And the time involved. And the studies. So this, this is like he… he painted sections. He observed sections, and then he thought about how he was going to create this element and this element. And then he put it all together, and it was probably sketched in John: Mm. Cinnamon: Bigger piece. And then done a tonal study like we talked about, in a Grisaille. John: Oh yeah, that’s right. Cinnamon: And then he probably got it in Grisaille, and then he probably glazed and glazed and glazed and glazed and glazed, for days. He glazed for days. (both chuckle) John: Glazed for days. Cinnamon: We are gonna be so rude and disrespectful and do it in about three or four hours. (both laugh) But, you know what, that’s ok, because that’s students absolutely all throughout Europe. Today, if you go into a museum, and those of you who have traveled can confirm, there are always students in the museum, painting paintings that they’re looking at. Cause these guys solved problems that you’ll never be faced with. John: Huh.
Cinnamon: They just did. They- They resolved concepts and ideals and perspectives and- and did it in a way you’re never gonna be contended with. So to go back and repaint a master’s painting allows you to learn very important things about art. John: Now, I was just trying to look it up. Do you know what size the original painting was? Cinnamon: I do not have that memorized, no. John: How- I mean, like, I couldn’t even find it. I was like, you know, trying to google it. Cinnamon: That should be on the Wikipedia. It’s on our link. John: I will check that out, see if it’s on there. John: Do-do-doo… Huh. Cinnamon: I did a famous Raphaelite painting for your mom by Lord Leighton. John: Oh, that was really cool. Flaming June. Cinnamon: I did Flaming June for your mom. John’s always trying to get me to do Flaming June on the show. John: Well, I just think cause it’s a really cool orange-y painting. Cinnamon: It’s a cool painting. John: And you know, you did it, and it was cool. So, I thought, you know. Cinnamon: It is a cool, cool painting. John: If you’re gonna throw down with some masters, you may as well go back to some of the, you know, like Cinnamon: I love doing the Raphaelites, I do. It’s time consuming and there’s a lot more expected on the student, but the result is just worth it. So look, we have that green in right there. John: Mm-hmm. Cinnamon: The other places we can put the- that green, is in all our negative spaces along here. And when I say negative spaces, I mean the horse, this object, exists in a positive space. This is a heavy weight object we’re highly aware of. And the knight, and- but all of the background greenery, believe it or not, for the purposes of this painting, are the negative spaces. John: Hmm. Cinnamon: This is how people, in modernist movements, begin to look at space and go, well maybe I can paint just the negative spaces. John: Yeah. Cinnamon: Right, cause somebody was painting along this going, you know what’s really interesting to me here? Is all this green. (both laugh) What’s happening here? This is crazy! John: Well, the uh, Cinnamon: Let’s study that. John: It looks like the original one was fifty four by seventy four. Cinnamon: Ok, Yeah. Really imagine that for a minute. John: That’s a good size painting. Cinnamon: That- Yes! Cause these are epic. This is the first epic. These guys threw down- I’m gonna turn this on the side, not to mess with y’all, I just wanna… Sometimes when you’re painting the edge or towards the bottom of your canvas, you need to move it so you’re not cramped down at the bottom. If that makes sense.
John: Yeah. Cinnamon: Just pulling this in. (John laughs) Cinnamon: What’s funny? John: So, we’ve got a lot of people from all over the world joining us today. From Spain. From Europe. From the Netherlands. From Holland. From Cinnamon: Wow.
John: England and France and it was just cause everyone’s, uh, everyone was asking for a shout out. And then someone finally just said, “You should just shout out to all of Europe!” Made me chuckle. Cinnamon: Just a shout out to all of Europe. All Europe. Netherland, France, Spain. Sweden, Holland. John: Yeah, there’s- Cinnamon: And then all of Europe. John: I remember, I think it’s a, there’s a Swedish? I think it’s in Sweden, there’s a camp, there’s a school where you just holler out the window and then you can hear all the other people holler back. I can’t remember where I, where I remember seeing something like that. Cinnamon: You’ve got to travel a lot. I’ve traveled, but you’ve got to travel even more than I have. I could just travel the world, painting. I could just travel the world painting and bring all of the Sherpettes and artists with me. John: Well, that’s what I think we’re gonna- we’re kinda working on. Cinnamon: That’s what I’d like to do. John: We’re gonna start on getting together a US- We’re gonna go disney to disney and back to disney. (Cinnamon laughs) Cinnamon: (indistinct) John: And then we’re gonna fly over to Europe and start at disney and we’ll drive across Europe, then drive back to disney. Cinnamon: Just take everybody with us. John: Yeah Maybe we could get a caravan going. Cinnamon: So what’s interesting to me about this painting, when I was painting it, John. John: Hmm? Cinnamon: It was interesting to me the first time, it’s interesting to me again. Is the sheer weight if this horse. John: Oh, yeah. Cinnamon: This is a big animal.
John: Yeah Cinnamon: This is not the little Arabs I grew up riding. John: Well, no, I mean, when you’re Cinnamon: This is like a tank! It’s- It’s literally like this chic has just got herself a little four-legged tank. John: Well, you know those war horses were bred and designed for a whole different thing. They were really aggressive. And they were, you know, they would even bite people. They were that aggressive. And uh, you know, but a jousting horse, I mean even a trained jousting horse I mean, I remember on the ones that I was able to use, they would come across the lane to try to bite the other horse on the way by. Cinnamon: Yeah.
John: They were just that aggressive. John: So…
Cinnamon: Yeah. John: You know, they’re, uh, and they’re big. Cinnamon: Big!
John: I mean, gosh. Cinnamon: This is a big boy. John: Yeah. They’re not draft horses, but- Cinnamon: No, but he’s solid. John: Yeah, they’re just- They’re tanks, they’re just solid muscle. Cinnamon: The free hands I see now are much slighter in build than this boy. This reminds more more of Diane, uh, Diane’s horse, Checkmate. John: Mm-hmm. Cinnamon: Just heavy. Tank. Here, a tank. John: Yeah. Cinnamon: So, this is what I’m doing. I’m just painting in this green.
(John chuckles) Cinnamon: That’s what I get to do right now is paint in the green. John: Oh. Lisa was saying that not all the- Not all jousting horses are aggressive. I don’t think that’s true. I’m- I’m sure Cinnamon: That’s very true, but maybe at the time, you know it’s different and John: Yeah, you know it’s a-
Cinnamon: Now-a-days we have pets. John: Yeah. You know a- Cinnamon: It would not be acceptable that somebody stabbed my horse now-a-days. That would like- Seriously, I would just go off on that. John: No, I had a, I had a real opportunity to get exposure due to a friend of mine. Uh, to jousting, and how the horses were, handled at the time, and things like that. I mean, it’s amazing. Cinnamon: Different, different animal, and I mean like, the ah, uh- Just growing up with horses, one of the things that really blew my mind was the death toll of horses. Like, there’s the human death toll, but I’ve heard the death toll of horses for some conflicts really just tripped me out. John: Huh. Cinnamon: You know. Cause I would just never, ever take my horse anywhere that would be that high risk. John: Yeah. Cinnamon: No! My pet! John: Well, we put armor on the horses. Cinnamon: That’s not helpful. John: That’s why we all play the games. The horse’s love the games. Cinnamon: Well, cause it’s a game now. (John chuckles) It’s a game now. Then it wasn’t a game. Then it was all life and death-y. John: Well, they didn’t know that. They thought it was a game, too. Cinnamon: But I think during the times when they were doing the tournaments, there weren’t that many conflicts going on. It was like a way of staying ready for conflict. John: Right, yeah. And well, I mean at one point, the tournaments were a way of, uh, of practicing, and as you said, training for actual combat, but as it evolved you know, it became a enlightened sport, if you will. And you know, there were tournaments at the barrier, where you fought for points. And, you know, how you struck, and things like that. So, and, you know, at one point they even moved to using wooden swords. So, because jousting and the tournaments became so popular, especially in Europe and Germany, that cities would have loaner armor for people to be able to jump up and start jousting, and you know, it’s kind of crazy, but it, uh, it happened. So… Cinnamon: So, I’m gonna pause in a second, and take, like a litmus test of where everybody is, answer any questions related to the painting, because the questions in this live event might be questions that people on the replay are having. Right? Just in case. I’m just trying to get this coat of green on here. And somewhat the right value. So you can see how this little hill’s coming off the mid-nose here. And wandering off the canvas.
John: Uh-huh. Cinnamon: RIght? So we’re kind of just pulling this down, and then I’ve got to do this space here. Well, I am doing a darker shade of green than this in this space. Does anybody have any questions about how we’re laying this in? I’m gonna pull a little red over to this. A little burnt sienna. John: (chuckles) It’s funny. There’s a lot of people who- who are really interest in the- You know, Lisa was a, uh, a jousting squire. Cinnamon: Was she?
John: Yeah. Cinnamon: Oh, so she’s SCA, too. John: Well, there’s a lot of groups- SCA actually only has a very limited jousting- Cinnamon: That’s true. There’s that big one at the Ren Fair. John: Yeah, there’s a couple other really great jousting troops, and some live steel- Cinnamon: (laughing) So today only seems like it’s about painting. (both laugh)
John: Yeah! Cinnamon: Really it’s about jousting! John: And all of- our, uh, all of the dorks live deep in the forest with us. Cinnamon: So I grayed this color a little bit with some burnt sienna, and other than that, it’s the same mixture as this. Right, I’m gonna kind of paint out my forelock for just a second. It’s gonna go back in. John: You don’t have the close-up camera on that.
Cinnamon: I don’t? Let’s get my close-up camera on this, cause that’s not helpful. Thank you for catching that, guys. So, hopefully you can see that this is just a slightly different shade. Right, what we’re trying for is a different shade than the hill in front of it, so we can see these fields. We want to push it back. This is brighter and greener. This is grayer and farther away. So, any questions about how this painting is being blocked out, at this time? I just want to go over it to make sure everyone can get the painting done. John: Mm-hmm Cinnamon: Is the idea. So, just real quick, I’m gonna talk about what we blocked out so far, and then we’ll get into the next thing. So, my furthest object away was my sunset, my sky. Then I put in this gray mountain, travels along here and this butte comes down and disappears over here. Then, tucked next to it, is this little rolling kind of hill that goes behind these trees. The trees sort of come up unevenly. We gotta Jackie Chan those. Try to break up patterns. Try not to repeat yourself through here. Make uneven shapes. Comes down here.
John: Mm-hmm. Cinnamon: We’ve got the lake which is the reflection on the sky, and then a little pulled down. Right.
John: Mm-hmm. Cinnamon: We have this green space that comes down through here. And a slightly darker one here. And then we’ve just got to put a dark brown tree John: Yeah. Cinnamon: Right here. This is very foreground for us. How is that going for everyone? John: Going pretty well so far. Everybody seems to be really, really into it. So… It’s coming together quite nicely. Cinnamon: I’m gonna add a little Phthalo to the brown here. This burnt umber. To make it as dark as I can, without adding black. We will be adding some black in some mixes in the painting, but as little as possible. And I may, move this, cause it’s a problem to do on that far down edge.
John: Yeah. Cinnamon: I’m just gonna paint this in. Are we good on questions? John: Everyone seems to be thinking you’re doing a great job of explaining it. Cinnamon: Well, I appreciate it. I just wanted to know how you guys are. John: Yeah. That’s what they said. They said that you’re doing a great job of explaining it. Thank you very much. Cinnamon: Alright.
John: You’re doing awesome. Cinnamon: So, we’re just pulling this along here. This is exactly the process I use to paint a photograph. John: Mm-hmm. Cinnamon: Really there’s just no difference. Especially if it’s, like, one, you know, you haven’t painted it before and you’re trying to figure out how to do it. I just look for those things. It’s my number one answer when you guys write me is I find the background, the middleground, and the foreground. John: People are loving your little hat there. Cinnamon: Well, thank you. (makes swishing noise) So I’ve gotta get her and him in now. Wooo! I don’t know how we’re doing on our hour. John: Doing pretty good. Cinnamon: Really? I hate to say this. I need this microwaved. John: I’ll get it
Cinnamon: For like, 20 seconds. And I need the coffee, too, to get through. Hmm? John: (in background) Stunt hands! Cinnamon: Stunt hands! No palette? (John talking indistinctly in background.)
Cinnamon: That’s ok. I’m gonna just talk to everybody about what they’re seeing here. So, back here Background. This is part of background, maybe middleground. This is gonna be through color and um, the layering of the objects, the way I imply that this object is in front of this object, this object is in front of this object, this object is in front of this object, which is actually in front of this object, lets me say, this is my background space. But then I’m now putting this ob- these objects are layered to show their relationship to each other. Right. So, by positioning him in front of her we’re talking about how he’s in front of her. I know it seems like a silly thing, but a lot of times as artists we forget to layer objects over each other (whispers) Thank you Oh! Ok. I just didn’t know he was gonna be there. And he’s green and he blends in. He’s like, She’s purple. I don’t know how to do purple! He’s like- He likes the hat. He doesn’t like purple. He likes the hat. Look, he’s looking at the hat, like I could do the hat. You can take him closer to the hat. Cause he feels like the hat is a color he can do. He’s like, Yup, I can do that. This is Blendy. This is our new- our new family member. (laughs) That John snuck up on me with. Blendy’s like, Dude! Why am I on this hat?! He’s so pretty. Look how gorgeous he is. Isn’t he just the best green? Think about how you’d make that green, that great green. I have to think about that when I’m looking at him. How do I make that great green? He’s hanging out. John comes up and I’m like, What’s that?! Oh yeah, that’s our pet! (laughs) I don’t know, I startle easily. You have to just forgive me. I’m like you know, talking about it. Oh my goodness. So I’m gonna switch water. John’s probably gonna be getting John: I’m ready. Cinnamon: fresh cups of water soon. You can kind of see where I’ve, uh left one of these in too long, and I cracked it.
John: Doh! Cinnamon: So, I’m going to start putting her in.
John: Mm-hmm. Cinnamon: And one of the easy things that I can put in on her is this hair. And I’m gonna get just my darkest brown. Even though she’s a red, red, red head, I’m gonna get my darkest brown out. Then also just spray this right now. Again, my studio lights are really hot. John: Yeah. Cinnamon: So, I’m just doing what I can. I could also mist that with a fine mister of water. John: Mm-hmm.
Cinnamon: A micro-mister of water. Also works, just to let you know. See if I gotta move this camera.
John: Do-do-dooo! Yup. Cinnamon: Yeah, there we go.
John: Everyone’s like, zoom in! (John laughs) Read as loud as you can.
Cinnamon: So that’s what we’re doing. We’re just We’re just gonna put this in. To get her hair to be so vibrant and red, it’s gonna require that we, we put this in. Alright. Getting that in. Or that’s how I do.
John: Yeah. Cinnamon: That’s how I do. I always think about Eliza Frank when I say that. (John laughs)
Cinnamon: I do like a chameleon do. Just (laughs) Now, I’m gonna be putting in, I promise you from doing this last time, I’m gonna be putting in her face a couple of times. It’s a little bit of work. Right. It’s not a completely simple thing. (laughing) I’m actually holding on to the canvas to hold the easel and hold myself up. That’s sad! John: So (laughs) Cinnamon: (laughing) That’s so sad. John: So, now, the brush strokes that you’re doing right now. Does that matter on the direction? Um, you know, uh If I wanted to fussy stroke this I could, you know how there’s fussy cutting in quilting?
John: Yeah. Cinnamon: I could- I could- I could put everything down, really thinking about the brush stroke. I promise you Dicksee did.
John: Yeah. Cinnamon: But, I can also do this without it, so I’m gonna do it without it. John: What size brush are you using right now? Cinnamon: I am using a number four bright. So, right now I’m recommending a number ten, um, a number six, a number four, you could probably do a number eight, if you couldn’t get a six, John: Yeah. and, uh, I’m recommending those in both the filberts and the brights. I’m really loving the brights. Cause they just push my paint around. Now, Dicksee managed to paint these people open-mouthed, but when he painted them it’s a lot bigger. When you’re painting smaller, you can not get the detail in. You can, but it’s just, you’re gonna need a magnifying loop. I get- I noticed when I’m using my magnifying loop lately, I get a little seasick. (laughs) It’s really weird! John: Huh. Cinnamon: I don’t know. It’s a new thing.
(John chuckles) Cinnamon: It’s a new thing. I might, cause this part of the hair is a little lighter than the rest of it, I might pull out some burnt sienna. John: Everybody’s loving it that you’ve got- that they have red-heads. Cinnamon: Oh, yeah, they have red-heads. Uh, the Raphaelites, um, so- They often obsessed on red-heads. Most commonly. And there was some famous famously scandalous models of the time. (John chuckles) John: Well, I’m fond of red-heads. Cinnamon: I’ve noticed. John: Although now we have some pink and purple. But that seems to be a trend amongst red-heads. Because there’s a bunch of them in the- in the chat. saying, you know, red-heads like to go pink and purple at some point. Cinnamon: Yeah. John: So, I guess it’s a it’s common. Cinnamon: It’s common. Something we do. It’s what we do! (both laugh) Cinnamon: Alright, now I’m gonna take a little of the blue over to this brown here. Make a really dark color, and I’m gonna come in and do his hair real quick.
John: Oh, yeah. Cinnamon: Just real quick while I’m here. John: Ooh! I looked over. There’s 292 with us right now. Cinnamon: I’m so excited to see all of you! I hope you’re all painting. You’re all painting, right? You’re all doing it right now? You’re painting, you’re at home, you’re painting. John: And they’re gonna post these up on Facebook and Twitter, Instagram, and all those places so we can see them. I want to see all of your awesome paintings. Cinnamon: I do actually want to see all the paintings. John: I really just think, like, you know, think it’s awesome. Cinnamon: He’s got some Elvis hair right now! (both laughing) Cinnamon: Oh, so weird. John: So, you want to try closing up- pulling a little closer on that, just so that they kind of see what you’re doing in there. Cinnamon: Oh, I was about to go over to the horse.
John: Oh, ok. You’re going over to the horse. Cinnamon: Yeah. I’m gonna go right here. He’s kind of a hot mess to paint. He took me a little minute.
John: Oh, yeah? Cinnamon: Yeah, because the value- He’s so dark. John: So what are you doing right here? Cinnamon: I am coming around his jaw line. I’m trying to block in these values that I’ve got to put in for him. John: Mm-hmm. Cinnamon: And they need to be really dark. And I know they need to be really dark. So I’ve got Phthalo Blue, and Burnt, and I’m gonna actually at some point, have to come back with some black which is like crazy, but it’s just what it takes to get him in. And I’m just painting him in. I’m gonna come up here. I’ve marked in his little eye. I’m gonna make sure that’s really dark right here. And then, we’ve got his little nose. So I’m gonna make a little kind of curved line here. Everything below that’s gonna be really dark. I think about his skull when I’m painting it in. John: Now, can I-
Cinnamon: Curve that line but leave this lighter. Yes, can you what? John: Well, I’d like to say a lot of people are really- they’re looking at this and you know there’s some people saying, Wow, this could be a little too much for me. Cinnamon: It- Well, yeah. John: I was gonna say, I’ve watched you paint this and this is a difficult painting. This is a challenging painting, but I’ll tell you what. It’s about the layers. And I think that if some of our- you know, if you’ve painted a two hoot painting before… Cinnamon: If you’ve done a three hoots. If you got through the lion, you got through fox, and you got through the dragon, you’re probably ready to take this on. John: Yeah. It’s, uh, and I’ve watched you paint it, and you’re able to pull it together. It comes together a lot better, a lot faster, than you would think. Cinnamon: It does. I mean, it just doesn’t seem fast. (laughs) John: No, I know. I mean, you know, it’s a long time to paint this
painting, but I mean still. You’re taking on a Pre-Raphaelite, so. Cinnamon: Yeah. And I’m gonna come down just below his nose, but I’m gonna leave everything above here just a little bit lighter. So that’s how I’m gonna get that little shadow in. Right. So there we go. Got that. Just… Now and then, take this sorta up here. Temple. Bri- It’s so crazy to build in a horse’s skull. But there you can see, it’s kinda in.
John: Yep. Cinnamon: It’s kinda in. (laughs) So, once I know where that is I’m gonna just wipe this off. And I’m gonna get some just brown and a little bit of the burnt sienna, since it’s not as bright.
John: Mm-hmm. Cinnamon: And I paint this here, this other tone. I’m blocking in my horse.
(John chuckles) Cinnamon: I’m blocking him in! John: And I think that’s what a lot of people are trying to understand. You’re just blocking in some basic colors. Cinnamon: Ok, so this is a bit like my Grisaille. It’s a bit like anything else. I’m looking for my gray scale.
John: Mm-hmm. Cinnamon: But I’m telling my gray scale story in values of hues, right. Just different colors on the wheel. But this is like maybe a seven and that is like maybe, what do you think, a five? John: Yeah. Looks like it. Cinnamon: So, that’s how I’m blocking it in. And this is maybe even a little too light for the area and I might have to come back with a darker color. But right now I’m just trying to say that this plane of the face has got a little more light reflecting on it than this plane of the face. (chuckles) It’s a very crazy thing. I’m gonna come up and tell some ear story here. I’m gonna come up and tell some ear story here. I’m gonna come back along this curve of his neck. And this is where it is. What it is, is that, it’s not that people couldn’t paint this painting. They just don’t know where to even start. And what I’m hoping is- I just grabbed some darker color here. Is that by me doing this, it gives you guys, like, um, I don’t know, like a road map. Like a…
John: Mm-hmm. Cinnamon: Bat signal, something to help you guys find your way through this painting. So this value’s just right now a little darker than this value. And it’s helping me keep track of what the heck is going on with this horse. John: Mm-hmm. Cinnamon: And that’s what I’m trying to do. John: Jane was thinking of taking it on in watercolor. Cinnamon: Jane Font?
John: Oh, I’m sorry. Mona. Cinnamon: Mona. Go Mona! You can do it. (both laugh) Cinnamon: It would be built very differently in watercolor. John: I imagine so. Yeah. Cinnamon: Be a very different painting in watercolor. John: And if you’re worried about taking on some of these, we have the art quests out there that can help you build up some of those understandings. Cinnamon: Yeah. This is, I guess. Yeah, this is possible, though. John: Yeah, you can totally work up to doing this. And, you know, we really try to help people get that first start here. But we also wanted to show you that you can achieve stuff like this. You know. Cinnamon’s really, like, I think she’s amazing at helping showing you how you guys can break these paintings down. Cinnamon: Yeah, and it’s always about breaking it down. Right. It’s always about breaking it down. John: So what are you doing right there? Cinnamon: (sighs) Getting lost in there. (John chuckles) So I’m just trying to make sure I don’t lose my head for a second. John: Yeah. Cinnamon: I don’t want to lose my head. So I’m just making sure this brown, this is a little bluer than this brown, and this is a little deeper. Eventually this is actually all gonna run about the same range, and there’s gonna be just a little highlight right there. But so I don’t lose his head, I kinda- This is like breadcrumbs for me. I know I need a coat of paint.
John: Mm-hmm. Cinnamon: I know I need a coat of paint.
John: Yeah. Cinnamon: I know I need to be able to get back here and find this jawline to highlight it. But if I paint this sucker all black John: Yeah. Cinnamon: You’re gonna have no idea what I did. So, by doing this I’ll be able to come back and find that highlight, and I can deepen this easily later.
John: Yeah. Cinnamon: I didn’t even underestimate that amount of time it would take to do that. John: No, you just knocked that right in. Cinnamon: No, no. I mean, like, are we within time on blocking? John: I- You know, I’ll go over and take a look. Cinnamon: Doesn’t matter. I’m gonna hang in until this is done. So that anybody who might possibly want to do this, can do this.
(John chuckles) Cinnamon: That’s my goal. Make it a little darker right here. John: Yeah, we’re at fifty-seven minutes. Cinnamon: Ok. Alright. So I’m running a little slower than I want. John: A little slower. Cinnamon: A little slower. So it might be an hour and a half to block it in. An hour and a half to do the details. We’ll see. As long as I can handle standing on my feet,
you guys have me.
John: Yeah. Cinnamon: So my darkest, darkest leg on him, I’m getting the blue and the brown. is gonna be this back leg. I’m gonna flip the canvas so it’s easier for me to get it in. John: Now, did you use a website to enlarge the traceable? Or is that just a tool you had? Cinnamon: I use Pixelmator.
John: Ah. Cinnamon: To edit mine, but there’s a Raster website that everyone’s been recommending to me from the group, so I shared it on the Facebook page. John: Oh. Ok. Cinnamon: So people could find it because it actually breaks it up into, um, little squares. John: Huh. Cinnamon: And does the math and size for everybody, they said. And I was like, well that seems useful if you’re trying to do this and you’re not really sure how to do it. So I’m gonna paint underneath my knee, from about here down, in this dark, dark color. John: I think it’s rasterbator dot net. Cinnamon: That’s- rasterbator dot net. That’s right. I think cause it sounded like some other word I just didn’t want to say it. (John laughs) But that’s cool. (both laugh) John: You didn’t want to get it wrong. Cinnamon: I didn’t really want to get it wrong. So I’m gonna come up with this dark dark color up the back side of the leg. And on the inside here. Dark dark dark dark dark dark dark dark dark. I need to leave a highlight space there so I don’t want to paint it out. Right. Don’t paint out your highlights.
John: Yeah. And again, this is a great chance for- Again if you’ve done the dragon, done the fox, done the lions, You’ve done the winterscape, and it was like, you’re like, yeah that’s really kinda working for me. Yeah, you’re ready to put yourself here.
John: Yeah. Cinnamon: And if you haven’t done those You will. These are all skills that build up on other skills. This really is about the journey of being a new painter, and this is still in the new painting category, believe it or not. John: Hmm. Cinnamon: I know that seems shocking. People are gonna be like, this is not for a new painter. This is not for a first day painter. No, but this is definitely for a confident, beginner. John: Mm-hmm. Cinnamon: Confident. Confident beginner. Dark color here. Can they see that? I don’t know if they can see that. John: Yeah, you just have to adjust that camera a little bit. Cinnamon: Where am I adjusting? Ok. I’m lost in my own canvas. John: See, that’s cause you got it sitting on it’s side, so it’s. Cinnamon: Yeah, it’s just, it’s just- I’m lost in my own canvas, but you gotta turn it sometimes to maintain control over it. John: (chuckles) They, uh, So nice. Everyone says that if you need to take a rest and sit down, then we can resume again later. Cinnamon: Are you all worn out? (laughs) Is this about you all being tired?
John: I think they’re worried about you. Cinnamon: I’m ok. I’ll get through this. John: Sherpa makes it up the hill? Cinnamon: Sherpa makes it up the hill, every time. That’s Sherpa’s job. Alright. So we’re doing pretty well here. John: I also told them that I chained you to your easel so you couldn’t leave, so. (both laugh) Cinnamon: (sighs) You’re so funny. As if you could. As if you could do any of that. John: Yeah. Cinnamon: So I’m gonna grab some just brown. Come up the top of the leg. This is still a pretty dark color. I haven’t really rinsed out my brush. But again, I’m just blocking. If you have too much paint, wipe off your brush. Just blocking. Blocking blocking blocking blocking blocking. Blocking blocking. That’s what this is all, all, all about. Blocking. Not just a word I really really like to say over and over and over again. Now, I’m going to paint out the barding. Cause I can. Just cause, I know where it is and I’m gonna put it back in a minute. John: Yeah. Cinnamon: And I want this dark, dark color underneath the barding to create the depth of it. Don’t paint out his hand! I’ve done that before. I’ve been in such a rush and- uh, oh wait. I needed that information. Darn it. John: And I- And I- And- And Lisa’s right. We just gotta keep blocking this in, right? Just keep on blocking. Cinnamon: This is literally about blocks and refinement, and blocks and refinement. I mean. There’s a reason why there isn’t a video on this painting. But now there’s a video! (both laugh) John: So-
Cinnamon: The crazy Sherpa said let’s make a video of this! John: You did, and you didn’t even say, uh, let’s do an easy painting. You were like let’s take on! Cinnamon: Well, we had a really easy one Tuesday. We have a brand new, never painted before paint with any member of your family have fun yourself and just relax a little bit painting on Tuesday. Heck, it doesn’t- You don’t even have to use acrylic paint. You can go get Crayola watercolors. John: Oh, so Lisa was asking, if you lose the hand, that you painted out, uh, how do you reclaim it? Cinnamon: (laughs) Ok. And I may.
(both chuckle) So what it is, is I have references here. John: Yeah. Multiple ones. Cinnamon: And I’m gonna be leaning on my references really heavily. If I paint it out, I better have my reference photo, and I’m gonna have to go back, and incrementally try to get it back in. Or, paint something over it. That’s my very favorite thing I think artists do, when they’re like, they lose something that they needed the reference for, the tracing for. And they’re not really ready to free hand it back in, but there’s nothing they can do, then all of a sudden you’ll see a bow or a basket or some object. (laughs) John: So there’s an interesting- Cinnamon: And I’ve done it so don’t be- There’s no shame in that game. There’s no shame in that game. It happens to all of us. I have literally stuck bushes in front of a lot of stuff. I was like, I don’t know what that is anymore. Bush! (both laughing) And people are like, I love how you painted that bush! Yeah! I’m good at bush!
John: That was an extra layer. Cinnamon: Yeah. It was an extra layer. So, we’re gonna have to paint the reins back in too. I’m gonna see like two of these paintings online. John: So there was this really interesting question here about tracing. Cinnamon: Mm-hmm. John: And all of the implications around it and I’ve noticed-
Cinnamon: Implications around tracing?! John: Well, right.
Cinnamon: There’s implications! John: Well, here-
Cinnamon: I’ve certainly heard some people lose their minds recently on the subject of tracing, but I don’t know. I think that’s just – John: We’re not gonna get that esoteric.
Cinnamon: Ok. John: We’ll just say, when you go to trace something, right, there’s a certain level of detail in the tracing you try to achieve.
Cinnamon: Yeah. John: And there’s also, a lot of people are commenting on that they’re afraid that when they’re blocking in the colors, they’re gonna lose some of that detail. Cinnamon: Yeah. John: So what do you do? And how do you recover it? Cinnamon: Well, I’m not gonna lose this hand. I’m gonna be very careful to go around this hand. But I can lose the barding here cause it’s a straight line. I make a decision what I can lose. So, if I put this back out here. Ha-ha. Look. John: Yeah. Cinnamon: Right. So I’m- This is straight lines, this stuff, I can lose this and get it back later. John: So you can use the reference as-
Cinnamon: Yeah. John: You’re gonna use the reference to fill some of that blocking back in there. Cinnamon: Yeah.
John: Gotcha.
Cinnamon: So I remember what the heck I was doing. John: So you’re not so much worried if you had, uh if it changes just a little bit. Cinnamon: Yeah. And here’s the deal. Mr. Dicksee had references. Pages and pages and paintings of references surrounding him when he painted this piece. John: Huh. Cinnamon: This hand in this position, and this position, her delicate positioning of her hand, these were from studies. He had those studies there. Cause I mean it’s not like they could get this horse to stand in this position for like five weeks. John: Uh, Yeah. Cinnamon: (laughs) Right. So he had to come in and gesture sketch the horse in, and the girl in, and make notes on lighting, and then come back and do watercolor studies. Studies! John: Mm-hmm. Lots of studies. Cinnamon: Lots of studies, and then, um, another thing painters would do is they would they had an idea for a painting, they’d do these studies and then they’d paint it a couple different ways and then Right. And then John: And then? Cinnamon: And then! And then…
John: And then you had to do the blocking dance. (music changes, get louder) Cinnamon: And then you had to do the blocking dance. And they might paint it a couple times. (music) What’s that? John: It’s your blocking dance music. John: Because We have nothing better to do than blocking dances. Cinnamon: We should all dance. John: We should all dance. More of these should happen. Cinnamon: Woo! You know when you have a head cold and you dance and get really winded! (both laughing) Wooo! Now I’m puffing in my thing! (John pants in background) Cinnamon: My mom had this video up on Youtube years ago that had like eight hundred thousand views!
John: Oh, yeah. Cinnamon: For, um, how to stretch a canvas.
John: I remember. Cinnamon: And it was really helpful. It was like really how to stretch a canvas. And the only- She would get these comments about, why are you panting? Cause, lady I’m stretching a canvas! John: Yeah! She was stretching a canvas! Cinnamon: But I’m, like since then I’ve been really self-conscious on YouTube. I’m gonna pull a forelock down on this horse. Um, Where am I going? There I am! I’m gonna pull a forelock down on this horse. I just gonna get this sort of layered here. Cause I know I need it. This horse has a forelock!
John: (joking) A forelock, not a fifth lock? Cinnamon: Not a fifth lock. John: Or a third lock?
Cinnamon: Not a third lock. There we go. Forelock. John: I don’t know. That looks like a five or a six lock to me. That’s a big one. Cinnamon: You know what? Start it. Start it, Mr. Cooney. I’m sick. (both laughing) I’m on my feet. Trying to paint Dicksee. Just, let’s go. (both laughing) I’m ready for ya. So, that’s a little Phthalo Blue and brown and I just John: Now, if you’re having trouble blending
Cinnamon: Mm-hmm. John: What would you use, like a slow dry medium or… Cinnamon: Ok. So, here’s my thing on retarders, and we’re gonna really look at them later. Retarders are functional, but like everything else in acrylic, they are moisture and heat sensitive, so they work sometimes better in some areas of the world than others. We are gonna like, at some point, show how to oil the canvas with palette wetting spray, though. John: Oh yeah?
Cinnamon: Oh yeah.
John: Here, today? Cinnamon: No!
John: Oh, ok. Cinnamon: Maybe. Depends on how tired I get.
(both laugh) Cinnamon: If I get really tired, yeah, maybe today. Surprise lesson. Palette wetting spray. How to oil a canvas. Cause I gotta go.
John: Yeah Cinnamon: I’m finishing this today. Even if no one ever watches it but this crew.
(John laughs) Cinnamon: Even if it just dies on the vine on Youtube.
John: You’re gonna drag this one across. Cinnamon: (laughing) I’m like YES! (both laugh) This is happening! This video was being made!
John: Yeah. Cinnamon: So, see how I just pulled that mane down there?
John: Yeah. Cinnamon: Ok, so it’s kind of in, right? Kind of.
John: Kind of.
Cinnamon: (chuckles) Kind of. Alright. A little of your Burnt Sie- Burnt Sienna and Phthalo Blue, please. John: Now someone was just asking….
Cinnamon: And we’re gonna pull this, right, blanket over here. See it’s a little green?
John: Oh yeah, let’s see if I can get that closeup of you. You have to adjust that close-up camera over there. Cinnamon: Because we’re gonna be getting her in, and I just want to get that sadle in. John: There you go. Cinnamon: So, how I keep track of this, like when I get a lot of brown on brown on brown on brown on brown John: Brown on brown. Cinnamon: Brown on brown. There’s a lot of brown on brown happening here. Green on green. These are- Sometimes you’ll have this and you’re like, Uh! So much of this. I just do this. That way I know what’s different. Ok. That got a little away from me, but I can paint it back in. I’m gonna paint a gray here.
John: Yeah. Cinnamon: So, now you’re like this is what your burnt- Your Ultramarine was for. I’m taking my Ultramarine. And my Burnt Umber. And a little white. Those of you that paint with mom are like, “I know this!” (laughs) Cause this is the basis of like almost all of my mom’s grays.
John: Yep. Cinnamon: Mostly cause she won’t go buy Payne’s Gray anymore. (laughs) I don’t know why. (sighs) So we’re painting that in. John: Audey is giving me trouble.
Cinnamon: Is Audey still with us? John: Yeah, she’s giving me trouble, saying she wants more dance music. Cinnamon: Hey, Audey, you should do like an Audey-style version of this painting. For your channel. The Audey Version. With your like cute little adorable whimsical girls. I’m gonna just, without losing my hands! I’m gonna paint a little touch of this gray in here. I don’t want to lose my finger! Alright. Whoo. (sighs) Goodness gracious. Alright. Sippy sippy.
John: Sippy Sippy. Cinnamon: Oh my goodness. I can’t believe I’m doing this on live. (John laughs) Like what was I thinking?! Angela! I don’t know if you’re there! What were we thinking?! (laughs) John: Yeah.
(Cinnamon laughs) Cinnamon: We were originally gonna paint each other’s paintings live too, on Skype. John: Oh my gosh that would just be like… Cinnamon: And I just- just got sick, had it in my ears and my chest, and I was like. I’m gonna tomorrow. I won’t even be able to yell at my children. John: Sure you will. Cinnamon: (sighs) You know how it goes. John: Yeah. We always We can work it out. Cinnamon: You will be my yell translator when I lose my voice. John: I’ll yell at the kids. Cinnamon: That’s what- Coffee actually keeps the vocal cords warm. John: They do ok on their own. They’re alright. They’re big kids. Cinnamon: Believe it or not (laughing) There’s a birthday party going right now too.
John: Yeah. Spyder’s birthday’s going on right now. Cinnamon: He had a whole other finished birthday but there was one friend he just really desperately wanted to see. He couldn’t see on his birthday and I and his mom very generously let him come over.
John: Mm-hmm. Cinnamon: And- But she could only come over today.
(John laughs) Cinnamon: During the time we’re filming. So there was cake and that happening, all during this. John: Yep. Cinnamon: Alright, so I’m pulling a little cad yellow, cad red over. Do-do-do-do-do-do. And I’m making kind of a little orange here. Like ya do. (kid screaming in background) That is not a bad scream. Don’t worry about that. (both laugh)
John: I’ll go peak. Cinnamon: My youngest is in this stage where she can really really belt it out. I’m gonna pull a little white over. And we’re gonna start making this peach of her dress. Some of these little peach ranges going. Alright, I feel pretty good about this. I’m gonna paint in the basis of her dress. And block it in. Hey guys! Stop murdering each other. So not good. They’re actually not. They’re just playing this really fun game. (sighs) So I’m gonna just paint this in right here with this wonderful peach. This fabulous little peach. Yeah. Painting it in. This is the block of that. Oh, It’s so hot in here John.
John: Sorry about that. It’s- Cinnamon: It’s so hot. It could just be me. (laughs) I could just now be running a fever. John: I think- I think that you’re You’re under some spread lights. Cinnamon: (continues laughing) It’s so hot. John: It’s gonna be so awesome. We’re gonna be at the end of this and the Sherpa’s gonna pass out. (both laughing) Cinnamon: Just, like what’s-
John: Live, on YouTube! (Cinnamon laughing) John: Watch the Sherpa drop! Cinnamon: That’d get some views.
John: That’s right. Our views would triple! Cinnamon: Wait, wait, wait! A minute, hour twenty seven she just goes down! John: We get picked up by failarmy.
Cinnamon: And it’s so funny, cause like Angela She’s like you know you can reschedule. And I’m like, I will not reschedule! John: We wanted a viral video. This is the way to do it. (Cinnamon laughs) Cinnamon: I don’t- I wish this were one, but I don’t think this is gonna be one. John: You remember all those eighties marketing phenomenons where it was like, hold your hand on the car, last person hands off wins.
Cinnamon: Yeah. John: All those weird things.
Cinnamon: I think I just gone to that place like. On some weird level. I’m there. John: We’re only kidding you guys. We actually love doing this. Cinnamon: No, I love doing this. This is why I’m here. John: Yeah. Cinnamon: I really love it. I’ve been looking forward to this for an incredibly long time. John: Yep. Cinnamon: And I just really wanted to do it.
John: Yeah. Cinnamon: Ha. She stole my turn. My littlest, she’s a- she’s a- she’s a handful. That’s a nice way of saying it. She’s a handful. John: She’s high spirited. Cinnamon: She’s high spirited. John: Which is a really nice way of saying P I T A. (John chuckles) Cinnamon: P I T A?
John: Pain in the…. Cinnamon: Oh! John: Other end. Cinnamon: Ok. Wow. Wooo. I think I need a fan. (both laughing)
Cinnamon: I really do! I bet Angela’s like, I told you to take the day!
(both laugh) Cinnamon: And I’m like, No I paint it! It’ll be easy! I can do it! I’ve painted it before! I’ve done this live. On location. Is the movie over? They didn’t like the movie? John: No, they just decided that screaming at the edge of the door was the best. Cinnamon: Ah, I used to love that. I used to love screaming as a kid. Didn’t you? John: You know, maybe. I don’t know. Cinnamon: You don’t remember?
John: I don’t remember.
Cinnamon: That’s sad. That’s sad you don’t remember. John: I wasn’t an inside the house screamer, I don’t think, though. Cinnamon: No, I think your parents just let you leave the house at a very tender age. John: I think they kicked me out of the house at a very tender age. (both laugh) Go play with the wolves. Go outside. Cinnamon: So I’m blocking this out but you’ll notice there’s some spaces that I’m leaving not blocked. John: Mm-hmm. Cinnamon: And that is a lot about that I need to make a darker tone in there. So I’m just blocking the stuff that I need to block. The ones that I need to have the deep tones underneath, right away, I am doing. John: Have to get that close-up camera there again.
Cinnamon: Ok. Happy to. Is this just seem like- Is anyone gonna go for it? (laughing) Or am I just painting with myself? John: Oh no. There’s lots of people asking. So- and actually uh, uh… Oh. My… My R A Cat. My Ra Cat? I’m not sure there’s many ways you could pronounce that. Was just asking, could you frisket the hands? Cinnamon: No. John: No. Cinnamon: No, cause, uh, there might be a frisket for acrylic painting, but the frisket is designed to come off paper and water media. John: Ahh. So you have to make sure you find something for acrylic painting. Cinnamon: Yeah. Yeah. John: In, on canvas. Cinnamon: Yeah. John: Which just might be like, to paint it back out. Cinnamon: Unless you can find someone who’s solved that problem, here’s the thing. You gotta realize that there’s always artist that just don’t care what the manufacturer says at all.
John: Mm-hmm. Cinnamon: Which is fabulous, the best thing ever, cause they’ll use the product in some unexpected way that actually work.
(John laughs) Cinnamon: And then they solve some problem for you that the manufacturer didn’t even know could be solved. John: Interesting. Cinnamon: So, you just- you wanna be like, well, I kinda know this is generally the rule, But there might be an exception if I look hard enough. But- Unless you want to be the person who’s figuring out the exception… Right? John: Well, Simone- at least one person here, Simone’s painting along with you. Cinnamon: Yay, Simone! Thank you, Simone. John: I know that-
Cinnamon: Thank you! Thank you! Thank you so much. John: Well, I’m also gonna say IMP Mulcahy. Miss Mulcahy. She, uh, she’s tends to join us and go full screen. Cinnamon: Does she?
John: Yeah. Cinnamon: How is this full screen? Oh my Gosh! John: Oh, no. Because they’ll have it at home, and instead of having the window open so they can chat, they just go full screen, and then watch it on the big screen, cause they’re painting along, they can’t be engaged in the chat. Cinnamon: Oh, wow. Alright. I’m gonna go some shadowing here. I added some dioxazine purple to my mix. John: You’re gonna have to move your close-up camera up. Cinnamon: I’m gonna have to move my close up camera up? John: Yeah. John: So I know it’s a-
Cinnamon: I’m gonna get the shadow on these peaches. John: It’s harder sometimes to get people to shout out when they’re painting along with us. Cinnamon: Yeah. No, and I appreciate that. I so appreciate- If you’re painting along right now, thank you. Cause this is really doable. And people never know how doable it really really really is for them. John: Ah. Viv is painting along too. She’s still in the greens, though. Cinnamon: It’s ok, Viv.
John: So. Cinnamon: It’s all good, Viv. John: Yeah. So it’s- it’s- I appreciate when you guys come and comment that you’re painting along with us. I know it’s tough. Linda was full screen too, and there’s a lot of chat coming by right now. It’s a full house today, and everybody is really having a good time. Cinnamon: I’m so glad. You know, when Angela and I came up with this idea we were just trying to think of something that would be so different and so fun for you guys. That’s like literally where we were coming from. I’m gonna come around this here. Give her good pom-poms. (both chuckle) Cinnamon: Sorry, it’s just a Made By Mommy craft joke. (both laugh) John: So, I really appreciate everyone. There’s a lot of people out here commenting that they’re throwing this up on the big screens and the full screens and, you know, if you’ve got a chromecast, that’s a great way of getting this up on the big screen really inexpensively. Cinnamon: Yeah. John: You know. It’s another one of those Google tools, but it streams YouTube onto just about anything with an HDMI cord, so. Cinnamon: Yay that!
John: Yeah. They’re pretty cool if you got one. Cinnamon: Alright. I’m gonna come over here and do this peach. Add just a tint of purple to it. Get this just so I know where the where that sleeve is. I added just a tint of purple to the peach so that it was just slightly different than the peach below it. John: Ah. Lucy says she runs full screen on her TV but keeps the chat running on her phone or something else so she can keep in. Cinnamon: Well that’s like a Periscoper. She’s like, crafty. John: Yeah, she’s got like, multi-tech happening. Cinnamon: Alright. I’m gonna add a little purple to my red. I might even add a little phthalo blue. Trying to make a very deep red. I’m gonna come across this part of the hindquarters. John: Ooh! (laughs) Cinnamon: What? Do I need to move the camera down? John: Probably yes. It was just a suggestion that you could do a paint by numbers and I was like, hmmm. Cinnamon: I would love to, um, we gotta get through the coloring book. John: Yeah. That would be kinda fun to do.
Cinnamon: We gotta get our app out on the market. Website up, also would be good.
John: Yeah. Cinnamon: The minute those are done, though, I would totally, totally, create some paint by numbers pieces based on our paintings. John: Mm-hmm. Not this one. This is by Dicksee.
John: Yeah. Cinnamon: (laughs) I don’t have this one. But, you never know, maybe partnered with the people that like the museum or whatever, that currently has it on display. How ever that goes. (whispers) How ever that goes. John: So what brush are you playing with right now? Cinnamon: This is that number two bright I was recommending. John: Same one, huh. Cinnamon: No, I switched from- I stepped down from a number four to a number two. The hardest part of today are these ear phones, on the ears that are tender. John: Oh, yeah! I’m wondering if we can Cinnamon: I can tell I look red in the eyes on there. Woooo!!!
John: Ears are hurting you? Cinnamon: I’m good. This is actually fun. I mean, I would just be like, what? Watching TV and be like- (moans). John: Yeah. Cinnamon: (moans) And this is actually fun. And I think this is what I’m doing for Valentine’s Day. John: Is it? Cinnamon: I’m spending the day with you, painting this painting.
John: Yeah. Cinnamon: Yeah. John: Yeah. That’s pretty good stuff. Cinnamon: We gotta do kids Sunday. John: Oh yeah. We’ll still do something fun at night. Cinnamon: My mom can’t watch kids cause it’s the busiest calendar day of the year for painting parties. So, she’s like literally in back to back painting parties, until Monday. John: Wow! Cinnamon: Yeah. John: Alright. Cinnamon: I’m gonna get some brown and some of that blue again. John: Yep. Cinnamon: Make some of that deep, dark color that we had going. John: And away you go.
Cinnamon: And away I go. I go way over here and I’m going to, um, move my thingy. John: Do- What? Yeah Cinnamon: So you can see me. I’m just painting in this part here. John: Ok Paint it in. Cinnamon: I’m gonna paint it in. Cause it needs a coat of paint, too. That doesn’t mean I’m not gonna come back with another color. And brown it up or change it up. John: Mm-hmm.
Cinnamon: I just wanna… I gotta literally coat all- the hardest part of this whole painting- Well, not the hardest part. But one of the hardest parts of this painting is blocking it in. John: Hey, I just saw The Ghost Huntress scroll by there so I just wanted to say thank you. Cinnamon: Thank you! John: Awesome care package you sent over. That was awesome. We have all of our happy loot over here, stashed behind me. Cinnamon: John has so much fun with that. Thank you guys so much for Hart Mail. John: Especially that box. The magical pear box.
Cinnamon: Yeah. All the boxes. All the stuff. It all works for me. Cause I- just- do- I just even appreciate anyone just going to the post office. John: Mm-hmm. Cinnamon: I’m gonna come back and paint a lighter color over his legs and hose, but I think I want to… paint these both in dark, just so I know where they are. John: Yeah. Cinnamon: Just wanna know where they are. Later. [laughs] I think I’m running a fever John. John: Are you? Cinnamon: Maybe a little bit, come feel my head. John: I will come. Do you need some ibuprofen, too? Cinnamon: I took some right before I got on, which is why I’m cool. John: If we need to intermission this one we can.
Cinnamon: Nope. Nope.
John: No? Cinnamon: No. I determined a couple days ago that no matter what I was painting this painting. John: No matter what. Cinnamon: It- It got to that place. I’ll tell you that right now. It was a no matter what. This painting’s being painted.
John: It’s going up. Cinnamon: It’s going up.
John: We’re gonna do it. Cinnamon: I’m gonna do it. No one’s gonna tell me. John: You know-
Cinnamon: Mmm-mmm-mmm. John: I’m gonna feel real bad here cause one of these days I’m gonna be like too sick to go on, and I’m gonna be like, “I’m too sick to push buttons! And I can’t do it.” And Cinnamon’s gonna be like, “Whaddaya mean?! I stood there for four hours painting La Belle Dame Merci!” Cinnamon: Yeah. John: And I’ll be like, Ok, fine. I’ll push buttons. Cinnamon: Actually, I’ll let him take the day. Cause You know, it’s harder on him.
John: Cause you’re nice. Cinnamon: No, it’s just harder on you. [kids in background] [laughs] Cinnamon: They won’t let me do something! [John laughs] Cinnamon: Something I wanna do, I can’t do! Alright, I’m gonna take a little of my ultramarine blue and my burnt. I might even grab a little of my cad red. Come in here, and I’m making this dark, dark color. Or I’m trying to make this dark, dark color. [chuckles] I’m trying really hard. And I’m gonna come paint in the helmet. Uh-oh. That sounded sad. We’re hanging in. It’s a day. Mad. House. Do any of you have mad houses? I have a mad house. Not like an angry house. A very happy house. It’s just a mad house, like a circus, all the time. Just all- We’re ok, John. Don’t panic. Everybody knows what the deal is. They don’t think we’re a network. They’re clued in. [laughs] [whispers] You guys know, don’t you? That we’re not a real network? You know. I sippy sippy coffee. So nice. Skin tones. I’m gonna need fresh water for this. I should have told him before he- The skin tones I need fresh water for, so I should have told him before he left the room [whispers] but I forgot to tell him before he left the room I need more fresh water! We’ll tell him when he gets back. Uh. Tissue, tissue, is behind the painting. Awesome! So, we’ll talk about this. While John’s doing this, we’ll talk about what we’ve done, and what we’re gonna be doing. So we’ve gotten our backgrounds in. We blocked in. We blocked in our horse. We’ve used subtle shading differences just to say these areas are darker and these areas will be lighter, plus we’ve added a richness of color that we can layer and glaze on. We put in some different tonal differences for the saddle space, but we painted out the barding, and then we left the barding here. I’m gonna put this barding in a little bit later. We’ve started to put in the metal. For the armor, and we started to put in the peach dress and her hair and his hair. We still have to put in the sleeves, this banding, his armor, and then the hands and face. [sighs] How ya guys doing? John: Sorry about that. Cinnamon: Well, at least we have one really really, like, mini hoot. Should we call this a secret? Is this five hoot? How many hoots are we gonna call this thing? [laughs] John: This is the eleventy hoot painting. Cinnamon: Eleventy hoot painting. It’s still a hoot, cause we’re breaking it down into segments. But you- I’m gonna need a fresh cup of water. Actually two would be amazing.
John: You got it. Cinnamon: I’m sorry. Can I pass you the dirty ones? You’re so sweet, Stunt Hands. [sings] I love you, Stunt Hands, so much. You’re my favorite Stunt Hands, in the world. I’m making up songs cause I’m a little delirious. [laughs] And apparently I’m doing Woody Woodpecker. So, I’m ok. I’m fine. I’m alright. I’m coffeed up. That’s really helpful, and I’m ibuprofened up, and that’s really helpful. And I… am t-… over halfway. Or I think we’re over halfway. Maybe I’m deluding myself. [laughs] I love you. Next painting’s gonna be like thirty minutes. [laughs] John: Yeah.
Cinnamon: It be in, it be out. We’ll be done and you guys’ll be like Woooo! Good lord!
John: But not this one. Cinnamon: No.
John: Alright. Cinnamon: But I’m trying to convince you guys to be brave because I’ve got something really fun coming up in the future, and I want you to try it with me. John: Round two, fight!
Cinnamon: Round two, fight! [laughs] [grunts] I think I’m gonna block in the armor, just to be a crazy person.
John: Let’s do it. Let’s block that armor in. Cinnamon: Block that armor in. John: I think the armor is is good to block in. Cinnamon: You think the armor is good to block in?
John: Yeah. See, everyone thinks I should send you to bed but I’m not gonna let you go to bed. I’m gonna keep you here until you finish this painting! Cinnamon: I’m gonna finish this painting. John: You’re gonna do it. You’re gonna finish it. Cinnamon: I am.
John: I’m gonna make you do it. Cinnamon: I am.
John: See, I’m gonna be mean. Cinnamon: Nobody’s ever gonna silence the art. It’s never gonna happen. [John laughs] Cinnamon: I tell people, I’m National Velvet, don’t need it. I’ll go. John: You’re like Sea Biscuit. Cinnamon: No, I’m like National Velvet.
John: Alright, National Velvet. I don’t know any of the horses. Cinnamon: That’s not a horse, it’s a rider- It’s a movie, John! John: Ok, I don’t know anything about horse stuff. Cinnamon: I’m like the man from Snowy River.
John: There you go. There’s some analogy that I don’t understand that I’m gonna stay out of the way of. [laughs] Cinnamon: I’m exactly like the man from Snowy River. Right now you hear the music. Do you hear the theme song music? That’s what’s being played. John: Is it? Cinnamon: Yep.
John: It’s not like, something like this? [music changes, gets louder, Cinnamon chuckles] John: I got this. No? How about… [music changes] No. [music changes] this? No, that’s not it either. How about this one?
Cinnamon: You’re such a… [music changes] John: I could do that.
Cinnamon: Yeah, we can’t play the man from Snowy Rivers theme song music, cause guess what? We get content ID claimed. [music changes] John: We could just go to Hawaii then. Cinnamon: Oh, I could just go to Hawaii! Can we just all got to Hawaii? You guys wanna go to Hawaii with us? [John chuckles] Cinnamon: I just wanna go to Hawaii… Paint every day. In Hawaii. I haven’t ever been to Hawaii. I just think that’s true. That’s how it is.
John: Oh yeah? Cinnamon: Yeah, I just think it’s true. Like I could just love painting every day in Hawaii. John: I think I could too. Cinnamon: Do you think you could?
John: I could push some buttons in Hawaii. Cinnamon: Could you? You sure? John: I don’t think I’d have any problem at all. Cinnamon: Just trying to paint this in with this first tone. The armor is about reflections and, like John was saying, like, I’ve got to nail a couple seams. John: Mm-hmm. Cinnamon: And then it feels like armor. So I actually have John here helping me nail my seams. John: Yeah, I’ll come over and I’ll talk about that in a little bit. When you’re ready for it. Cinnamon: I’m not ready for it. You’re very picky about these seams. I’m like, “Look he’s armored up!” You’re like, “But his armor is shoddily made!” [laughs] You mean everything in A Knight’s Tale is not true?! John: Well, I- you know Cinnamon: That’s not historically accurate?! John: It’s ish, historically accurate.
Cinnamon: Ish? John: Ish.
Cinnamon: Ish. It some ways, more accurate, cause it captured the spirit of what it must have been like for people. John: Yeah, I think that really, you know if you were to go back and look at it, A Knight’s Tale really was trying to you know, in their own artistic way capture the, uh, the vibe of what it would be like to go to a joust, but do it in sort of a modern storytelling method. So, I really liked the movie. I watched it about a billion times. I think I probably literally watched it fifty times. Just cause I like it Cinnamon: So I pulled more brown into my mix, and that helped me hold my breast plate. If y’all were wondering what the heck I was doing right there, I’m trying to hold the space of my breast plate. And what John explained to me is I want from this adam’s apple down to this belt buckle to hold this line. Centered. John: Yeah.
Cinnamon: So that’s why I did that. John: Oh. Cinnamon: Yeah? John: I’m gonna go over here. We don’t need that same song rotating again. Cinnamon: We don’t need what? John: I’m not gonna keep the same Hawaii song on rotation. [chuckles] Cinnamon: I heard… I heard an angry scream, just so you know. John: Well, I’ll check it out.
Cinnamon: Follow-up. Follow-up shenanigans. Ok, so I’m coming down here. Now a lot of this will be lightened up a great deal. Because the light’s reflecting on it. A lot of this will maybe have some lowlights put on it, but right now I’m just trying to get this midtone of the metal on him.
John: Mm-hmm. Cinnamon: So that when I come and work it you know. And I wonder how many people are looking at the original painting. John: Mm-hmm. Cinnamon: We won’t do these hard ones often, but we gotta do them every so often. Every once in a while we’ve got to challenge ourselves. And I’ve noticed, like, for really really challenging full tutorials there’s just, like, none. Well, if there is one, please share it, cause I’m not finding it. Sometimes that’s what it is, is that it’s there But YouTube doesn’t show me.
John: Mm-hmm Cinnamon: But I went to look to see if there was a bunch of these sort of like If you were in a painting class, you would get- You would get painting, like you would go and paint these types of paintings. John: Mm-hmm. Cinnamon: But it just didn’t seem like right now there was a lot of that on the YouTube. John: Yeah.
Cinnamon: That I could find. John: Hmm. Cinnamon: So that’s why I persevered, and I think that’s why Angela persevered is to give you guys you know, a unique experience. I don’t know if Angela’s here. John: Oh yeah. I’ve seen her. She’s here. Cinnamon: Oh, ok, cause you didn’t say anything. John: Oh, no. I said she was here earlier. She’s- Yeah Cinnamon: Did you? I’m just hallucinating then. I’m sorry Angela. [both laugh] John: No she was here earlier on. I think that you’re doing a really nice job at blocking all that armor there. Cinnamon: Trying to get a block in around the sword. John: So, you’re using a number two Simply Simmons bright? Right? Cinnamon: This is a number four right now. John: A number four? Cinnamon: Number- I’m going through this painting on a number 10, six, four, and two. John: About how- Now if you didn’t have a number four Simply Simmons, can you show us about what size that is? This is that- that below a half inch bright that we’re always talking about. John: Ok.
Cinnamon: It’s not quite a quarter inch, But it’s smaller than a half inch. Almost lost my sword, but I kept it. That’s the other reason why this is taking a little while to paint, is because I’m painting in these spaces. John: So, how do you know what color to use as your undercoat or base coat when you know you’re gonna paint over it? Cinnamon: But some of it’s gonna be showing through. I’m always thinking about what’s the deepest tone that’s showing through. That’s what I’m looking for, is what is the under- ooh. Grabbed too much. Hallucinating! [John chuckles] Cinnamon: Um… I’m looking at, you know, the armor in the picture, and I’m like what’s the deep tone coming through? John: Gotcha. Cinnamon: What’s the underlying color that’s shining through? Cause things, color is deep. Color is deep. [chuckles] [squeaks] No! She’s not funny. Stop it.
[John chuckles] [Cinnamon laughs]
John: You’ll have to adjust your closeup camera there. Cinnamon: Do I? [laughing] She’s not funny. She needs to stop it! [John chuckles] That’s crazy. I made this a little more brown. For the chain mail.
John: Mm-hmm. Cinnamon: And I still have to block in this, this, this, this, this. Uh. So many blocks. John: Well, we have-
Cinnamon: -his sword, but once he’s blocked in, I’m so happy! John: We’ll have to say, hi, we got a bunch of- I know we got a whole lot of people with us. We had some new people join us. Cinnamon: Really? People are coming in going what’s this? John: Well, they just, you know, some people had the chance to paint with us for the first time today, like Savannah. Cinnamon: Oh, Hi! It’s usually not this hard. [laughs] John: Yeah, she’s been real active in here and I just wanted to have a chance to say hi to some of the new people who are out here. So… Cinnamon: I added a lot more brown to this blue. I’m making a very dark, dark, dark color for this back leg. Just if like anyone’s like, what is she doing? [John chuckles] That’s what I’m doing. John: That’s great. Cinnamon: It is?
John: Yeah, I like it. Cinnamon: You do?
John: I do. Cinnamon: That’s so- You know what guys, I don’t know about you, [chuckling] but it’s so encouraging when my husband likes something I’m doing. You’re not supposed to care what other people think. However, it’s really nice when they compliment you. John: Well, see I think it’s awesome cause I get awesome paintings to have hanging around. Cinnamon: You do. And everybody has all kinds of opinions about the fact that you don’t sell any of the artwork. John: No way! That’s for everybody. They get to see them all when we together at the next big Art Sherpa get together. Cinnamon: The first big, not next big. First Big! John: The first big Art Sherpa get together! Cinnamon: You’re like-
John: Which will be the next. It’s correct. It just implied more. Cinnamon: [laughing] It just implied more. There’s been none. There’s been one meet up, at Texas Art Supply. John: See, there’s been one. Cinnamon: [laughing] There’s been one.
John: And there was one at VidCon. Cinnamon: Hmm?
John: At VidCon you met up with some fans. Cinnamon: I met up with Donna, that’s so true, and it was nice to meet up with Donna. John: Yeah. So, that, ah, we got We could do more meetups then.
Cinnamon: We could. Cinnamon: Alright. Paint this front leg. John: Oh no.
Cinnamon: What? John: Witzel has to find a charger.
Cinnamon: Witzel! We need you! John: [chuckles] Plug in! Cinnamon: Your positivity holds us! You have no idea.
John: No. Battery just died. I see we went from 265 to 264. She’s gone. Cinnamon: No way! We literally saw Witzel disappear?
John: She’s gone. That’s it.
Cinnamon: That’s so sad! You will be missed, Witzel. You will be missed. John: Maybe she’s back. We’re back up to 266. [Cinnamon laughs] John: Is that you back?
Cinnamon: What? You saw her come? We saw her go. [John chuckles] Cinnamon: That’s so funny. I am really stoked that you guys have come to paint with us today. I’m really stoked that you guys have decided to do this on a romantic weekend. John: Yeah. Thanks for that.
Cinnamon: I’ll tell you what’s nice about this. No reservation required.
John: Nope. None Cinnamon: You just come and you bring your wine and your chocolate and your paints. John: Mm-hmm.
Cinnamon: And we got you. Nothing is required to be here but your happy, happy smile. John: Mm-hmm. I think I did this one wrong. Uh. Oops, what’s that? What’d I do there?
John: It’s midnight in Sweden right now. Cinnamon: Oh my goodness. Mona. John: She’s painting at midnight.
Cinnamon: [sings] Painting at midnight. That seems like a song, Mona. John: That is. I think that I’m gonna talk to the Sherpa team music And see if we can do that.
Cinnamon: We need all the musical Sherpa people to write some Sherpa based music. John: Mm-hmm. Cinnamon: So, if you’re musical! John: Yeah. We’re doing lots of music stuff right now so if you are musical, please please please contact us on Facebook, YouTube, Twitter, anywhere. Cinnamon: There’s a really cool poem. Cinnamon: We’ve got some poets.
John: Yeah. We’ve got some poets, so you know. And they know it. [sings] We’ve got some poets and they know it. John: And I’m working with Ryan O’Neil, the guy who helped create the original Hart Party song. He’s doing some more stuff for us. Cinnamon: Is he? Is he?
John: Yeah. He’s working on stuff right now.
Cinnamon: That’s awesome. I have mixed some brown and some phthalo cause I need some different values here. John: Some values?
Cinnamon: Yep. I just wanna be able to see it. Curving the line down here. I think I sketched this in wrong, is what happened. So, you guys were asking what happens if you lose it. You’re about to find out. John: We’re gonna see what happens when she goes off, off the grid. Cinnamon: If this ends up looking like armor at the end, then that’s the answer. [both laugh] If it doesn’t, John’ll be like, “That’s wrong!” The line in wrong!
John: Oh no, Joan’s on the big island. Cinnamon: Who’s on the big island?
John: Joan. Cinnamon: Joan. How many rooms you got Joan? You got an Ohana quarters? [laughs] John: Yeah, is there a sofa out on the porch? Cinnamon: No, I want an ohana. I bet she- In my world, Joan has a BIG ohana! [both laugh] Cinnamon: Joan’s like, “Oh my god! I just want to paint! I don’t want crashers!” John: We’ll be out on her lanai… Painting from the lanai. [both laugh] Sherpa on deck. Cinnamon: [laughing] Sherpa on deck. Ohana, Joan. Actually it would be like, aloha, mahalo. I’ve got all these words I wanna use! [John chuckles] Cinnamon: I wanna use. John: It seems like there’s a whole island of people who just are, like our vibe and we should go hang out with them. Cinnamon: I think so.
John: Except I can’t find you on the screen anymore. There you go.
Cinnamon: Ok. Where am I at? John: You’re there. You haven’t gone anywhere. I just lost you. Cinnamon: Oh, ok. Cinnamon: [laughs] Where am I? [both laugh] All I can see is this painting! [laughing] That’s all that’s there! You know, in all defense, Angela was like, You sure? [laughs] Does that seem like a good idea? If you think you got it, I trust you. You’re grown. She definitely gave me the, you’re grown speech. [laughs] She did such a beautiful job on The Kiss. Did you see that? John: Oh yeah. Cinnamon: Such a beautiful job. John: So, Karen grew up in Hawaii. I’m just watching the chat here, so. Cinnamon: She did?
John: Yeah, she did. There’s lots of people who had some very interesting experiences back around Hawaii. Which I can imagine. You know, being a romantic time of year, Hawaii’s a very romantic place. Cinnamon: Right. So we think cause we’ve never been.
John: Yeah. So we think. We should- Cinnamon: We watch a lot of movies with Hawaii in it. We go in Hawaii movie watching binges. Or Hawaii property purchasing binges. [both laugh] John: You wanna adjust your close up camera there?
Cinnamon: Yeah. Just like, what’re y’all watching? Hawaii! No, like, what about? Like, I don’t know. Hawaii! [laughs] John: Well, it’s funny, we keep getting caught up in weird things about Hawaii, like (?), I ended up stumbling on them, and There’s just all sorts of stuff. Cinnamon: Yeah. We literally watched the PBS for Hawaii, which is only useful if you live there, and we watch it. John: But it’s so good.
Cinnamon: But it’s good.
John: It’s really good community television. Cinnamon: It’s super good community television. That’s where we got the, you know, smile at a child to protect their sense of the world’s wonder.
John: Yeah. Cinnamon: I was like that’s so cool! Yeah! Alright. This is probably gonna be too big to do this, but I’m gonna get this in. Just need to get some paint on this thing. [whispers] Just trying to… [John chuckles] John: So they like the way you’ve been organizing the video’s up for them. Cinnamon: Really?
John: Yeah. Cinnamon: Oh, people can tell? John: Oh yeah, there was just a bunch of comments in here saying thank you. Cinnamon: Oh, thank goodness. Yeah. This is gonna be put in the three hoot, but that’s sort of not true. [laughs] But we’re gonna put it over there cause that’s the category it would be in even though we have all probably recognized at this point that it may transcend the hoot.
John: Yeah. Cinnamon: But it’s still hootable. John: It’s… Yeah.
Cinnamon: It’s still hootable. John: It’s up there in one of those, you know, eleventy numbers. Cinnamon: You know, if you- As long as somebody breaks a piece down for you, chances are you’re gonna be able to do it. The hardest part is just knowing how to break it down. Right. John: So, Lisa was saying her husband just went to Cork, uh, Cork County. In Ireland. Cinnamon: Oh, Hi! John: Yeah. So, and didn’t take her with him. Cinnamon: Ok. No. That’s not ok. You call him up. John: We went to Cork. We’ve been to Cork. Cinnamon: We have.
John: Yeah. I got family up there. Cinnamon: You do.
John: There’s lots of Cooney’s floating around in Cork. And there used to be lots of Coyle’s.
John: Yeah.. Cinnamon: And the Coyle’s cause trouble and had to leave. [laughs] John: Ah, the Cooney’s did, too. [both laugh] Cinnamon: That’s so true! That’s something our family history has in common. We both had to leave under duress. [both laugh] John: They were all trouble makers. Yeah. Cinnamon: Kinda funny when you think about it.
John: [chuckles] Yeah. Cinnamon: Alright, I’m gonna paint the hilt in now. This dark brown. Oh my goodness. You know what we’re doing, John? John: Painting.
Cinnamon: We’re blocking. We’re almost done with blocking. John: We’re almost done with blocking. Cinnamon: I can’t believe we’re almost-
John: And then you’re gonna be onto some layers. Cinnamon: Yeah, and then we gotta start layering. Oh. John: You’re ok. Aren’t you? Cinnamon: I think so. John: [chuckles] I say that with a question mark. You’re ok? Cinnamon: I’m more worried about where the kids are at and their tolerances but I think they’re playing. John: Yeah, they’re playing.
Cinnamon: And having a good time. John: I just equipped them up with stuff. Cinnamon: Did ya now? John: [whispers] Did ya now? Cinnamon: Did ya now? John: So you have to adjust your close up camera there. Cinnamon: What’s for dinner? John: I- [both laughing] Nothing for you! I tell you, finish your painting! [Cinnamon laughs] [John laughs] Cinnamon: Don’t feed the Sherpa! [both chuckle] John: This is the new reality TV show, “The Sherpa Must Paint to Be Fed.” Cinnamon: You know what? You know how there’s people who, like, exercise for twenty-four hours? John: Painting for twenty-four hours? Cinnamon: I’m- Ok, don’t worry guys. You don’t have to watch it. I’m just saying I might do it. Like. [John chuckles] John: Twenty- four hours of painting! Cinnamon: Would that be weird?
John: I don’t know. It would be delusional at the end of it. [both laugh]
Cinnamon: It would be! It would be. I’m just like- I feel like YouTube would let me upload it. John: I don’t- You know, they have- I’ve seen them do like, there’s a twelve hour broadcast of- Oh! That’s what it was! The guys from, um, from Super Troopers were gonna do a crowd funder. And they did like a forty-eight hour long, live broadcast until they got fully funded for Super Troopers. Cinnamon: No! John: Yeah. There was like some four or five day broadcast. So I know it’s been-
Cinnamon: NO!
John: Yeah. Cinnamon: Is Starbucks open twenty-four hours a day? [John chuckles] John: I don’t think so… Cinnamon: We’d have to get a cappuccino machine or something. John: But there’s Starbucks K-cups. Cinnamon: That’s true. They’re not as powerful. John: No. You just double them up. Cinnamon: I’m just saying. I’m just saying they’re not as powerful. That’s all I’m saying. Alright. So I mixed a little brown into my yellow oxide. Cause this is brassier, or gold or whatever you want to say that is. So, that’s in! Ugh, you know what’s not in though? John: Her skin tone? Cinnamon: No. His neck. John: Oh yeah. His neck’s not put in, either. You should get the close up camera on there. Cinnamon: Yeah, I should. I gotta put it on his neck. But he’s in. And this is the hardest part, of the armor, is getting him in. John: Yeah. [Cinnamon sighs] Cinnamon: We’re getting there.
John: We’re close! Cinnamon: [laughs] To half way then.
John: You’re close to half way. Cinnamon: I like- For everyone who’s like- I wonder if anyone is like, painted along with Angela. And with myself. Listen, on the contest, cause of how this day got started and the way it went down, I’m gonna announce my winner On the Angelooney, and on, uh, like all the social media. John: Mm-hmm. Cinnamon: We’re gonna randomly draw. We might even post a little video of me randomly drawing them. After the show. We just couldn’t delay anymore. To get our little kits together. John: Our kits were-
Cinnamon: Not together. John: As together as they were gonna get before the button pushing began. Cinnamon: Yeah. It was just a little more challenging today. I find like on days when I’m sick everything’s a little more challenging. I’m gonna mix a little dioxazine purple and yellow oxide. John: And Angela’s still hanging out here with us Cinnamon: No way Angela. You’re good. You’re golden. Awe, sweetie, you’ve been going all day. I was, like, during Angela’s broadcast, wrapped up in a nice little blanket, sipping tea. It was very comforting. Just listening to her paint. Waiting for the Tylen- Well, ibuprofen to kick in. But you know what I mean. John: So, Moma said that she did- she was painting with Angela until she started this. Then she’s gonna go back and finish Angela’s. Cinnamon: Wow! Mona is like, gonna be hanging some paintings! Mona’s like, I’m in. I’m doing it.
John: I believe it’s Moma. M O M A. Cinnamon: Moma?
John: Yeah. Cinnamon: Not Mona?
John: Not our Mona, but a new Moma. Cinnamon: Moma, you have big shoes to fill. [both laugh] Cinnamon: [laughing] It’s ok. You just paint and have fun. You’re fine. We’re just messing with you. I’m just putting in this collar here. I know that this dress is gonna need. Hers gets a collar. John: I think Stephanie is too. I’m gonna have to go back and scroll up. Cinnamon: Yeah, she can. She plays art game. Stephanie can handle it. Stephanie’s probably more equipped to do this than I am. [both chuckle] Stephanie and Mark are equipped. You know what I’m saying, John?
John: I do. Cinnamon: We’re getting there. John: We’re getting there.
Cinnamon: [laughing] We’re gonna complete this on air. And that is half the battle. So I’m mixing a little of my Phthalo Blue into my Cad Red. And that’s what I’m going to paint in as the base of this little scarf area. Oh, but you want that little lip, don’t you, on the helmet? Cause it’s a what helmet? John: Ah. It’s a- It’s called a sallet. And, uh… Yeah, so. Cinnamon: I’ll make sure I leave that little lip there. John: Yeah, that little lip down at the bottom is real important because there was a sort of tail that came off the back of the helmet that protected the back of your neck. And it was very… very iconic of that helmet, so. You know. And all the fluting, and all the things like that on these, that’s, uh, So, it’s really easy to talk about the armor with just a few lines. If you understand what you’re looking at. Cinnamon: Now, is our troop, are they good for painting through? John: Man, everybody seems to be really- They’re in for it. Cinnamon: I’ll tell you what. YouTube would not recommend against this journey. It’d be stronger if they could. John: Yeah. Cinnamon: They’d be like, don’t- Don’t be on all day. That’s not a good idea! Nobody’s gonna watch that! Nobody’s gonna come. What are you saying? [John chuckles] It’s no good. You’re gonna paint a horse for four hours. You sure? John: Horse and a couple people. Cinnamon: Huh?
John: A horse and a couple people. Cinnamon: A horse and a couple people. There’s other things here besides the horse? I’m hallucinating. John: Well, you know what’s- What I find so awesome? Cinnamon: Though Youtube- I tease them, but they’re very supportive. They just think we’re crazy. John: Yeah. No, see, but what I love about you taking on this painting, right, is that you know, I don’t paint at all, at all, but the dragon painting made me feel like I could paint that dragon. Like, maybe not at once. But like if I took, and I started painting, I could get to a place where I could take on that dragon.
Cinnamon: Yeah, totally! John: And then like, and this too, like, all the paintings you’ve done, I feel like if I got after it, I could paint this painting, you know. Not like right now, but some day. Cinnamon: Yeah. You could, too. John: And, it’s, uh- I mean, it’s really interesting how you’ve broken this down and made it very approachable, so. Cinnamon: You could absolutely, for sure, paint this painting. John: There’s that little little touch of the brim of steel that pokes out underneath that. Cinnamon: He wanted that so he got it! John: Yup. Cinnamon: When you know the artist you can make requests. [John chuckles] Cinnamon: That’s what you can do. Alright! Skin tones
John: Skin tones! [Cinnamon singing] [continues singing] John: You have a whole thing on it.
Cinnamon: [singing] I’m gonna drink some coffee before I paint the faces. John: Yeah. That’ll be good. Cinnamon: I’m sorry to be a big baby. Can you heat this up like 20 seconds? [music changes, gets louder] John: Sure.
Cinnamon: Almost gone but I want it to be toasty. Cinnamon: Are you dancing? If all you can move is your fingers… I danced the whole time. I did. [laughs] Why, we will never know. [sighs] John: Because dancing is dancing. Cinnamon: Cause dancing is dancing. Hopefully I’ve got enough clean Cad here, to be able to pull out some skin tones. So, the master skin tone recipe is one cad- Ooh, I got a skin now. Darn it. John: What did you do?
Cinnamon: No, it’s just the studio lights are drying out my paint. John: They’re drying- Of course- It’s the lights fault. Cinnamon: One cad.
John: It’s the lights fault. Cinnamon: It is. One cad, one yellow oxide. John: No. One more time. What was that? Cinnamon: The master skin tone recipe is one cad, one yellow oxide. For warm, caucasian skin tones. John: Hmm. Huh. Didn’t know that.
Cinnamon: Yeah. Probably use a knife to get this off but I’ll just rinse it.
[John chuckles] Cinnamon: So that’s the base. And then we lighten it uh, with nickel azo, and titanium white. Now listen, if all you’ve got is cad yellow it works. This is just sort of a basic formula that you work with. We’re gonna- If you wanna tone it down a little bit there’s the tinting. Right there. That’s a tint. So, it’s just about how we mix these colors in. And then the other tinting/toning color that I’m gonna be using is this. And by the way, this and this is the highlight color. It’s this.
John: Oh yeah.
Cinnamon: Yep. Just saying. So when I’m trying to make my skin tone- I’m gonna use a smaller brush. John: Yeah. Cinnamon: I’m gonna take a little of my master recipe over here. I’m gonna add a white to it. And another white. Yeah. Just master skin tone right there. John: Yeah. Cinnamon: And I can add a little of this nickel to it. To tone it. If you want the skin tone recipes, my biggest- Here’s the thing. You’re gonna know by heart a couple skin tone recipes.
John: Yeah. Cinnamon: But, they’re complicated. So, I recommend this book. It’s cheap. Not expensive. I see it in garage sales all the time. John: It’s a great book. Cinnamon: It’s a good book. We’re working from page fourteen. These are the colors required for skin tones. For Caucasians. It’s a lot of colors, isn’t it? The green and the blues and all that is unexpected. Right?
John: Yep. Cinnamon: Look at these here. Right. As you’re painting you need these recipes.
John: Yeah. Cinnamon: And so, like, you know, it just goes through- We’re working from page fourteen’s recipes, is what we’re working from. These are the recipes that I just have memorized. But there’s a lot. So, if you were trying to paint, um, you know, like, we have east indian skin tones.
John: Mm-hmm. Cinnamon: Right. Look at the purple for the cool shadows. Look how warm and orange. Look at the graying color right here. [John laughs]
Cinnamon: Right. John: I’m laughing cause everyone’s asking, when are we taking intermission, when are we taking intermission? I’m like Cinnamon: Native American. John: Oh yeah. There’s a lot of them in there.
Cinnamon: Yeah. African. Ok. And there’s several ranges.
John: Show the cover of that book real quick. Cinnamon: This book. By the way. It also has eyes and hair. Like, I promise you, how you think blondes should be painted, is not how they should be painted. Ok. How you think blondes should be painted isn’t how they should be painted. There are more greens in skin tones than you think there should be. There are more purples in skin tones. There are more blues in skin tones than you think there should be. And if you haven’t painted a skin tone a lot it can be like one of those mental stumbling blocks and you- And you’ll get skin tones that aren’t full of life and glow. Right. Now this we’re just kind of getting in some skin tones and you can mess with the skin tones for a very very very long time on this project. We’re gonna get the faces basically in and get some highlights and lowlights in and the hands in and some highlights and lowlights in. But this is the beginning. Now, we’re gonna have a whole quest on skin tones. John: Oh yeah. Cinnamon: Mm-hmm. Yeah. And we’re gonna talk about that and some of those tricks and things to make something look alive. We are. Whole quest.
John: Wow! Cinnamon: So I’m gonna get a micro mini.
John: A micro mini. Cinnamon: Micro mini. This is a zero micro. John: Mm-hmm. We can see it. Cinnamon: It is. It’s a zero. Simply Simmons micro mini. And I’m gonna use my, um, brown here. Because I want to define my hands and my face before I start to paint it in.
John: Yeah. Cinnamon: This is almost like a cartooning trick here. But it’s gonna help it not get away from me. I’m gonna be looking at my references. Oh no! John: I’ll come help you with that.
Cinnamon: Yeah, it cycled out. So I’m painting along her little face here. I don’t know. I don’t know. I don’t mind if you’re in it. Just type it in, it’s fine. Nobody minds. So I’m gonna use a micro mini to hold these fine lines. It’s ok. Right. You can add a little blue into this brown color if you wanna cool it up and make it really pop. Ok. And that’s just an important thing to do. John: Now, how many micro mini’s are there? Many, many. And I like the little package that they sell.
John: Gotcha. Cinnamon: So I make this little triangle shape for the eye. Ok. Little shadow for the lip there. Now it’s a hard thing, the faces, especially the small faces are easy pretty big, but when they’re small, they’re hard. You’re really just painting shadows. Right. That’s all you’re really actually doing. I’m gonna come and make sure that my fingers are sort of lined and defined, so as I paint them in I don’t lose them. I might even use this as my little shadow in here. John: So, Linda was asking what that light green yellow color is that you have on your canvas there. Cinnamon: This one right here?
John: No, on the palette. I’m gonna go over here very far- Yeah.
Cinnamon: This one here? John: Yeah, I’m guessing.
Cinnamon: This is not actually green. That’s a very good eye. This is nickel, uh… yellow, or naples yellow. John: Hmm. Naples Yellow.
Cinnamon: Yeah.
John: And that was- Is that in the, um- Cinnamon: Oh! See I didn’t get it washed. Now it’s clogged. John: Is naples in our description?
Cinnamon: It’s clogged.
John: No, I don’t see naples yellow in the description. Cinnamon: I know. Remember at the beginning I said that whole thing about there was a mistake with the description? Went on and on about it. [chuckles] John: There it is. See.
Cinnamon: This is the correct one. I made a mistake in the description.
John: I’ll edit it.
Cinnamon: And we’ll edit it after. We just made a mistake. Cause there’s no uh, unbleached, and there’s no zinc in this either. So, just made a mistake. Is what happened, guys.
John: So, remove the zinc. Cinnamon: Yeah. No zinc white. No unbleached. Add the fluid, um… Are you doing it right now? John: Nah. We’ll do it later.
Cinnamon: Ok. John: I won’t make-We won’t do it now. Cinnamon: I can- I can edit that part right after. I just can’t edit thumbnails. And yeah, it’s just my goof. Just my goof, guys. So, this is just a little trick I’m doing. It’s not dissimilar to what you saw Angela doing with a pencil. Which I thought was actually pretty clever. Just. Putting this in. So this is a mix of a little blue and brown. And it will help. And I can’t mist my palette. I gotta soak that thing again. That’s my issue with the palette wetting spray, guys, is that it just clogs up in a minute! John: Oh yeah. Cinnamon: Works. Clogs up like every two seconds, even if I rinse it out. And I, you know, take care of it. It’s just a really frustrating little product. John: And we’ll add the name of that book in the description below a little later. Cinnamon: Yeah, I just think that’s a great book to have. Especially for skin tones. You couldn’t practice on a better book. John: Where are you at on that close up camera? Cinnamon: I don’t know. I’m kinda lost on this painting for a second, too.
John: What’s that? Cinnamon: I got a little lost on the painting. I’m like, what am I doing here? John: [laughs] Hands. Cinnamon: Yeah. No, I’m just trying to figure out what I want to do with these hands. John: Now, are the mini’s you were using Creative Mark or Simply Simmons? Cinnamon: Simply Simmons.
John: Yeah. Cinnamon: So Simply Simmons, Daler and Rowney, has several lines of brushes. Angela was talking about one of their lifetime guarantee lines that she paints with.
John: Oh yeah. Cinnamon: So Simply Simmons are, they’re not guaranteed for life, and I’ve already broken some, that’s cool. Um… Of course, that’s really nothing cause I just leave my brushes soaking in water, so. John: You are mean, mean, mean to your brushes. Cinnamon: Mean, mean, mean to my brushes. I’m irresponsible. My mother’s told me many many times. Which I’ve said, so are you. [John laughs] Cinnamon: It’s where I got it from. So, I’m gonna come over and work this hand here. Did that line a little far back, but what am I gonna do? John: So they- Consuella’s having trouble finding the micro mini’s, so if- She’s saying they can’t find them at Jerry’s online, so. Cinnamon: The micro mini Simply Simmons? Um…
John: Perhaps some more community will pop up and say… Cinnamon: I know the brush guys have a pretty big selection, and people have been reporting happiness with them lately. John: Angela Wright said she bought some at Michael’s today. Cinnamon: Ok, there you go. John: So. Huh. Cinnamon: A lot of these companies make these detail brushes, though, for miniature painting. John: Yeah. That’s, you know. Actually up until we got the Simply Simmons, most of the mini’s we had were my miniature brushes. Cinnamon: Yeah. John: Lisa. [laughs] Cinnamon: Lisa. What are you? [both laugh] John: I just made that [?] directly at her.
[both chuckle] Cinnamon: Lisa. You probably have some. You should use them here. There we go.
John: Yeah. Cinnamon: Looking pretty sharp. Pretty sharp. John: So are you using- You’re using that palette wetting spray, right? Cinnamon: I was, but now it’s broken.
John: Taking it the nozzle’s clogged. Cinnamon: Again! The whole issue with the palette wetting spray is that it clogs every couple seconds. Now I gotta do this. John: Yeah. [both chuckle] John: So Vanessa was just asking why aren’t you using palette wetting spray. And that’s the answer. Cause the nozzle’s clogged. Cinnamon: It just clogs. And I keep rinsing it out, and I keep cleaning it, and it just wants to clog. John: I wonder if I put it in one of those industrial spray bottles I have, if that’ll work better. Cinnamon: Maybe.
John: We’ll try it. Cinnamon: Something’s with it. Something is just not working. I’ll tell you that right now. I’m gonna use my base skin tone. That I mixed, which was, you know, this, John: You know, I’m interested to see if,
Cinnamon: And white. You’re interested to see what? John: Golden’s gotta have a fluid spray, right? Cinnamon: Yeah. It’s hard to get in. All the Plein Air painters use it for oiling and prepping their canvas. John: Ah.
Cinnamon: Yeah. John: Probably it doesn’t clog, huh. Cinnamon: Doesn’t clog. Works really well. John: Yeah.
Cinnamon: Can’t get it. Cause it’s Golden. John: Cause it’s Golden. That’s what made me think of it. I was like, well I wonder if Golden’s clogged. Cause if Golden’s clogged, then it’s a problem with that material. Cinnamon: No, it doesn’t. I watched another YouTuber. He’s a really good Plein Air painter. And he uses it so he can get out and get his work done. Like ya do. In the nature. John: We give Golden a hard time but their stuff always works. Cinnamon: Well, the thing- Golden is kind of a mixed bag, cause they can be kind of… Proud of themselves.
John: It’s like a high end European sports car. Cinnamon: It’s like a high end European sports car.
Yes it is. John: It comes with a certain level of… you know, when you are that awesome you can kind of be that awesome. Cinnamon: When you are that awesome you can kind of be that awesome is a completely accurate assessment. Of what you’re doing. So I’m gonna be mixing- Wow, it timed out again John. John: [chuckles] It did? I’ll come fix it. Cinnamon: Lighter and darker shades of our skin. That’s your skin tone mixture. Right. If you feel you’ve gotten the neck or shoulder overdone, just come back with a green. And hedge it all in. Just hedge it, hedge it, hedge it all back in. John: Her screen keeps going-
Cinnamon: And I’m finding I have to do lots of hedging on this project. John: Sorry about that zoom.
Cinnamon: What? John: Your screen kept falling asleep.
Cinnamon: Oh, that’s fine. Totally ok. John: Oh. Vanessa was asking if you thought about using a wet palette tray not a spray bottle. You know, an actual- Cinnamon: You know, I have my wet palette, um, it’s, for my purposes, my issues are the lights in here are just beyond
John: Yeah. Cinnamon: what it is, and I really really don’t like the lack of control I have in the regular wet palettes. John: Hmm.
Cinnamon: I have a storage one that I’ve got a video how to make it, with a cake tray.
John: Yeah. Cinnamon: And for storage I’m all for it. John: Yeah. Yeah. And the lights in here really are a lot different than what, you know, Cinnamon: Yeah.
John: you guys are gonna be facing at home. Cinnamon’s got, you know, close to thirty light fixtures floating over her head. Cinnamon: Yeah. It’s just, like, crazy.
John: So. Cinnamon: Though, if something solved
my problem, wow!
[both laugh] John: Yeah. Seriously. Cinnamon: So what I’m doing is I am building out the planes on her face. The highlights. The shadows. Right.
John: Yep. Cinnamon: You know, for my purposes, cause the length of this painting being out, at some point I may need to put out fresh paint.
John: Yep. Cinnamon: Because it’s all skinning. John: We’ll do that in the much anticipated intermission. Cinnamon: Ok. John: Everyone’s like, we need an intermission! When’s Cinnamon gonna take one? I’m like, well you guys have pause. You can just hit pause and come back! Cinnamon: Yeah. It’s-
[both laugh] John: You know? I think that what it is is that they all want to break at the same time because they don’t want to miss anything. Cinnamon: Ooohhhhhhhh……..
John: And miss chat. We’re doing pretty good though. We’re uh, let’s see. An hour and twenty five minutes in. You know.
Cinnamon: Yeah. See, we’re shading her face.
John: Coming together really nice. Cinnamon: It’s crazy how it does, cause you’re like, when is this thing gonna come together? Alright. I should put out fresh paint cause this is aggravating me. John: Well do it! Cinnamon: We’ll intervene. We’ll intermission.
John: We’re gonna intermission? Cinnamon: We’re gonna intermission. I want to put out fresh paint. My paint’s too skinned. And then we’re gonna finish this painting up. John: While you’re here, you can talk to them while you’re putting out new paint. And I’ll get the intermission so you can actually have your- your break break. Cinnamon: My break break. John: Yeah. Cause you can run to the restroom and have a full break while I’m, uh. Cinnamon: Ok. You only gave me like three minutes on that intermission. [laughs] You know that, right? It’s like- It’s like, the fastest pee in the west.
[John chuckles] Cinnamon: So, how quickly can you pee? I know what. Let’s see how fast my wife can go! She can go real fast. You get one song! [both laugh] John: Well, you know it’s-
Cinnamon: It’s what you get. John: It’s what we got.
Cinnamon: One song. John: So, you gonna disclose what you’re putting out there? Cinnamon: I’m putting out the naples yellow. Nickle yellow. John: Mm-hmm. Cinnamon: Some yellow ochre, sometimes called yellow oxide. I’m gonna put out some cad yellow, which I don’t really use a whole lot of in this painting, but enough where I needed it. And if you didn’t have the nickle, it would be your yellowing agent.
John: Yep. Cinnamon: Putting out some cad red medium. John: Oh. Cinnamon: Even better for skin tones is cad red light, but I was like, you know, throwing so many new paint colors at you as it is. I was like, you can’t just wear them all out! John: Now, C- I am a paint newbie.
Cinnamon: Mm-hmm. John: So, cad red light sounds an awefully lot like pink. [both laugh] Cinnamon: Except it’s not.
[both laughing] Cinnamon: Um, the cad reds. The light, dark, and medium is about how warm it is on the color scale, if I-
John: Oh.
Cinnamon: I might be wrong, but I’m pretty sure I’m not. John: Yeah. Cinnamon: Pretty, pretty sure I’m not. You can use a card or viewer to determine the temperature of your colors. John: Mm-hmm. Cinnamon: Um, there is a really good, uh, there’s videos out there on it. We may do one. In the future. On color wheel. We’ve got a color wheel video coming. So we’ll probably use cards or viewers. So we can go, is this a dark- Is this a cool blue? Or is this a warm blue? John: Mmmm.
Cinnamon: Ooohh! Cause I’ll tell you. When you just see ultramarine- This is phthalo. Sap green. Burnt Umber. John: You know, I’d say those are kind of gemmy. Cinnamon: Burnt Sienna. John: You know, the yellows, reds, blues, greens there. They’re very gemmy. Cinnamon: Are they? John: Yeah. Kinda. Not overly, but I mean like a lot more than what you’d see in some of your palettes you normally work with. Cinnamon: These are- This is phthalo, sweetie. John: I know, but it just, with the red and the yellows there, it just Cinnamon: Pops for you?
John: Yeah. It’s real strong. I don’t know. Cinnamon: You feeling it?
John: I’m feeling it, man! Cinnamon: You’re feeling it?
John: I’m feeling the colors! Cinnamon: You feel it? You feel those colors. You feel ’em good! Sorry, it’s getting weird.
John: Sorry, guys. That’s what you get. Cinnamon: We’ve been saying we need to do a Sherpa After Dark adult [John laughs]
Cinnamon: Only. A grown-up only episode. John: Grab your sippy sippy and turn on the black light. It’s Sherpa After Dark. Cinnamon: Sherpa After Dark. Da da da da da da. Na na na na. Cinnamon: White. [chuckles] And the two fluids. John: Somebody just agreed with what I said, but I don’t know what I said. [laughs] Was like, I totally agree with John! But wait, what did I? [chuckles] Cinnamon: Uh-oh.
John: Oh, no! [laughs] Cinnamon: Did you say, I’m a genius and you love me forever? [both laugh] John: So, it’s a good idea for the after dark party. That would be fun. Lots of people are raising their hands to do- What did you do?! Cinnamon: Don’t even ask.
John: What did you do?! Cinnamon: Don’t even ask what happened there. John: I looked away, and there’s a puddle of white in the corner. Cinnamon: Just ignore it. Don’t make a puddle of white. Don’t do what I do there. John: Alright. What happened? Cinnamon: Don’t even. It’s not even important. We’re gonna take intermission. [both laugh]
John: We’re gonna take intermission? Cinnamon: My- Ok. So what happened there was my tube was clogged. And I squeezed it to fix it. [John laughs] Cinnamon: Cause I didn’t have my tool. [John laughs] John: We gotta get you a tool. Cinnamon: Well, I mean, now it’s unclogged. [chuckles] Somewhere in there is a clot. John: Alright. So this is a good time for the intermission. So, we have, uh- We have kid’s parents showing up and all sorts of other things. So I’m gonna hit the, uh, the button here, and I’m gonna let us do a little three minute intermission and we will be right right back.
Cinnamon: Right right back. John: Does that seem pretty good?
Cinnamon: Is Patrick here? John: Yeah. Cinnamon: Oh my goodness. Yeah. Be right back. John: See you guys.
Cinnamon: Bye. [intermission video starts] [music starts] [music ends] Cinnamon: Wow! [laughs] John: We’re back. Cinnamon: What a day. What a day. I won’t be doing these a lot. [John laughs] John: We did it! We made it back from the break! [Cinnamon chuckles] Cinnamon: Back into the fray John: Back. Back into the fray. Cinnamon: Back into the fray! Oh, boy! I gotta make my skin tone again. So master skin tone is one cad yellow, and one yellow oxide. John: Mm-hmm. Cinnamon: Wait, no. Cad red medium and one yellow oxide. John: That sounds right! Cinnamon: And I’m actually gonna mix a little bit of this a little stronger in yellow cause this cad is so powerful. John: It’s a powerful cad.
Cinnamon: It’s a really powerful cad. John: Ooh! Look! Lindsay just came in! Cinnamon: Lindsay! John: Yeah. [Cinnamon laughing] John: She tuned in and there was this weird montage going on, and she’s like, What is going on?! Cinnamon: Dude! Good idea, bad idea. John: I think what I need to do is I need to put a little, like a lower thirds on it so that people know. Cinnamon: That says the sherpa is painting until she drops! John: That’s right. I’ll put a sherpa intermission at the bottom of it. She’s probably like, what is going on? Cinnamon: That’s how long I’ve been here, Lindsay. That’s how long it’s been going on! John: Yeah. They all- all the sherpettes- require a three minute intermission. [both laugh] John: They were telling me, it’s time to let the sippy sippy out. Cinnamon: Dude. It’s getting to be, right.
John: Yeah. Cinnamon: It’s getting to be. It’s getting to be. Getting to be. Don’t let that other one go on me. My references are going. John: Oh. Ok. Cinnamon: Don’t let my reference go. So I’m gonna dab this here. Putting in this face, subtly. And then we’ve got this reflection we’re seeing, which is the naples. And put a little on the chin, here. May have to go back and refine the chin. Back here. Where the sun would be hitting her. And then get a little on that forehead. And then I’m gonna get my detail back out. I’m going to go back and refine her face line, cause I feel like I over pushed the lines outside of where I wanted them to be with my brown. Hopefully I’m still on the- And that’s how I handle that. So hopefully you can see that. I’m gonna just refine these line with the background hair color. Look at that. I’m gonna straighten out the bridge of that nose. Alright. Now, again. I’m gonna put the little eye in. So I’ll put my triangle in. Put that down. Very lightly, I’m gonna put an eyebrow in. These eyebrows are on fleek. On fleek! John: That’s so funny! Cinnamon: Put a lid there. Look at that! Just very, like, sometimes less is more. John: And it really is on this one. It doesn’t take much to tell the story. Cinnamon: Well, and again. The smaller the faces are that you’re working with, The more that is, um, a trouble for you. John: Yeah. Cinnamon: Right. So you’ve gotta be like, ok, know that you’ve got very little space. If you’re painting a very very large canvas, working out the detail of the faces becomes a lot easier. But when it’s a sixteen by twenty- There she goes! So she’s in! Oh, thank goodness. John: Yeah! She’s done! Cinnamon: She’s in. We got her kinda in. We got her face in. Now we just need her hands, and his face, and all other kinds of nonsense. Goodness gracious! John: Got horse. Barding. Trees.
Cinnamon: What? John: A horse and some barding and some trees. Cinnamon: Oh! You don’t even want to know! I’m hiding the truth from you, John. Lindsay, save yourself. You probably have a family to feed! [both laugh] If they tell ship tales of what happened to the sherpa in the future, you let them know what happened to me. “She took on too big a project.” John: She was lost in the sea of YouTube. Cinnamon: In the sea of YouTube, never to be seen again. John: She set out on a three hour tour. [Cinnamon chuckles] Cinnamon: This literally was supposed to be a three hour tour, but I think it’s gonna be closer to a four hour tour. John: Eh. Cinnamon: I mean, it’s not the worse thing anyone ever did. But you know, what? It’s not editable. John: Nope. Cinnamon: Nope. YouTube says no.
[John chuckles] Cinnamon: At a certain length they said, listen, you can be foolish enough to make a four hour video, but you may not edit it and post. John: No. [Cinnamon laughs] John: So, they would like you to zoom- Zoom in a little but more on her face. Cinnamon: Ok.
John: Just so they can really- Oh, there you go! Cinnamon: That’s all it is. John: But you center it and then- Cinnamon: I felt like I centered it. Is that not good enough? Alright. Alright. There we go. John: There you go. Cinnamon: See?
John: Yeah. Cinnamon: Less is more.
John: Yeah.
Cinnamon: Less is more, guys. Less is more. And while I’m at it, while I’ve got this lovely lovely color I’m gonna get him in here. John: Oh. You’re off the close up.
Cinnamon: I’m off the close up? Really? John: There you go. Cinnamon: I’m ready to get him all in. Just real fast.
John: Yeah. That’s good. Cinnamon: While we’ve got this nice skin tone
all mixed up. John: Just like three eleven. Cinnamon: What? John: All mixed up. Cinnamon: Oh.
John: Don’t know what to do. [Cinnamon laughing] Cinnamon: You come at me sideways sometimes.
[John laughs] Cinnamon: I swear you do. I’m like- I’m just like, how am I gonna get through this painting? What was I thinking? Everyone’s gonna be like, What was she thinking?! But for the ten people that paint it, they will be changed forever. John: Yeah. You know, there’s a whole bunch of people painting. They’re painting right now! Cinnamon: They’re so brave!
John: I know! Cinnamon: And you know what, they can do this. The truth is this is very doable. This is just work. John: Yeah. I think we got ten people painting along with us now, which I’m like- Cinnamon: Really?
John: Yeah. Cinnamon: And then a gazillion watching.
John: Yeah. Cinnamon: The longest video on YouTube. John: The longest painting process video on YouTube for sure. Cinnamon: No. Actually, that’s Marcello. To be straight up. Cause he does it for like four hours a day for like six days. John: Yeah, so we’ll have to see-
Cinnamon: He’s totally got me. He wins. Marcello would totally win. John: We might be consecutive, though. Like if we- Depending on how this one goes, we could break four hours. Not like we’re tying, but-
Cinnamon: No, I think we’re gonna resolve it in four.
John: You think? Cinnamon: Cause I think at some point I’m gonna be like, Done! [both laugh] Cinnamon: This painting- This is-
John: No more layers! Cinnamon: This is all you get!
John: No more layers for you! [chuckles] Cinnamon: You don’t get any more! John: Oh, Mona’s trying to hang in with us too, cause it’s gotta be close to one a.m. for her. Cinnamon: Mona, sweetie, go to bed! John: Yeah! It’s gotta be like twelve fifty there, right now, I’m guessing. Cinnamon: Yeah.
John: So… Cinnamon: Blocking in today has been a bigger job than usual. John: Yeah. Cinnamon: What’s gonna be crazy is how fast it resolves. Like this face, how fast that resolved. John: Yesh. Just. Psh Psh Psh. Done. Cinnamon: Face resolved… Blocking in forever. Face resolved really quickly. And that’s what trips me out.
John: What’s that? Cinnamon: Is how fast something like the face can resolve. John: Oh. Yeah. Cinnamon: Where it’s just like, man I’m never gonna be done with this painting. And all of a sudden, resolve resolve resolve resolve. John: Yep. Cinnamon: And you’re like, Oh. This is lovely.
John: Mm-hmm. Cinnamon: And I wonder if you at home had that experience where you’re like really in a painting And you’re really feeling a painting. And you’re thinking, man what have I got going on with this painting? John: You look around. Say to yourself, this is not my beautiful house. Cinnamon: So, I’m making a low light here, to come along and shadow his jaw. John: Wow! I mean, that just like- Why don’t you touch on that cause those two lines you just did- [Cinnamon laughs] John: He went from, you know, kind of, awkward confusion guy. Cinnamon: I’m not saying he’s not still awkward.
John: But like, BOOM! He has a face. Cinnamon: Yeah. We’re gonna get a face real fast.
John: See. He just became a superhero with that jaw line. Cinnamon: Well, that’s- Hey, let’s give Dicksee the credit here, cause he’s the one who said that’s where that should be. And then we’re gonna come here. Add that along his little cheekline here. Along the back of the neck we’re gonna add a little shadow. Cause, like, he would be in shadow, wouldn’t he?
John: Mm-hmm. Cinnamon: Curve that shadow around. John: That’s really cool.
Cinnamon: Just kinda chilling out. We’re doing that. Now in his nose, and we’re gonna be working his nose a bit, there’s a shadow here. And then his eye is entirely in shadow, as is this right here. John: Ahh. Cinnamon: Add a little shadow along the hairline. Isn’t that nice, that little shadow?
John: Yeah. Cinnamon: Cause they’re nice. They’re just so happy. These little shadows. They’re so happy. And then we’re gonna get some of our highlight color, which is…. Maybe add just a titch of skin tone to it, but we’re gonna keep it in the naples. I’m gonna put it right here. Maybe some right there. John: Consuella thinks he looks like Superman, and I was like, I do too. [both laugh] John: That’s what made me- As soon as you drew that little line in, I was like, man, that dude looks like Superman. Cinnamon: Superman!!! John: I wonder, you know, if that was a- Cinnamon: A thing?
John: If this painting was an inspiration for some of that. Cause you know, Superman’s drawn in that, with that arms open, hovering with the cape, you know. Cinnamon: Yeah. Well, as artists, there’s a thing people keep misquoting, which is “steal like an artist.” [John chuckles] Cinnamon: And it’s not I think entirely understood. We can’t help but influence each other. John: Yeah. Cinnamon: There’s just no way. That doesn’t mean, you know, you should copy another’s- This is not my work. This is Dicksee’s work. And I’m learning from him. And I may take lessons from him, and they may become part of my paintings. Right. But I won’t make this painting and put my name on it. Try to sell it as mine. John: Right. Cause even with as different as you’ve done it from Dicksee’s original painting, you can still tell it’s… Cinnamon: You can still tell it’s his.
John: Yeah. Cinnamon: And I’m coming around and curving the ear. Making a little shadow on the ear. The less you paint in the ear, the better. John: Just-
Cinnamon: Just as little as you can get away with. John: And you know what? I have to say, after watching you draw in the armor, all of this other stuff makes more sense, because the more you just em- had a conversation about the armor, and not actually painted it in, you just sort of, you know. You said there’s some lines here that are important, and there’s some lines here that are important. But not all of the lines. Cinnamon: Not all the lines. You only tell the part of the story that is important. John: It’s hard to learn what part is important to tell, though. Cinnamon: Dude, it is! And that’s why painting a master work is informative. Cause again, they try to not- If you gotta stand out there, and you got models, and stuff to deal with. You’re not gonna sit there and keep telling stories that just don’t matter. John: Yeah. Cinnamon: Right. I’m gonna come over into this orangier base color and I’m going to get this upper lip. Just a little bit. Just a tint. John: This was the original man of steel. Cinnamon: The original man of steel. Be bombastic. He’s into his chic. And I’m gonna hit him with a naples highlight where the sun is hitting him. Ok? John: Mm-hmm. Cinnamon: Ok? Ok.
John: A little sunlight on him? Cinnamon: Yeah. He needs a little sunlight on him. Then take your detail. Take your detail. And come along this line. This is really the refining part of him. The highlight along this ridge. John: Show me his ridge. Cinnamon: Alright. There you go. You’ve got a guy. John: That’s awesome. There’s a- There’s a Sci-Fi, fan dork part of me that wants to see this painting revisited with Klingons. Cinnamon: Probably be easier to a paint as Klingons. [both laugh] Cinnamon: That’s just my feeling. It’d probably just be a lot easier as a Klingon. John: Although it being a pre-Raphaelite, it probably would have been a Romulan painting. But, you know, I digress. Cinnamon: You totally digress!
[John laughs] Cinnamon: Alright.
John: Although a lot of people seem to
agree with me. [laughs] Cinnamon: Let’s give this guy some hands and, you know, we’re getting some stuff in here. Let’s pull some shadows on these hands. John: You know, cause you could totally see the female warrior holding her Bat’leth on the ground. Reaching up to kiss the gentle male in the saddle. Cinnamon: I don’t know- Huh….
[John laughs] Cinnamon: I feel like we’re learning a lot about
you today, John. John: I just think it’s funny cause the Klingons.
[both laugh] Cinnamon: I just think it’s telling. That’s all I’m saying to you. I just think it’s telling. [John laughs] I’m just gonna… keep working the pull and push of this. John: [chuckles] A bunch of people are like, what’s a Klingon, what’s a Romulan? Cinnamon: Alright. Uhh!! John: We need to pull the close up camera just a little bit down. So we don’t- There we go. Perfect! Cinnamon: Alright. Just resolve these hands. John: They’re coming. Cinnamon: They’re happening. We’re just being general about them. We’re not being mental about it. We could get mental about this. We could get very specific. John: Very. Cinnamon: Very. We could do an hour on hands. Not kidding. Not even exaggerating. We took some steps so we didn’t have to, but we couldv’e. John: Yeah, and you could easily do an hour on just the skin tones on just a painting this size. Cinnamon: Yeah. You really could. I have these little loop glasses so I can see better. Pull my little loops out. I’m gonna grab some of my yellow here. And I’m gonna add some to the top of the hands. I don’t know if you guys can see it, but it creates this little feeling of sunlight. Om his hand. Gonna go ahead and dust over here to make sure I’ve got a little bit here. Alright?
John: Mm-hmm. Cinnamon: And we’re gonna come with that and work her hand just a little. John: So… uh, let’s see here. I saw a really interesting question go through here. Kel was asking could she substitute regular craft paints for some of these, and give it a try? Cinnamon: Yeah, you can. You know what, if you’re familiar with your media- Here’s my thing. If you’re familiar with your media, you can make anything work. John: Can you get the close up camera? Cinnamon: If you’ve got a color chart for it, and you really know it. You know what colors you’re getting. You could do a beautiful, beautiful painting using craft paints. John: You have to get your close up on that. Cinnamon: So those are in. That’s what we’re doing about this today. John: Those hands look really good.
Cinnamon: We got some hands in. We got some face in. You know. I kinda want to, this white seems real bright to me. I kinda want to tone it back. John: And when you’re done, I’m gonna ask you to get some close up of those hands, so they can really get an idea how those are coming out. Seems pretty good there, but I’d like to get… Cinnamon: Ok. There we go. Just- That was just really bright. Just needed to take that away from the- So you can kind of see the hands. John: Yeah.
Cinnamon: Ok? So now let’s get our sky in. John: Oh. That sky looked really cool when you were doing that earlier. Cinnamon: Yeah. Now we’re gonna do it. Now we’re gonna quick get in the sky. Right. Where’s- Where’s Goldie? Come here, Goldie. We gotta paint a sky. So we’re gonna pull a little dioxazine purple. And gray it with the yellow oxide. Right? John: Now, you just got water in the spray bottle of yours, right? Cinnamon: Yeah. Now I do. And I’m gonna add, maybe, there you go. Pull some sky colors in. John: Well, I’m gonna say hi to Maria who’s joining us from Australia for her first time. Cinnamon: Hi Maria in Australia! So see how this is dispensing on my canvas. I’m not working very hard. But I’m getting a lot done. Does that make sense? Letting this out. Getting this sky in. Here. Real fast. Get a little more purple. Maybe a little too much water on my brush there. Gray it out. Let’s The trick with these, kind of roughed in clouds John: So-
Cinnamon: Is that you want to avoid patterns. Yeah? So? John: What is Goldilocks? Cinnamon: Goldilocks is my number ten Simply Simmons that my mom left here unattended. Unclaimed. In spite her protest. John: Hold up the size there and show us about- Cinnamon: It’s a number ten firm filament from Simply Simmons. John: And if they don’t have that, what would that be an equivalent of? It’s a one inch? Cinnamon: It’s a one inch bright.
John: It’s a one inch? Cinnamon: with a really firm, firm filament.
John: Ok. So. Cinnamon: Yeah. John: There’s people that asked, what could they use if they didn’t have that. Cinnamon: I’m adding some red and gold to this. To give some highlights to this dramatic lover’s sunset. Pull some white. A lot of white. Work this horizon. Just throwing in the sky. Like ya do. John: Yes. Cinnamon: Like ya do. Ok? Now, I’m gonna take a little yellow oxide over to my dioxazine purple. Gray it, uh, out just a little bit.
John: Mm-hmm. Cinnamon: I’m gonna come along here. Along this tree line. Just kind of create some drama in these mountains. I’m not painting them all out. This brush is very dry. See. Very little. Lots happening. Now I’m gonna work this back hill. I’m gonna take a little of my sap over to my yellow oxide. Come along this little edge. And just paint some of this in. With that. How’s that?
John: Mm-hmm. Cinnamon: Interesting, isn’t it?
John: Yes. Cinnamon: So interesting. So I’m gonna take my green, and a little of my burnt. Sienna. Add a little white to it. I’m gonna come along these tree lines. And just think about these tree tops, just a little bit. Because they might have caught some sunlight. My pressure- Let’s see if we can get this really up here. My pressure’s very light. I am just letting the tooth of the canvas pick up paint. I’m imagining the sun. Hitting just the tops. Of the shapes of the trees. The rest of them are in dramatic shadow. John: Hmm. Cinnamon: Right. That’s all I’m doing. Just trying to quickly quickly, sketch in with paint, a little story. I grabbed some just yellow oxide. Just a couple spots here. Just that. Dry dry dry dry brush. Just telling the story of these distant plants. Right?
John: Mm-hmm. Cinnamon: Just that. Just that. Now, I’m gonna get my yellow oxide. And maybe tint it with a little burnt sienna. And a smidge of the sap green. And then I’m gonna come down this hill. Maybe just put some light on that part of the hill, and… Don’t paint all the hill this light color. That won’t make any sense. Come back maybe with some just… the green here. Sap green. It needs a little brown too. I’m gonna take some of the burnt umber. Cause it wouldn’t be that bright far away. And just make some dark space. Scrumble, scrumble. On this hill. Some shadow. Alright? You see the shadow? John: Mm-hmm. Cinnamon: Is it working?
John: I think so. Cinnamon: People feeling it?
John: I think so. Cinnamon: How I’m making decisions about how I’m doing the shadow, besides looking at the reference photo, is just knowing that the light that this is a very bumpy hill. It’s not smooth. Some areas of it will catch light. Some areas will be more in shadow. As I’m getting closer to me, as- too much water. As I’m pulling the paint closer to me, I’m going to deepen it. As I’m going. Coming down this hill. Don’t paint out your hand. John: Mm-hmm. Adjust the close up camera down there just a little bit. Cinnamon: Ok. Don’t paint out your hand. This is gonna be layered under a lot of foliage.
John: Yeah. Cinnamon: But it needs to be here. Now, the green underneath gives you your lights and darks, doesn’t it? John: Oh, yeah. Now the green underneath is telling your story. I’m gonna do the same thing through here. Same thing. Through here. It’s ok… That some of this lighter green is showing through. We want those varying tones cause it implies things that are happening. We want that experience. I’m gonna just dust this here. Now here I’m gonna come back with some lighter patches of color. Because they would be there. I’m just working this in. Let’s get a little of our yellow ochre and tint it with our green. Come along this hill here. John: You have to get that close up on there, just a little bit. Cinnamon: Ok.
John: There we go. Cinnamon: Just tinting it. And let some of it be- Oooh! John: It seems like you’ve gotten your second brush. Cinnamon: I’ve gotten my second brush? John: May not be a second wind, but there’s some brushing happening. [both chuckle] Cinnamon: And I’m just gonna take this back here. John: I guess as long as you don’t break any second winds, we’re ok. Cinnamon: I think it’s ok for them. It’s just rough
on you if do. [both laugh] Cinnamon: I think you go down, I’m fine. So, see I put that kind of layer of landscaping in. John: Yeah. Cinnamon: Right. And that’s all that really takes to start you know, defining that. I might come along this hill a little more. I’m gonna paint this forelock back in cause I really want to define this hill. Add just a little more of that oxide in there. I may even come along this hill a little bit with that. John: Mm-hmm. Cinnamon: Just define that space a little bit. And that’s- You can always do that. Right?
John: Yeah. Cinnamon: Ok. Her hair. John: She has a lot of hair.
Cinnamon: [sighs] She has a lot of hair. John: She has some hair there.
Cinnamon: She has some hair. But the good news is, it’s easy to get in. So, the first thing I’m gonna do is I’m gonna come and… Pray that this hasn’t cycled out, and it has. Is it? John: Yeah. I’ll come get it. Don’t worry.
Cinnamon: Ok. The darkest shadow of her hair is under that roll. You’re right. [chuckles] And I’m not even insulted you’re worried I’d do it. [chuckles] That’s what’s sad. I’m not even like, John! As much as you think I would do it! John: As much as I love and trust our audience, I don’t think it’s a good idea to talk about our past hoards. Live. On YouTube. With twenty five thousand of our closest friends watching. Cinnamon: Twenty six thousand. John: Twenty six thousand of our closest friends watching. [chuckles] Cinnamon: [laughing] Cause we suck em back up today. So many people around the world ready to paint. John: Yeah. Cinnamon: So I’m just, close to her body, I’m creating this deep shadow. Right. I’m pulling this down. This beautiful, deep tone for her hair. Cause she has multi-tonal hair. She uses Olea. [laughs] Sorry. That’s why he’s so smitten. John: Yeah. Cinnamon: I’m gonna pull some just burnt sienna. I’m gonna come up over this part of her hair, here, and at the top of her head. A little bit. And then on this edge here. Can you guys see this? In hair, we’re not painting individual strands, we’re painting shadows. Hair has form. It’s like cloth. So you’re painting highlights and lowlights. That’s what it is. See this hair coming down. I’m not painting individual strands. I’m painting highlights. John: Mm-hmm. Cinnamon: And lowlights.
John: Now that’s just burnt? Cinnamon: That’s just burnt sienna.
John: Just burnt sienna. Coming along here. I don’t know how long we’re gonna be here, babe. John: Well, luckily, this is on YouTube and they don’t kick us off of it. [both laugh] Cinnamon: I know. You’re just not telling me that we’re alone and everyone’s gone home, right? John: Oh, no! There’s like, still a full room. We have like two hundred and fifty people out here all painting along with us so… [both laughing] Cinnamon: Oh my gosh! John: They’re having a great time, so. Cinnamon: Alright. I’m gonna add a little red to my burnt sienna. John: I want to say thank you to everybody who’s painting along with us. We really do appreciate and love you guys hanging out here with us, so. Cinnamon: Gotta add a little red to that. John: I’m gonna have to refresh and see how many- So we had a hundred and seventy six likes the last time- Two hundred and eighty eight thumbs up! Cinnamon: Oh! You guys are so nice. Thank you. John: Isn’t that awesome? They let you know.
Cinnamon: It really is. John: They enjoy it, so you can know. Cinnamon: Well, thank you. It does help me to know. I’ve added that little bright pop of red. That bright pop of red. Having a Jimmy Stewart moment. [John laughs] It’s a wonderful life! [both laughing]
Cinnamon: No. Wait. I think I’ve gone Audrey Hepburn! I don’t know what’s happening. John: You’ve gone off the reservation! Cinnamon: Always. And so I’m gonna pull a little bit of this orange hair that I’ve mixed, along her head roll. And on the top here, a little reflection. It’s happening at the top of her hair. Coming along this outside edge. Little bits of it might be showing up, reflecting here. John: Yeah. Cinnamon: See? Just little bits. And then the sun’s coming through causing her hair to look a little bit like fire. Which is maybe why he stopped. John: Yep. Cinnamon: Secret of the story. She’s not a nice girl. John: What?!? Cinnamon: No. She’s evil.
John: Who? Cinnamon: [laughing] She leaves him to, like, die.
John: This girl? Cinnamon: Yes.
John: Awe, man! You mean the beautiful- Cinnamon: This girl!
John: The beautiful lady with no mercy? Cinnamon: Yeah. Her.
John: Is just gonna leave this guy alone? Cinnamon: Just- She’s just like, you know what? Medieval times, buddy. I’m not really happy with my rights. As a human being. [chuckles] And you can suck it. John: She is a redhead. Cinnamon: She is a redhead. [John laughs] Cinnamon: So I’m gonna take some yellow oxide. Just make sure I’ve got a little sunlight on her hair. And just a little bit at the back here. A couple of places here as well. Just the yellow oxide. There you go. She’s got a couple little fiery highlights.
John: That’s awesome. Cinnamon: Isn’t her hair lovely?
John: I love that hair. That’s awesome. Cinnamon: Maybe put some deep ones here. Some sunlight shining through. John: She’s like, let me borrow your awesome horse? Cinnamon: I’ll just be back in a minute.
John: I’m just gonna run over here to check something out. I’ll be right back. Cinnamon: He’s like, I know you will. I can feel it. I trust you. You’re so pretty! [Cinnamon chuckles] So, I’m painting the brown on his hair. Right. Get some brown in there. Then I’m gonna get some just burnt sienna. Put some sunlight on his hair. Awe! Look at his nice hair. He’s got a beautiful head of hair. Look at him! That’s all I had to do to his hair! I love it. [Cinnamon laughs] Sometimes I love that! That’s all I gotta do to do hair, is that. It is that. Take a little of your yellow oxide and a little of your titanium white. And come along the top of her sleeve. Then very lightly pull down on a dry brush. Cause that’s shiny. That’s how we’re gonna say shiny.
John: Shiny. Cinnamon: In really quick terms. [sings] Shiny in a few seconds. There you go. That’s what happening on those sleeves. And you’re gonna mix up some white, into your cad red. We’re gonna come along the top of this sleeve. And in almost a lyrical fashion drop the beginnings of some fabric highlights. Some highlights. It’s got a little highlight here. Go down. Come here. Pull it down. Little bit up here. This is very very flowy. It’s flowy, what she’s wearing. What she’s wearing is flowy. Can you feel it flow? Feel it? Feel it?! He wants you to feel it. He wants you to know that this gown is- This is like the Vera Wang of her day, man. Girlfriend is wearing some Couture. She’s on fleek. Got her eye brows on fleek. [laughing] I don’t know what’s up with me today. I’m gonna come here, with some dark peach. You like, Honey? Thank you! I love you! This hat? Oh, thank you. And then I’m going to bring some of this dry brush so that the purple shows through. Peach color here. And a little bit here. But I still want my purple in there cause I want that shadow to really show. And look at the fabric folds happening. Does it just freak you out?! [laughing] I think it’s so fun. [whispers] I think it’s so fun. Oh. I love this part of the painting. So now we’re into the good stuff. Now we’re into the good stuff. Now we’re telling the fun stuff, right? And then we’re gonna tell that story down here. That’s gonna flow. Lots of little highlights, just dancing down here. Can you guys see them? John: Yeah.
Cinnamon: Can they see them? John: I think so. Cinnamon: Are they- I don’t- You know what’s weird? Like on my monitor it’s not as multi-dimensional and tonal as it is for me live. John: Well, you know that- Yeah. And it also has to do with the angle of the screen, and, uh… Cinnamon: Can they see it?
John: Yeah. You can really see it. Cinnamon: Can they see that? Yeah. Alright. Just wanna make sure they see it. Just wanna make sure they see how fun this is to put in. Alright. Now. The next fun thing that you’re gonna get to do, cause that was so fun, is get this out, and your titanium white. And dust this level of highlight in there. Couple of places. Look at that. And that’s all that takes. Girl! Are you just blown away? [John laughs] Cinnamon: Probably not. You’re probably like- You probably now realized how long it’s gonna take to get done. And you’re like, “Oh no!” [both laughing] So we’re gonna make a nice highlight for the saddle. And this is one of the few times I’m gonna use my black. Make a dark color. I’m gonna come along the outline of my
saddle with my bright. Work that, work that, work that, work that. And underneath here. Bring that up. I’m gonna grab some just burnt sienna. And just lightly dust that, over this high end here. Look at that. Just dust that burnt sienna, right there. How’re you liking that? John: Looking great! Cinnamon: Grabbing a little black. Getting that little blue black again. I’m gonna make sure that I’ve got a nice shadow. Under the hand. Scrumbling up a little form. A little shading. There we go. John: Looking good! I like how the dress has all the highlights in it. Cinnamon: Oh, I know!
John: It really makes it look super cool. Cinnamon: It’s just a whole thing. And again, I’m good. If you’re good, I’m good, but it’s a thing. We’re still in it. [Cinnamon sighs, giggles] Cinnamon: Are you guys good? [both laugh] John: I think it- Everyone’s hanging in. Cinnamon: You’re hanging in, I’m hanging in! John: Oh, yeah! We’re all still here! Cinnamon: I mean, I bet they feel like they have to. They’re like, man, she’s sick. John: We’ve come this far. We must complete it. Cinnamon: They’re probably like, we gotta stay, man. I’d like to go! Mona’s probably like, “Please lady, just finish this painting. Let’s just call it done…” I’m gonna make this soft, soft light gray. I’m gonna add a little brown to it. But it’s just a very light gray. And just real quick, I’m gonna come dry brush, on the outside of the tree, some bark. John: There it goes. Cinnamon: Could’ve done this with a palette knife too. We’re just saying there’s a highlight here. That I’ll be covering later. [laughs] John: Yeah. Cinnamon: That I’ll be covering up totally later. Totally, totally, totally later. Alright. Horse! John: Yeah. Cinnamon: Oh, lord! Horse! John: [sings] The horse! Cinnamon: [sings] The horse! The horse is a horse of course, of course, unless it’s a horse of course… John: Ah. Cinnamon: What? John: All those horsey things. Horsey, horsey, horsey. Cinnamon: Horsey, horsey, horsey. Now I’m gonna put some-
John: Don’t forget to adjust it. Cinnamon: I do?
John: Yeah. Cinnamon: Alright. I’m showing y’all how to do this. That’s what’s happening right now. John: We’re gonna do it. We’re gonna put that horse in there. Cinnamon: We’re doing it. So that was a little of this fluid black and our ultramarine blue. We’re just throwing this lovely forelock down. And here. Come and put his little jaw in. John: Looking really nice. Cinnamon: And I’m gonna pull some- I wipe my brush. I get some just burnt sienna. I’m gonna come along the outside of his jawline. Pull a little bit of that on. Just a little bit. John: Just a touch. Cinnamon: Just a touch. I’m gonna mix the burnt and the burnt. The two burnts. John: So, is that a Swedish Fish bracelet you’re wearing? Cinnamon: It is! I’m a super big fan of Sweden. [John chuckles] John: We have about three thousand
tiny red fish. [laughs] Cinnamon: And I love them! John: [laughing] In a giant bag up front. Cinnamon: Well, I don’t think they’re left. John: I think we’re maybe down to two thousand. Cinnamon: I don’t know. I think we’re down to a couple hundred fish. John: You think it’s a couple hundred fish? Cinnamon: I think it’s a couple hundred fish. John: I think there’s probably more fish in there than you think. There’s just bags and bags and bags of fish in the back of the closet. [laughs] Cinnamon: I think that you have not
checked the state of the fish John: We have a Swedish army. Cinnamon: So I’m bringing this around. I’m gonna bring this brown into the neck. I’m gonna bring this deep brown into the neck. Getting that second coat of paint on there. John: Really- That second coat of paint helps a lot. Cinnamon: The second coat of paint helps so much, right. The layers. John: Those darned layers.
Cinnamon: Oh, that’s too bright. John: That is bright. Cinnamon: Sometimes you’ll be going along and you’ll be like, that’s really bright for this area. Like, I just lighten it up. Alright. I’ve got this nice brown right here. Right. So that I don’t lose everything when I come back into here. John: Yeah. Cinnamon: And come underneath here. With this dark, dark color. In the dark, dark woods. Of a dark dark road. [John laughs]
Cinnamon: Sorry. Things are happening for me. I don’t know what to tell ya. John: We’re making stuff.
Cinnamon: We’re making stuff. [sings] We’re
making stuff… We like it so much.
[John laughs] John: Lindsay was saying she sat down to work at her computer desk and that was forty five minutes ago. She’s been watching it. [both laughing] She’s like, “Drat! I need to go back and work!” Cinnamon: Uh, save yourself! John: We do that to her channel all the time. We’re just sitting there, like we’re just getting to talking and watching the show, so. Cinnamon: I know. It’s just, it gets ya, right?
John: Yah. Cinnamon: I’m gonna get this sort of, um, I’ve got this little grayed out highlight color. I’m gonna come along the neck here. Just a little highlight on this muscle. And we’re gonna just drop a little highlight right here. This muscle. John: That muscle?
Cinnamon: That muscle. This curved, beautiful, robust muscle. John: See, that’s the thing. You really know horses, so I mean you intrinsically know where all these curves and muscles are.
Cinnamon: I do. It’s totally unfair. [Cinnamon laughs]
John: You’re a horsey… Like… Cinnamon: I am, but you know, you like helped me get through the armor. John: Yeah, well, you know. Cinnamon: You know, I don’t know the armor the way you know the armor, but you helped me get through it, right? John: Yeah. Cinnamon: Now we’re gonna drop a little star. Which is a little white spot underneath the forelock. John: Ah. It’s called a star? Cinnamon: It’s called a star. John: Oh, neat!
Cinnamon: It needs a little star. John: Hmm. Cinnamon: It’s an identifying mark. John: I see. Cinnamon: When you register a horse, they will generally register things like their identifying marks. And I’m gonna grab just some burnt. And come right along there. Create a highlight. And then I’m going to come right along this nostril, and create a highlight. And on this other nostril. And along the edge of this, and on the outside of this ear. And this ear. But I think this inner ear needs to be darkened a little bit so I’m gonna grab some black. Darken and deepen that space. All through here. Right? John: Yeah. Cinnamon: Right. Yay.
John: Yay. Cinnamon: Yay. And then we’re going to continue on. With the darkness of the mane. Cause that’s enjoyable for us. John: Mm-hmm. Cinnamon: [sings] So much fun! And we can always say we did it. Not a lot of people can say they did it. Usually you gotta go study elsewhere to say you did this. John: Yeah. Cinnamon: But you didn’t have to today.
Mmm- mmm- mmm. That’s more burnt umber. You just painted it. That’s what you did. John: You know what I think is really awesome is that, like, you made this painting, like, achievable for- Like, you’re showing people how to do this. Like, I never would have considered taking on a painting like this, but Wow, it would be really cool to do it. Cinnamon: Oh, it is. It’s so fun. Don’t even get it twisted. It is fun. John: That’s why I like that dragon painting. Cause I think, you know. Cinnamon: Yeah. Sometimes just knowing that the most complicated paintings, even the most complicated paintings in the world, still consist of the same things as the simple paintings you’re working on. John: Uh-huh. Cinnamon: You know. It’s still layers. It’s still light and shadow. It’s still form and design. You know?
John: Mm-hmm. Cinnamon: It’s still just about can I catch the highlight? Can I catch the lowlights? How can I tell this story? Right. Now if I catch a little white onto here. And I’m gonna want a little blue on it. Ugh! It’s skinning again. Then I can… John: Got a little salt and pepper in the hair, there? Cinnamon: Mm-hmm. Well, the truth is, very dark hair will actually reflect, um… very light reflections. John: Yeah. Black, glossy hair. Cinnamon: Yeah. So, the best way to tell that story. John: You have to adjust the close up camera a little. Cinnamon: Do I? John: It looks really good. Cinnamon: Yeah. Just a little bit of- [sings] He’s just got a little bit, a little bit… There we go. There’s just a little bit happening with him. And then I’m gonna come back with some of this dark brown. I’m gonna add it over this black, just to
give that dimension. We probably could have opted out, without it, but I feel like it’s necessary for the painting to have the complete feeling that it needs. When people are looking at it. Just my feeling. That is an important thing. I’m gonna dark this deep, dark brown. Work it right here. Coming down. His shoulder. Switch brushes. I’m gonna get into a… Bigger brush. Work this shoulder out. Cause we’ll be getting back into the shadow.
John: Oh yeah. Cinnamon: We’ll be bringing to his body, but we want to make sure that we’ve got… this little highlight happening here. You can come in with a little, just burnt. Just add. Just a little. A couple places. Alright. Now you can get back into working the deep dark color. Underneath here. Because he’s a dark, dark horse. John: Dark horse. Cinnamon: This is like literally where the definition of dark horse comes from. This guy. Who’s a dark horse? This guy. What’s got four hooves and he’s a dark horse? [both laugh] Cinnamon: This guy. This- I mean, you can even tell in the painting that this is a well bred horse. That’s what’s crazy. I’m gonna bring this dark shadow up here, and all around the hand, even though there’s gonna be the barding here. I’m gonna go ahead and make sure this
shadow is firmly placed. And it is these slightly lighter and darker values that create the shaping around him. And a lot of you have asked me to do horse paintings. And this is kind of actually like, a fabulous horse painting. So it’s sort of just fun to so this in general. Now, I’m gonna put a little- That’s way too much of a reflection on his knee. But ok. We’ll blend it out. Just a little highlight on his knee and along his leg. Can you see that there, John? John: I do. I do. Cinnamon: Not like- Don’t go crazy, like I just did.
But, you know. You gotta do what you gotta do. So I’m gonna come to these back legs. John: Gotcha. Cinnamon: Down here. You kinda figured out, we’re finishing out this horse! [John laughs] Cinnamon: Yes we are. Then we’re gonna finish out this knight. And then we’re gonna put some plants in the world. I am going to stay until the plants are in! Cause I want your friends- For those of you that are hanging in to do this, I want your friends to just be like, “What?!?” “HOW?!?” And you’d be like, I do this all the time… Don’t even- It’s not nothing. It’s just art. Right?
John: Mm-hmm. Cinnamon: Annd we also want to bring down some tail now. So we’re gonna come behind here. Don’t paint out your hand. Very, very difficult work, but you gotta do it. Let that dry for a minute. Because interestingly enough, this area and this area was sort of this light gray yellow. John: Oh, yeah. Cinnamon: So I’m gonna take this brown
gray color over to here. And lighten it up a little, but not too much. Because this is still behind everything. The plants and everything. John: Yeah. Cinnamon: And you can take that- These are called socks. You can take these socks up a little bit. Ooh! Too light. Way to light! John: Horsey socks. Cinnamon: These are horsey socks. And these are gonna end up behind the grass and everything. It actually Makes it feel more real. I don’t know how to
explain it, but it does. John: Mm-hmm. Cinnamon: [sighs] Getting there. We’re getting there, guys. We’re literally getting there. It doesn’t feel like we’re getting there, but we’re getting there. Take some of your burnt and your- Both burnts and start pulling them down the tail. Just a little bit. And put a little just back here. Can you guys see that? John: Yeah, I think so. No- Well, yeah. Cinnamon: No? Yeah? John: There you go. Cinnamon: Ok. I don’t know if it really, it shows. Sometimes I have a- It’s a big difference for me, but that camera- I need an HD camera right there. John: We need a whole bunch of new cameras. We need a robot camera. Cinnamon: I’m gonna add just some highlights on the tail. There ya go. So tail, dot dot dot dot. Right? Barding. John: Yeah. Cinnamon: Barding. Alright. Which completes her, and completes him, and then we just have him and some flowers. John: Just some- some- Yeah, well, you’re getting close. Cinnamon: If- You know. John: We’re so close! Cinnamon: I’m sure no one feels we are, but we are. So, I’m gonna come underneath him. Ok. Start here, and it’s gonna come up to here. So I’ve added a little blue to the red, to deepen and richen the color of it. That way I can also highlight it. Because all of the the barding on here is like that. John: So, you do keep saying barding. Perhaps you should explain what that is. Cinnamon: Well, you can explain it! John: Well, it’s your show. Cinnamon: Your- K. You need some work to do. Barding is the pretty- John: I’m pushing buttons. Cinnamon: It’s the Barbie clothes for the horsey. [Cinnamon laughs] John: It goes beyond Barbie clothes. Cinnamon: Well, I mean, as far as I’m concerned, it’s just pretty clothes for the horsey. But it’s also identification. This would be like- John: The armor and all the other stuff that the
horsey would wear. Cinnamon: Yeah. But it all has deep meaning. Like everything on the horse, and all these colors and everything tell you something about this animal John: Yeah. Cinnamon: The people who own this animal. John: Well, that’s the heraldry. Cinnamon: Well, that’s on the barding.
John: Yeah. It’s on the barding. Cinnamon: Make sure I got this nicely planted
around the hand. John: See, Bonnie’s with you. She’s like,
“Get to work, John!!! You’re not doing anything!” Cinnamon: Dude! Thank you, Bonnie. [John laughs] Cinnamon: Don’t you- Don’t you put up with him at all! John: [laughing] She doesn’t. She keeps me in line. Cinnamon: Gonna put the bridle on. John: You have to adjust your close up camera up there a little bit more. Cinnamon: Alright. John: There you go.
Cinnamon: Putting a bridle on the horse. [sings] I’m putting a bridle on the horse,
I’m putting a bridle on the horse. What are you doing, of course,
I’m putting a bridle on the horse. [continues singing] I’ve been painting all day on Valentine’s weekend. Putting a bridle on this horse, the painting never ends. [both laugh] John: Aahhh!!! [Cinnamon laughing] Cinnamon: What?! John: My ears hurt…
Cinnamon: Really? John: No. [John laughs] Cinnamon: Awe. It’s ok.
John: I bet yours do, though, cause you
got those things on. Cinnamon: You know what? This is gonna freak you out a little bit, but I can’t feel them anymore. John: Oh yeah?
Cinnamon: [laughs] No. John: Huh. Cinnamon: [laughing] Isn’t that at all disturbing? John: Nah. They’re just pressing on the side of your head. Cinnamon: Maybe we just got them on right for once. John: Maybe. Any American planning on vacationing to Holland? Yeah. I’ll vacation to Holland. Cinnamon: I’ll go to Holland!
John: Yeah. Cinnamon: I would absolutely go to Holland. They have good food there. John: What if there were some not Americans that wanted to vacation to Holland in our group? Would it be ok if the Canadians came? Cause we have a Canadian daughter. She might come to Holland. Cinnamon: Alright. John: So I’m gonna post up the finished picture here in just a second I think. Cinnamon: Yeah?
John: Someone was asking about it. Cinnamon: I don’t blame ya. John: We’re pretty close.
Cinnamon: We’re getting there. We’re getting there. I’m gonna pull some gray from over here. My weird ultramarine brown mixture that makes our gray. Like once we get him in and the flowers in, we’re good. And we can say we did it. John: Let me see if I can do that. I spaced out there on that. Let me see if I can pull this up for you guys. There it is! There’s the picture we’re working on. Cinnamon: Yeah. And if you go in the description, there’s a
reference, and… John: Yeah. Cinnamon: There’s a traceable, and all kinds of ways to do it. [child screaming in background] Cinnamon: Yeah? I agree. Seriously, what’s for dinner? [both laughing] Cinnamon: I need to know. I need to know
what I’m going for. John: I think that we might do some Boboli Pizza’s tonight. Cinnamon: Are we doing Boboli’s?
John: Homemade Pizza’s. Cinnamon: OK. John: Or maybe… I don’t know. We’ll see. We’ll have to find out. It’ll be fun, thouhg. Cinnamon: It’ll be fun?
John: Yeah. Cinnamon: I think I wanna go to sleep. [both laugh] Cinnamon: So I’m putting in these lines. And then there’s another interesting set of lines. That come from here and go up over the saddle, so it’s the second set of reins. If you’re an equestrian person, you actually understand what that’s all about. John: Or if you’re a jousting person you’ll understand what you need a second set of reins for. Cinnamon: Yep. I got those in. You just wanna get both of those in. I just want to get this all in. Alright. So I’m gonna pull a little highlight on the bit here. Make it a little bit more like metal. And then I’m gonna do an interesting thing. I’m gonna put in the medallions. John: Yep. Cinnamon: Which are… I’m gonna use the burnt umber and the yellow oxide to do the base of them. And that… I’m gonna make a circle. Right there. I’m gonna do another circle right here. [Cinnamon sighs] Cinnamon: And then…
John: And then? Cinnamon: And then!
John: There was another layer. Cinnamon: Oh, you know it! Right.
[John laughs] John: What layer are you putting on now? Cinnamon: I’m putting on some more medallions. John: There has been a- I have unleashed a chain of Sherpa- Of pizza comments in the thread. [laughs] Cinnamon: Have you? I so want pizza. John: You know what? I think that pizza is something around the world people enjoy. Because, I mean, we have folks all over the world saying, Dude! I had pizza last night, or I’m gonna have pizza tonight. Or I want pizza tomorrow. I love pizza! Cinnamon: I’m pulling down a little fringe here for underneath the barding. John: It’s an Italian food. [John chuckles] Culture! We should all have more pizza! [Cinnamon laughs] John: What did she say? Cinnamon: She said can I have some pizza, please. [both laughing] [both] Oh! Keep her! [both laughing] John: Alright. Come here, Luna. Cinnamon: So I’m adding this little gold back here to the barding like there’s embroidery. Right. And then the other medallions I’ve gotta add… You like my painting? Luna: Yeah!! Cinnamon: Thank you! I love her so much. John: You like the painting?
Luna: Mm-hmm. John: What do you like best about it? [indistinct chatter in background] John: Tell mommy…. Luna: It’s a cool painting. Cinnamon: Thank you, sweetheart. Thank you so much. And then I’m gonna put a couple back here. Argh! Alright. Get your details out. First thing that you’re gonna do you’re gonna take a little of your red. A little of your black. Along here. Work that bit. Then you’re gonna get a lowlight that’s the shadow.
John: We’re just watching mom here. Cinnamon: To these rings. That’s what you want. You need that shadow. John: Luna wants to wear my headphones. Uh-oh! Pushed the button. Luna wants to wear my headphones. Cinnamon: Oh, good! John: She’s taking my headphones from me. Cinnamon: She’s in charge now. Luna: I’m never gonna charge, ok? Cinnamon: Ok. [Cinnamon laughing] Cinnamon: I’m gonna come along the barding and I’m gonna make a little shadow here. Along this breast collar, is actually what it is, I’m gonna make a little shadow. And then we’re gonna come right over to the oxide. With the black. Load up our brush. John: Just stay on it. Cinnamon: I’m gonna make dots. I’m gonna do three little dots. [Luna talking in background] [Luna giggles] John: So you’re real shy today, there, when you have the headphones on. Are you gonna at least tell everybody your name? Cinnamon: Luna. [Luna talking] John: You have to say it even louder. Luna: Louder. [all laugh] John: You don’t say louder, you say your name louder. [Luna giggling] Cinnamon: She’s so much fun. Luna: I’m too shy! Cinnamon: You’re too shy?! Luna: [giggling] You try and [?] it. John: Ok. Cinnamon: Ok. John: Alright. I’m gonna get her a little keifer, and I’ll be right back. Cinnamon: Ok. I think you should. Cinnamon: So, if you’re like, Oh my gosh, how long is this gonna go? Oh my gosh! This is what time lapse is for. Oh my gosh! Actually, if I did this in time lapse, I would have to work on it twice as long as I am right now, believe it or not. So what I’ve been doing is I’ve been adding these little shadows, along these medallions. And you’ll notice it starts to shape their function. So what we have left is the highlights through here, which is gonna pop all the reins. The fabric here. The metal here. His armor. Which is a thing. We’re gonna drop some branches and vines. We’re gonna drop some wild roses and some flowers. And then we will have painted La Belle Dame Sans Merci. By Dicksee. Kind of. Mostly. We’ll have done it. We’ll have gotten the gist of it. [laughs] We’ll have painted a gist of it. And this isn’t a painting people generally take on, because sometimes people look at paintings like this and they go, “It’s too much!” Can’t do it. I’ll never be that good. It’s like, dude. It’s just layers. It’s like how long are you willing to sit here? If you’re willing to sit here for a minute you can paint the painting. The painting is totally paintable, if you can sit here for a minute. John: Yeah. Cinnamon: I mean, you might not see it at a sip and paint anytime soon. And maybe this is what I’ve gotta do now. [both laugh] Cinnamon: Sorry. Yeah. Grab this one, guys. [laughs] I’m gonna pull some just yellow ochre. John: Got it. Cinnamon: And I’m gonna add a couple highlights. John: Wow! That makes such a difference! Cinnamon: Isn’t that crazy?
John: Yeah. John: Now on a scale of one to three hoots, this is an eleventy hoot, right? Cinnamon: This is probably closer to a four hoot. John: It’s a four hoot? Cinnamon: Yeah. It’s still in the student stage because I’m giving instruction the entire way. Right? John: Mm-hmm. Cinnamon: The whole way I am sharing my instruction. But it does require a base understanding of certain skills. John: Mm-hmm. Cinnamon: Which is ok. Cause, you know, they’re all learnable. I’m taking pure cad. And I’m letting it skip along the tooth of the… Like that! John: Yeah. Cinnamon: Isn’t that awesome? That’s how I’m defining these beautiful reins. Not a lot here cause this is under… There you go. Barding! Barding! We’ll put a little bit of the highlight gold back here, on these, which are far away, and a little highlight gold there. Goodness gracious! He’s in! Can you believe it? John: Wow!! Cinnamon: Alright. Helmet. Knight. The armor’s really a thing. I really kind of need another cup of coffee. [both laugh] John: Luckily we brought the coffee pot in! Cinnamon: Did we? John: It’s already over here and set up. I knew it! Cinnamon: I feel like I need to put out a third palette of paint. Not even kidding. John: Yeah. Cinnamon: Yeah. But I’m going to make some of my gray, which is my ultramarine blue and my burnt umber. I’m gonna… create… Then I’m gonna start painting in my helmet. With my mid tone gray. Back here. Adding these little metal- These little brown-grays. I don’t know if you guys can see the little variances of gray. These are little brown grays. And I’m gonna- I probably am gonna put out some new paint here in a second. I’m gonna create this deep, deep tone with the phthalo. And the burnt. And then I’m gonna put out some new paint, cause this is so gummy. And again guys, this is just that the studio is an oven. And acrylic paint, you know, cures in an oven. I normally would not- I could use some fresh water and coffee. John: Some fresh water, coffee and paint? Cinnamon: Yeah. Look, I didn’t even- All that white I poured out and I didn’t even use it. John: You didn’t even touch the paint, did ya? Cinnamon: So sad! It’s pitiful, right? John: Alright. I’m gonna come over. I’m gonna stunt hands you some paint, some- Cinnamon: Coffee and water and… I need coffee. I need water. I need… What did? It’s ok. We can rinse those two. Alright. So we’ll talk about what we’ve got left to do. So, what we’re gonna be looking for in him, is the reflections in the armor. We’re not really painting the armor as much as we’re painting the highlights. And the trick to the armor is really nailing the highlights. The more information you give about the highlights and the shadows, the more the armor is gonna feel like armor. And hopefully I’m explaining this correctly, cause I’m a little under the weather, and so I have a little mellow in my brain. But that’s basically what it’s about. So we’re gonna be coming in here and we’re gonna be like we’re gonna notice there’s a lot of sunlight reflection here. Where that sunlight is hitting. How it comes down his breastplate, on this line. How it comes down this leg on this line. We’re gonna reflect up on the sword. It’s gonna be a minute, getting him in.
I won’t even lie to you. But once he’s in, it goes real fast. We’re like, twenty minutes of flora and fauna. And you can kind of see we’re like nearly there. Which has got to be trippin’ you out. And John is getting me my reference photo back. Cause once we get into the armor I’m gonna really need to see it. But the computer’s dying? That’s fine. I’m gonna be using my own painting as reference. That’s awesome. I’ll put out paint while John’s making coffee. So I’m gonna put out my colors again, cause I’ll be in pretty much All of them. [sighs] Which is crazy, but it’s true. I’m gonna put out my titanium white. I’m gonna put out- This is something that I’m gonna go through. Um, the creme brulee would be lovely. Then I’ll have to do, like, I don’t know. Drinky-poos to go mto sleep tonight. Though you know, if you think about it, at a painting party it would be painting til like ten at night. So… Yeah. Now, you may really want to keep your phthalo blue and your ultramarine blue separate. Simply because it may be hard for you to see the difference between the two of them. And if that’s the case… don’t worry about it. Mmm! The computer thinks it’s gonna come back. If I seem a little puffy it’s just cause I’m a little sick. This is what I do sick, so yeah! [chuckles] And we’re doing it. We may never do it again, but we’re doing it. John: We’re doing pretty good here, I think. Cinnamon: Really?
John: Yeah. I love it that painting. Cinnamon: It feels like it’s crazy. Like we went crazy. It feels like we went crazy. A little bit crazy, right. Oh, I just put out more green. See, that’s where I’m at right now guys. If you’re wondering where I’m at, I’m just putting out the same colors of paint again. This is that weird yellow. Oh, lord. I never even know. Am I getting to drink out of my Crafty Chica cup? You’re rewarding me with my Crafty Chica cup? I’m one of those people who are like, a cup is a reward. Like I have my favorite mugs. I have, uh, one of my favorite designers on planet Earth was a husband and wife team called Mackenzie and Childs. Out of the East coast. Not far down, actually, from Miss Lindsay. She probably knows who they are. She’s probably also sensibly gone to do something else by now. [chuckles] And, um, I- Their original ceramics before they got purchased out were spectacular. Just divine. It was like living in Alice in Wonderland. John: What are you doing over there? Cinnamon: I don’t even know. Like literally I got lost in the paint. Like, lost. John: Lost. Cinnamon: In the paint.
John: Into the paint. Cinnamon: Totally lost. John: That we got it all right. You got a circle of paint. Cinnamon: I have a circle of paint. I’m not sure what’s out. If I have everything I need. John: It’s a color wheel. Cinnamon: I’m having a moment, but you know what I’m gonna do? I’m a survivor, and I’m gonna power through this. [both laugh] John: We’re almost there. And we’ve got like two hundred and forty people hanging out. Just keeping up with us.
Cinnamon: Thank you! John: So, I mean. Cinnamon: Can I sippy sippy real quick? John: You can sippy sippy. Of course you can sippy sippy! Cinnamon: [sighs] Oh my goodness. John: We are here to see- I mean, like we’re close. Cinnamon: How you guys doing? John: They’re pretty excited about this, I have to say. Cinnamon: We’re doing it. It’s like, it’s happening. It would probably be a better time lapse, but it’s happening. [both laugh] John: Well, no. I mean, cause, a lot of people really want to know what it’s going to take to be able to do this. Cinnamon: This is what it takes. John: And, you know, I mean like, you know, I loved being here, this last three hours, hanging out. I know that Glen will enjoy coming and watching the video and hanging out with us for those three hours. And you know, that’s why we do this. Cinnamon: Yeah. John: So. Cinnamon: I wish Glen was here for the live. John Yep. Well, you know, maybe-
Cinnamon: I don’t know if Glen does the lives. John: Maybe, he may not know about it, but he does now. So. [both laugh] Cinnamon: Maybe somebody can go and find Glen and tell him there’s a live episode dedicated to him. John: Yeah. You should show up to a live episode, yo. [both laugh] Cinnamon: Oh, Glen. We are just messing with you. You don’t even have to feel a little bit concerned. John: It’s you know. Cinnamon: Not even a little bit. So I’m shading the back of the helmet with the phthalo blue and the burnt. And now I’m gonna, using my grays, and you can actually, believe it or not, gray it up by adding a little bit of cadmium to it. I’m gonna start adding these highlights. Right down the center. Highlight What- what am I doing? Hi. Nobody knows what I’m saying. I’m gonna add these little ridges to the helmet. Hopefully just out of the blue it’s going to start looking like metal. Cause that’s what you’re hoping for is the look of metal. Just, Boom! Out of the blue. John: And if- What I’ll say is that from the armor stand point. If your armor starts to look wonky, it’s probably because the highlights that you’re putting on. You know. Are making it seem uneven. Or unsymmetrical. But you notice how symmetrical that- the lighting has made it appear to be sort of domed? And that’s really the most important thing. You know, making sure that it has those curves of the metal that are implied with that lighting. And the highlights that are caught with those, uh… Those white highlights. Cinnamon: So I’m gonna come give this- the little scarf here. Need more white to this. John: So those white lines are? Cinnamon: Highlights in the fabric. John: Well, on the- Yeah. Cinnamon: Oh. On the fabric. I’m just talking about fabric. I don’t know what you’re talking about. John: Well, on the metal they’re called flutes. Cinnamon: Oh. John: It’s called fluting, and that’s what gives the metal the reinforcements, so. And those are the iconic elements of the armor of this time period. So, by just implying them, you can do a really good job of telling everybody’s brain that that’s what it is, without having to draw all of it. Cinnamon: Yeah. Not that you couldn’t. You can sit there and draw all of them. Absolutely. All day. Right. She’s giving him some type of scarf here. That’s what’s happened. John: I am being asked to pass on how many wonderful comments and thank yous you’re getting right now. Everybody thinks that you’re really amazing and appreciate you doing this. And they think you’re a real trooper for hanging in there and helping them paint this. Cinnamon: I think you guys are real troopers for hanging in with me while I do it. You know- Cause, the thing is like- Now, John would totally, like, I would be here along with two people and he would be like, “No! There’s hundreds of people here!” [John laughs] Cinnamon: But I’m assuming he’s telling the truth and I appreciate it. John: Oh yeah. No, no. There’s like two forty people here right now. It’s like, so it’s- It has been a full room all day. Cinnamon: All day?
John: Yeah. Yeah. It’s been spectacular. I’ve been really- Cinnamon: Oh, you can sign back in. I can get my actual metal back. John: Oh yeah?
Cinnamon: If you wanna sign me back in. John: Oh! Cinnamon: It’s come back. I don’t know what to tell you. It came back. John: Alright. I’ll come back over there in a minute and check it out. The battery came back. Cinnamon: The battery came back. So I’m gonna start putting in some highlights. On the armor. There’s some highlights. I will definitely be using the original as a reference in just a second. [laughs] You have no idea how much. And I’ll be using the, um… naples to add a yellow cast. To what I’m doing. John: There we go. So, we have wonderful people from all over the world who are hanging out here, and it’s just incredible, the times of day and evening that people are up hanging out with us. Cinnamon: Really? John: Yeah. So I have to say thank you to all of you guys who are just hanging out. I mean, it’s incredible for you guys to be hanging out at all these hours of the morning over there in Europe. Cinnamon: Yeah.
John: We really appreciate it, so. Cinnamon: So I’m gonna be just working these grays, is really what I’m gonna be doing. Trying to create these, story of this highlight. What’s happening here… It’s, um… It’s a bit of a job. And at some point I’m gonna have to get in here and… Kind of work this weird, wonky little story, like this actually needs to be sitting up like this, and come out a little bit from his neck like this and come around. There’s the shadow. I gotta figure out how to tell that story. Easily. And this neck. Hopefully you can see it. What I’m doing is I’m observing the reference, and just trying to create the values I have to create. The neck is maybe one of the more challenging pieces on his piece. Just so you all know. There’s just some pieces I’ve gotta work in by hand. You may have to go back and, like, paint in hair. In this particular case I might even have to- Oh! I know what I’m missing! Yellow oxide. [John laughs] John: I’m missing some paint! [both laughing] John: There’s paint that I’m missing! Cinnamon: It’s like, what am I missing? Yellow oxide! Does that ever happen to you? [both laugh] John: One of our regulars, SArts, was like, I was here earlier, and you were painting. And I went away, and had dinner, and went skiing, and came back, and you’re still painting. Cinnamon: [laughing] Oh, I’m sorry, sweetie. It’s true. [John laughs] John: I just want to know where you live that you went to dinner, and skiing, and then came back. Cinnamon: Yeah. That’s actually pretty cool. Ok. We’re getting somewhere. Maybe. I’m not really sure. John: It’s looking good. Now, the gentle roll of that light on there really makes such a difference on showing the curve. Cinnamon: I know. I’ve been trying to get it. John: You’re doing a great job. Cinnamon: And that’s one of the things is like I’ve gotta try to get it. And so I’ll be trying to get it, and I’ve gotta find it, and then I’ve gotta use things around it to shape it, and that’s what’s challenging. John: Once you get all that in, I’ll come and point it at the three or four lines. Cinnamon: Please don’t. [both laugh] John: Ok. [both continue laughing] Cinnamon: Please don’t! John: You’ve got it. [both laughing] Cinnamon: Oh, I know what I need. I need my fluid white. John: Oh yeah.
Cinnamon: That’s what’s going wrong. There we go. It’s like, what is going on with this? I’m like, oh, yeah. Fluid white. John: There it is!
Cinnamon: The fluid white allows me to, um… Focus on certain things easier. John: Yeah. That’s one of the important lines right there, that you were just getting perfect. Cinnamon: Yeah. John: And how it goes. It’s really crazy how that line- Cinnamon: Yeah. John: If you draw it from the- Basically the base of the throat, over the navel to the top of the belt buckle. Cinnamon: Yeah. John: It works. You just have to know that that’s what that line goes over. Cinnamon: Yeah. No, that was really helpful to me. By the way. When you were like, that’s- line it up like that, and then I can see it, see how it had to be that. Like, HAD to be that. Like this has to be here. John: Yeah. Cinnamon: And that’s just figure drawing. John: And then if you understand the elbows and then the front of the legs, everything else comes together pretty easily. Cinnamon: Well, nnn…. John: It would be relative to the-
Cinnamon: It would be relative to everything else, yeah. [laughs] Wooo!!!! John: You believe it’s armor if those lines are correct. Cinnamon: Yeah. So, I’m gonna darken this down here. I’m gonna take this in to a darker dark. This is where I’m super grateful for a stiff bristle. This work, right here. I am so grateful for the stiffness of these bristles. Y’all can not even know. John: Mm-hmm. Cinnamon: Can’t know. How awesome it is that these are as stiff and rigid as they are. Giving me so much support in what I’m doing. Now, I can literally reflect everything around him into this armor. John: Oh, yeah. Cinnamon: I am going to choose to not do too much of that but that is her hair color. The peach from her could be in him. John: Mm-hmm. Cinnamon: And that would be something you could do. And maybe I’ll do it a little, but I don’t know. It’s a lot. I’m using basically ultramarine and burnt umber to create the grays and low tones of this. This armor. I’m making it a very cool armor. John: This is so cool. I can’t believe we’re almost done with this. Cinnamon: I think that you’re cheering everyone on and keeping them from running away. [chuckles] John: Well, no. I don’t need to. I mean, like, believe me, there’s no one going anywhere anytime soon. Cinnamon: You’ve seen me paint this, so you know. John: Yeah. I know. They’re all here chatting away, having a great time. I’m just along for the ride right now, and just sort of, uh- You know, like right now, I don’t know if you know this, but we have a whole bunch of people from Germany, who paint with us.
Cinnamon: Really?!? John: Yeah. They just all happen to be talking about where they’re from right now. And there’s people from Frankfort, and uh… Cinnamon: I think that’s so cool! John: Yeah. And, uh…. Cinnamon: I think that’s very very very cool. John: Danielle’s a regular-
Cinnamon: You know like a lot about German armor, too. John: Yeah.Well, yeah. [Cinnamon laughs] John: German’s made some pretty cool armor for a while. Cinnamon: I know that cause I heard you talk about it. John: The English did some good armor. The Italians made some good armor. There’s a lot of good armor makers out there. Some good armor shops. Cinnamon: You’ve gotten to visit some museums and see some armor behind the glass. John: I have. I’ve been to, uh, to several museums where I got to look at armor. Cinnamon: Behind the glass. John: Behind the glass. That was pretty cool, yeah. A real armory museum, and, uh…… I went to the met, and I went to a couple of armory- Armor museums up here in the states. In the New England area. Cinnamon: I’m adding a little black to my mix. John: I love armor. Cinnamon: You do. John: I make armor too. I used to. Cinnamon: You- That is an art John used to actively participate in, and I don’t remember all the words that described the type of armor that you made. But you were actively making armor. I think this is why we get Stephanie and…. And Mark. John: Yeah. I made, uh… Cinnamon: So, I’m taking my black fluid paint here. I am just doing what I can. To anchor this just a little. John: I did sixteenth century armor which is just a little later than this. Mostly English, high carbon, steel plated, armor, because I like the hybrid, high carbon steel stuff. Lighter weight. It was the modern, high tech armor at the time. Cinnamon: Yeah. Cause armor used to be techy. John: It was, man. Cinnamon: Alright, Woooo!!! I got that little thing! That little thing is like- John: That’s important.
Cinnamon: It’s a thing to get, man! John: That little thing there protects the inside of his elbow from getting stabbed! It’s a very important part, that elbow cop. Cinnamon: I’m just trying to tell a little story of it. Without having to tell a whole story of it. John: But you do such a good job of it. [Cinnamon sighs] Cinnamon: Get a little yellow into the mix. I like, every once in awhile, getting a little yellow into the mix. And I’m going to come here to the cuff. And tell another little roll story. Cause there’s some rolls. I’m gonna draw out some reflections. John: I’m gonna put this up here on the wide camera. I’ll be right back. I’m gonna check on the kids. Cinnamon: I’m gonna sippy sippy. Cause I’m gonna be doing armor for a minute. We’re just doing this armor til this armor’s in. Til we get armor! But you can see we’re kinda getting armor so it’s just about this thing. Yeah. I’m doing actually really good for how sick I am. It’s pretty cool. So. One of the things you do as an artist is you sort of estimate, based on past experience, the time it takes to do a project. And I… I think I estimated wrong. [laughs] I mean, we’re done soon. We’re actually done soon. This is that, you know how in acrylic painting it’s a hot mess, it’s a hot mess, it’s a hot mess, and then like, all of a sudden the whole plan comes together, and you’re like, “Oh, it’s a painting!” That’s like the number one thing you have to do. I think people give up on paintings like this cause it’s so long in that grueling stage before it gets to the satisfying stuff that’s starting to happen and come together and make sense. And, um… You know. That kinda thing. John: Sippy sippy. Cinnamon: Yeah. I got a little weird with this face but I’m gonna let it go. John: You got weird? Cinnamon: I don’t know. I’m not sure if his face is a little weird. John: Let me see. I like his face. Cinnamon: Alright. Well, we’re gonna love him how he is. John: He is. He’s- You know, I say he does look more iconic super hero-y than the other guy does. And I think it’s just, uh….. You know, cause I got both images here, up. They’re so close. I think it’s just, you know- Cinnamon: I’m doing little dashes here. Just dash highlights, to say that this is chain mail. John: Yeah. Cinnamon: So, that’s my recommendation. You can take this further, if you choose. But I would recommend. Just letting it be lightly discussed. John: I keep thinking you’re gonna get paint, but you don’t. [laughs] Cinnamon: I am getting paint.
John: You’re getting close. Cinnamon: I feel like I’m getting paint. John: Carrie says he looks flushed with love. Cinnamon: That’s what it is? Alright. We’re gonna be very forgiving of the sherpa today. [whispers] Very forgiving of the sherpa. [both laugh] Cinnamon: And that’s ok. The sherpa needs forgiveness today. Oh. I’m gonna figure out what the heck I was doing here. I’m gonna give this circle, I’m gonna give it another radiating coat of paint. I’m gonna come underneath. I’m gonna pick up some black on my brush. I’m gonna come underneath this and darken this. Some of this shadow here. So that this, when I bring it up, shows more. That’s what I’m doing. And you can get some dioxazine purple, too, to your gray. John: It’s all just coming in!
Cinnamon: It’s just coming in. Just coming in. John: I wish I had Alex’s armor to show you guys. I wish I could pull it out cause he has this set, he’s made. Cinnamon: Really?
John: Yeah. Cinnamon: This was his, wasn’t it? John: Yeah. He made a Maximillian set of armor. Cinnamon: Yeah. I felt like I’d seen this armor. Like, beyond this painting, I felt like I had dealt with it before. John: Yeah. I helped him make that helmet. So. There’s many hours of holding a torch while he swung a hammer to get that thing to go. Cinnamon: [laughs] That’s like, funny how you can remember something like that. John: Yeah. Cinnamon: Just putting this shadow underneath here, working this gray. See. You can see how it just starts to become what it is.
John: Mm-hmm. I’ve gotta keep lightening up his chest
area. I might add a little… Burnt to it. Cause I see that in the painting. John: So, is there a substitute for naples yellow? Cinnamon: You know, um, any of the yellows that run to the cool side of the color spectrum, right. You could probably get away with cad light. John: Yeah. Cinnamon: Right. You probably could. Get away with some cad light. I wanna just put some actual yellow right here. I feel like it needs it. John: And see, the highlight of the band around the neck, around the wrists. Cinnamon: Yeah?
John: Across the- Cinnamon: Oh, you’re liking that?
John: Yeah. The top of the, um… breast plate. The center line, and then the front of the legs. Those white highlights so stand out to say- Cinnamon: There we go.
John: Yeah. Cinnamon: I was just trying to get that shadow right there! John: It’s just- I mean, that’s really, you know. Cinnamon: Something I just really work hard for like one shadow. You do. You’ll just like, work and work and work and work and work, for like this one shadow. You’re like, I gotta get this one shadow! If I just get this one shadow. This one highlight. Can make this piece work. Come back later for this. Just wanna kind of say that really quickly. I’m like looking here, like alright, what do we wanna do, what do we wanna do? John: Just floating plates, there? Cinnamon: Just trying to just sort of say them. Right there. John: You did a good job. Yeah. Well, that’s what they do. They’re just little floating plates that protect the armpit. Cinnamon: Well, good. Cause that’s what they are right now! John: Yep. Cinnamon: And I’ve gotta create this second reflection along the arm right here. John: Yep. Cinnamon: Which is sort of, like, kind of challenging, but we gotta get that in. And now I can finally do this guy. Which I’m just ready to do! John: Just get a little bit of that armor plate in there. Cinnamon: Just trying to get it in. And that’s why I said to bring the dioxazine purple into this mix. To deepen it even more. That’s what I’m trying to do.
[John laughs] Cinnamon: What’s funny? John: Mona was like, I wonder if they had deoderant in medieval times. [both laugh] John: Actually, they did. [both laugh] Cinnamon: John knows the answer. John: They did. Nobody liked to be stinky. So, knights and ladies alike have all sorts of ways of making themselves smell good. Cinnamon: Did they? John: Uh-huh. From powders to, uh, you know. Crushed amber. Ground amber. Beautiful smelling stuff, and lots of incenses, and… Cinnamon: Whatever it takes, right? John: But a good linen under jacket does wonders for you. Cinnamon: Doesn’t do as many wonders as you thought it did. [laughs] John: Oh, a lot more than you think, though. When you switch from cotton to linen you learn fast how much it works. [both laughing] Cinnamon: Alright. Putting in the chain mail here. Defining this. And I’m gonna pick this with, um, I’m gonna pick this up with a little, like, lowlight here. Come under the cuff here. Come under this here. And roll the cuff. How’s that John?
John: Mm-hmm. Cinnamon: Happy happy?
John: I like it. Cinnamon: Alright. Oh my goodness! Let’s put a little highlight on the belt buckle. Alright. We’re making some headway. Slowly but surely. I’m gonna add a little of this burnt to his belt buckle. Just aging it. I’m not taking out all the other. I’m just gonna try to come along this side. Pulling this over. I’m gonna work this little sword a little bit. Come down the hilt with this dark burnt umber. And come back with just a little of… Along this right edge. Pulling a little bit of a highlight with the… And then I’ll take the yellow oxide. Gray it just a titch. Maybe not that much. I just don’t want it it’s bright bright self. And I’m going to make some bands. across that sword. I’m going to… Let this phthalo blue get into my burnt sienna. I’m gonna make two straps. Right there. John: Mm-hmm. Cinnamon: Alright. I’m gonna let that set for a minute and I’m gonna finish up that sword in a second, as I come in and attempt to finish… This down here. Oh my goodness. We’re winding up, man. We are coming to the end. I know it doesn’t feel like it. John: You just- You’re putting some highlights on the sword, to really, sort of- Cinnamon: Yeah.
John: Lock it in, huh? Cinnamon: Yeah. I’m just quickly telling the story, and then I’m gonna come in and refine it a little more. But I just wanna- I wanna tell some of that story right there. Even though there’s gonna be flowers. Even though there’s gonna be stuff over it, I just wanna tell that story. It doesn’t mean I’m not gonna come down this side and drop a shadow. And define this hilt more. It just means I wanna tell a story. John: Yeah. Cinnamon: And that’s all I’m really doing. Oh, I love these stiff bristle brushes. I really do. It just makes my work so much less challenging. Now, we’ve got some highlights we have to put here. John: Mm-hmm. Cinnamon: Where’s this thing? Oh, I got it this time. John: You got it.
Cinnamon: Woo-hoo! I’m gonna make sure I just go deep with that. Come here. Get a little on his leg. Grays and brown grays. Just really define it around the sword. Pulling out the shadows. John: You’ve been- You’re on a painting marathon here. Cinnamon: Am I?
John: Yeah. Cinnamon: Ok. John: You’re doing great. Cinnamon: Thank you. I’m gonna drop some slight reflections on this part. Around here. Now, there’s a highlight that comes down the center here. And then there’s a little fling out. We’ll come back with some other highlights to talk about that. I’m gonna pull just a little bit of this right here and I’m going to- I know I’ve got this right here, and I’m gonna just lightly as I can, and you can explain what part of the metal I’m just… John: Alright. So what brush are you using there? Cinnamon: I am using a number two bright, by Simply Simmons. Firm filament. John: So, you’re just going and adding a little bit of highlight. See, there’s- Cinnamon: Just as little as I can, cause the less I do, the better off I am. John: I gonna pull up the picture here just for a second. See. You guys can see over here there’s a skirt, a metal skirt that he’s got, that comes over, and it covers the top- Cinnamon: I switched to my detail while you guys are talking about that. John: Yeah. It covers the top of his legs there, and that is what that metal skirt does. And it just hangs down a little bit. So, she’s just implying some of the curvature of that. And so those lines that she’s making are- Cinnamon: Just reflections and things that are talking about this space. John: And those are the highlights in the metal. Cinnamon: Yeah. Highlights in the metal. That’s what we’re doing. And I’m going to add just a little shadow under everything right here. Right. Just a little bit coming along here. A nice little shadow. So I can tell what’s going on. I might even come underneath the sword. Define that a little bit. And then I’m gonna get some kind of purply gray. I might add a little blue to it, so it feels a little more metallic. Brown. Cause I don’t want it to be super bright. Now I’m gonna come and put in my chain mail. John: They had a question about what the metal skirt’s for. So that metal skirt actually is- It collapses. So that when you jump up on a horse, all those metal lines, and actually what she is drawing there and highlighting, those bands that sort of go around it in a circle, those are the edges of each of those- They call them lames. They’re the bands of metal. And when you sit down on a horse, they collapse up into a nice little- They kind of sit on top of your legs, so that when you stand up the top of your legs are protected from being stabbed or poked. But when you sit on horse, they collapse, so that you can ride. They do a pretty good job of that. Cinnamon: I’m just using this right now to create some shadow. I’m gonna come back and define more highlights. I just want some more outlining shadows there above that. John: Hmm. Cinnamon: Sword so it isn’t so… Come along the top. John: Now, one of the things, when Cinnamon first drew him in, we found that if the curve of his chest looks like it’s off, it’s probably that highlight that’s on the center of the chest. Cinnamon: Yep. John: If you look at where you put it-
Cinnamon: Did somebody ask you about that? John: Yeah. Not on yours. Just in general. Yours is great, you know, but learning how to center it, it’s you know, if you think about it- Cinnamon: Well, I lined it up with his Adam’s apple and his buckle and his navel. John: Yep. That’s it. Cinnamon: So I just drew that line. That’s how I got it. I drew that and I was like that’s our line. John: Yeah. And that makes it look like his chest is facing forward. Cinnamon: Yeah. John: And it’s the same thing for the legs. It’s that line that goes down the center of it. Cinnamon: Just a little bit of highlight just to define that a little bit on him. Is that cool? John: Yeah. Cinnamon: Ok. I didn’t know if that was cool. [mumbles indistinctly] Alright. I just have his legs left to do. [chuckles] And then I can put in the plants, which is so easy. [laughs] A lot of people have painted him, and that’s extraordinary, isn’t it? John: Yeah. Cinnamon: I’m gonna mix a little burnt into my- Both my burnts together. I’m gonna bring my…. Ultramarine over. Which is gonna help me gray everything. Bring some of this over so I can highlight easily. I’m gonna start working in my leg. John: Hmm. So, Laurie says that for those in Europe, she’s been experimenting with the Daler and Rowney Cryla acrylic paint, and-
Cinnamon: Oh! How’s she liking that? John: She says it’s pretty comparable to Liquitex, so. Cinnamon: Excellent! They’ve been saying they have one that’s comparable. John: We’ve been asking about that. We’ve been trying to find what we can suggest for our European friends. See, that’s good to know. I’ll have to make a note of that. Cinnamon: We can even ask about sending some over to test it. John: Yeah, we’ve had a really nice relationship with the Daler and Rowney people. Cinnamon: They’ve been nice. They’ve been kinda cool! John: They sent over a bunch of brushes for you to try out, for sure. Cinnamon: Yeah. They did. We’re liking them.
John: Yeah. Cinnamon: This is a darker shadow here. I’m pulling this up. Blending these two together. Just working these grays and these reflections. Now, I’m going to… Kind of drop a highlight. I’m gonna use the top of the knee cop. John: Yep. Top of the knee. Right through the center of the thigh. Cinnamon: And then I’m going to say there’s some reflection here. Is that ok, John? John: Mm-hmm. Yeah. I think so. And then the little flutes just come up and roll around that leg. Yeah. Cinnamon: We’re gonna put in some of those flutes, but right now I want to make sure- John: Yeah. That looks good.
Cinnamon: That we’re shaped well. And, uh, we’re… reflecting what we need to reflect. Cause that’s what the armor is really about, is what is it reflecting. I’m going to continue on down. John: Michelle says we need a new song. I’m gonna go over and get a new song. Cinnamon: Oh yeah. It has been going a really long time. Thank you. John: Yeah. Well, you know. It’s like, it’s the generic background track that I have that covers up all of the other mistakes I make in audio. So there you go. Now you know my secret. Cinnamon: Wow. He looks ok even at the side.
John: Yeah. Cinnamon: He’s starting to come together. Ok. So… John: Alright. I put something a little different on. Cinnamon: No! Can’t be done. John: How’s it going? [Cinnamon laughs] Cinnamon: You know, I’m holding in.
John: Yeah? Cinnamon: I’m holding up. And I’m ok. I’m ok. John: Are ya?
Cinnamon: I’m ok. John: It’s funny. Every once in awhile I’ll look over at the screen, and I’ll see the- the actual live broadcast going out, and you’ll move on it, and I’ll switch screens cause I think you’re at the wrong one. [Cinnamon laughs] Cinnamon: That’s kind of awesome. John: It just spooks me. Cinnamon: Sometimes I gotta flip it just cause it’s so hard to paint that lower edge. John: That’s ok. He’s looking really sharp though. Cinnamon: I’m ok with him. He’s not making me unhappy, and… [John laughs] John: Mark wants to know how long this will take to come into the mail for him. Cinnamon: What? John: Mark was like, “How long will it take for this to come into the mail for me?” [both laugh] John: And I was like, “Ha ha ha ha!” Cinnamon: A very very long time, Mark. John: A very long time. See, we’ll have to find some Ped-ex who can carry it over by foot. Cinnamon: I think the shape of this is slightly off, and I’m going to green it out, because that’s wrong! John: And what I find amazing is that people can really paint this! I mean, just, you’ve broken it down so it is paintable. Cinnamon: It is paintable. John: What I’m really excited about is seeing all of the other paintings come in. Cause I want to see all the ones you guys are doing. The ones that are doing it right now. The ones that do it in a couple days. And the ones for all of you who aren’t live right now painting. I really, really want to see it. So please go and post it up on our Facebook page, on our YouTube page, on our LinkedIn page, anywhere you can get it so we can see it. Cinnamon: Yeah.
John: Definitely want to see it. Cinnamon: Yes, we do! Yes, we do. Just trying… Is that ok, John? John: That looks great! Cinnamon: [laughing] John’s like- [keeps laughing] John: She’s like, is it straight? Is the armor straight? [chuckles] Well, it’s funny, because, um, you know, it’s like horses. If you’ve ever been around a horse, and someone draws a horse, you know what things on it stand out as wrong. Where as like, if you’ve worn armor, and ridden around and made armor, you look at it and it’s like, you know, there’s so many lines on there that you just, your eye, looks for. Especially in armoring, because you’re trained to look for those lines. Cinnamon: Yeah. Exactly. John: Um, but if you get just a couple of them right, it says- It just tells you what you’re looking at. You know. It’s so great. Cinnamon: Well, and again. You could do this painting for days. John: Oh, yeah. Just keep adding layers. Cinnamon: Yeah. Defining this armor. You could really get every single reflection that he captured. And, uh, really, really, really, really, really, really portray it. John: So, do you have any idea how much paint you actually used on this? Cinnamon: More than usual. [chuckles] John: Well, that’s because you lost a lot of paint. Cinnamon: I lost a lot of paint. It didn’t- If I’m not in the room with every single light that we own on, it doesn’t take that much paint. John: Mm-hmm. Cinnamon: It just doesn’t. But when I’m in here, with every little light that we have on, it takes a lot of paint. John: And if you have an interest in seeing this, just like Mark, and it will be…. It will be on display at our first Sherpa get together. Along with all of the other paintings that she’s done. So that you can come see all of them.
Cinnamon: [laughing] He’s gonna make me live with these paintings for the rest of my life. John: Yeah! Or we’re gonna have to have them on display, so. Cinnamon: On display here? Yes they will be. John: That’s so when all of our friends come together to see them, they can talk about the experiences they’ve had together, sharing in these. Cinnamon: I think that’s awesome. John: Cause I think that these belong to the community. Cinnamon: You’ve mentioned that feeling before. John: I do. I think that these belong to all of us. [laughs] And Kim’s like, “And when will that be, John? And when is our first get together?” And I’ll say, soon. I hope. [chuckles] We’re working on stuff for that right now. Cinnamon: Guess what, guys.
John: What? Cinnamon: We get to put in the tree and the rest of the stuff, and then we’ll be done! John: Woohoo! Trees!
Cinnamon: I need a sip. Please tell me my coffee isn’t cold. John: Oh!
Cinnamon: Oh, it is! John: Alright. I’ll go warm it up. Cinnamon: I’ll talk about what we’re gonna do next.
John: You talk about what we’re gonna do next. Cinnamon: Alright. So we have him in.
John: I’m gonna put up a lower thirds, if that’s appropriate. Cinnamon: His nose is bugging the heck out of me and I wanna fix that, cause he looks like Skeletor. He looks like Skeletor. [John talking in background, off mic] He looks like Skeletor. I’m gonna fix that. You go on the up close camera. John: Oh!!! Cinnamon: Yeah. I’m not loving it. So while John’s getting coffee I’m just gonna take a minute. I’m gonna reposition him. I’m gonna mix up some more skin tone. Master color. [Child talking in background] Almost! Get some master going. Get some little light shadow going. We know what the highlight is. Alright. So we’re gonna paint out this ridiculous nostril. Also, we’re gonna trim out this, just a little bit. Oh. Thank you sweetheart. Love you. Yeah! [laughs] Yeah. Alright. I’m just gonna fix this nose line and this lip line, cause it just bugs me. So much! And sometimes you gotta just do that, guys. You just gotta be like, does this please me? And if your answer is no, just correct it. So if you’re looking at something, and you’re looking at something, and you’re looking at something, and you’re like, man! This feels wrong. And it can be a small, subtle difference that makes everything work or not work. Right. It doesn’t have to be big anything. It can be really small, and really subtle. John: So Beth was saying that she would LOVE to come see the Sherpa on the road, but she’s all the way up in Seattle, and how the heck would we see her all the way up in Seattle? Well, the good news is, we’re hoping to be on the road soon. To see people all over the place. Now we don’t know what that’s going to mean, or what’s gonna happen, but I think there’s interest from people if we started, you know, if we made a multi city stop. It would be fun. We could stop and see people in major cities, and do some painting with everyone. Wouldn’t that be fun? Cinnamon: You know no one’s gonna be like, “No! Don’t come by!” John: I’m asking you! Cinnamon: Me?
John: Yeah. Cinnamon: You know I want to go. John: You know you want to. Well, we have to talk about it with them if like, you know, we’re gonna make it happen. Cinnamon: Well, dude I’m like seriously, I would move us all into a motor home and just go around and paint stuff. John: Yeah.
Cinnamon: So… [chuckles] I’ve also just kidnapped everybody into painting this painting so we know- Oh, that’s just so much better. [laughing] That’s just so much not- Look at that! It’s better! John: Yeah. Cinnamon: It’s just sometimes you gotta rethink a thing. John: Yeah. Cinnamon: Sometimes you just gotta rethink it. You just gotta rethink it. John: Mona’s like, “I’m so far away!” Not far enough away! We’re coming to Europe too. We’re gonna do that. Totally do Europe! Cinnamon: I agree. Alright. I feel a little bit better about that. He’s a little bit handsomer. And a little less skeletory in the face. I realize he was just sketched in, but he was just working me! John: He was working you?
Cinnamon: He was working me! Starting something. You didn’t know he was starting something, but he was! John: He was, huh? Cinnamon: He was! So I’m gonna draw in some branches. So how we’re gonna do this- I’m gonna sip some coffee. John: Ok. Cinnamon: For the last little bit.
John: For the last bit of sippy? Cinnamon: We’re gonna drop some branches in.
John: Yeah. Cinnamon: Then we’re gonna hit it with a bunch of dark green leaves and then we’re gonna come back with some lighter leaves and some stuff around here. John: Yeah. Cinnamon: Create a couple layers.
John: Flowers? Cinnamon: Then bright bright bright pop leaves. Then we’re gonna draw in some rose branches and some roses, and put some flowers. And then we’re gonna be done. John: Ok. Cinnamon: Cause we’ll have painted this painting. John: That seems reasonable. Cinnamon: I feel like I need to change the thumbnail. [both laughing] [both laughing] John: This is the painting that will never end. Cinnamon: [sings] This is the art that never ends. Oh it goes on and on my friend. Somebody started painting it not knowing what it was. [both laughing] John: I think that’s what happened. Cinnamon: [sings] And they’ll continue painting it forever just because this is the art that never ends… [laughs] Sorry. I’m alone in here, aren’t I? John: No. No. Donna was saying that if we make it up to Vidcon again this year, that there’s a great vintage car dealership up there. Cinnamon: I think we- We’re really trying to make it to Vidcon. We’re definitely going to go for the, uh, nearly famous. Not as famous. Whatever that is. Panel. Where they take you out there.
John: Yeah. Cinnamon: So I’m just dropping a couple branches that I’m gonna… John: You wanna pull your close up camera in a little bit? Cinnamon: Yeah. I can. You know. You’ve done the deal. If you’re painting this painting, you’ve seen the branch before. John: You know that branch. Cinnamon: You’ve done that branch. We’re just trying to make sure that when I start dropping leaves in like a crazy person, there’s some branches to attach them to. [John chuckles] Cinnamon: I like the little squeegee noise it makes. John: You know there are sherpettes around the country that will put you up. You just can’t sing. [John laughs] Cinnamon: Really? Is that what they’re saying? [John continues laughing] Cinnamon: Now I feel kinda bad. John: I think it’s about a fifty fifty split. Cinnamon: Dude, this isn’t the singing channel! John: About half of them think your singing’s right up there. About half of them are like, ehh, stick to painting. Cinnamon: No. No no. No. No. Momma not trying out for Idol. Momma knows. [John laughs] Cinnamon: But I just sing cause I’m happy. I don’t sing cause I’m good at it. Alright. There we go. We got some branches. John: Wow! Cinnamon: Thank goodness! I’m gonna stay in this nice little number two bright, cause it makes a nice little leaf. John: Yep. Cinnamon: And I’m gonna take a bunch of this burnt over to my sap green, my deep green. And I’m gonna make a very very very very very dark green. John: Very very very very dark green? Cinnamon: Yep. A lot of it. Cause I’m gonna
need a lot of it. John: Oh. Ok. Cinnamon: And this is how you get paint up into your ferrule, cause you get over mixing but I’m just ready to go! And we have to do this. We did it though. We said we were gonna do it, and we did it. John: Yes. Look at this. This is incredible. Cinnamon: So we’re just gonna start dropping little branch marks. Little leaf marks. All around here. [sings] That’s what we do. Sorry I’m singing guys. You get me this late at night in my studio, singing happens. Cause again, [sings] I don’t sing cause I’m good. I sing cause I’m happy! [sighs] John: I get to reading the chat, and I sometimes I forget to switch channels. [Cinnamon laughs] Cinnamon: Yeah. We’re just dropping a lot of these up here. Right. This is… This is that layering. Sometimes we paint out stuff we worked hard to paint in. Sometimes we paint out the stuff we worked really hard to paint in. John: See, look. That magical song is back and I didn’t even mean to bring it back. It just pulls up in my rotation automatically. Cinnamon: The one that- I mean that’s what you guys should be complaining musically, I mean, is John’s torture of the community with repetitive songs. John: Actually, I keep a really chill- Cinnamon: We need everybody- You guys start making music for us. John: I’m working on it. Cinnamon: They just need make- I would play community music until the cows came home. And then I would paint those cows that came home. John: You would paint those cows that came home? Cinnamon: [laughs] That’s right! John: There we go, there we go. I put a little music on. Find some other songs somewhere. Cinnamon: This is nice. See, I’m just dropping these leaves. Now the trick is here, guys, and you’re gonna see it. I’m leaving these open. I’m not creating this like solid little carpet. [both chuckle] Birds can fly through these leaves. That’s your trick. Leave room for the birds and the squirrels to have some place to be. John: So we’ve been- You’ve been going for about four hours and ten minutes right now, I think. Is that incredible? I mean, I think we’re at like four twenty. Cinnamon: I think what YouTube would say is it’s inadvisable. John: Yeah. It’s like four hours and eighteen minutes right now. Cinnamon: Goodness gracious, guys. Thank you for hanging in for the longest tutorial ever! John: The longest paint! Cinnamon: Alright. So I’m flipping my thing on the side. John: Alright! Cinnamon: But you can kind of see where this is gonna go, and how nicely this is gonna come in. So now I gotta create this sort of bushy thing here.
[John laughs] Cinnamon: What? John: Someone said the look on your face when I said four hours, it must have been like, “Whoa!!!” [both chuckle] Cinnamon: I kind of suspected, though. [John laughs] Cinnamon: Alright. Now this is gonna be a little more solid in this but I’m still gonna do a similar little brush strokey thing. John: Yep. Cinnamon: At first I thought I put out too much green, but now I’m seeing how much I’m gonna need, I’m like, it’s good. A good amount of green. I’m just creating this little under layer of dark dark dark- In the dark dark wood… John: In the dark dark painting, there was some green. Cinnamon: [whispers] There was some green. We stayed and we painted it. We painted it all night! John: Yeah. Cinnamon: We painted it. This is like, the Meatloaf song of paintings. [both laugh] [Cinnamon sings] I would do anything for art, but I won’t do La Belle Dame Sans Merci! [both laughing] Cinnamon: That’s crazy!
John: Yep. Cinnamon: I wonder if people are gonna see it, and just thumb it down when they see the amount of time. John: Four hours! No! [both laugh] Cinnamon: Thumb down! You suck! John: Well, I have to say, we’ve got a bunch of thumbs up. I’m gonna go quick and check. Cinnamon: Oh yeah?
John: There was two hundred eighty eight
last time I checked. Cinnamon: Wow! John: Let’s see. Three hundred fifty. Three hundred forty six to be exact, are likes. Cinnamon: Wow. You know what? You guys tell YouTube what it wants. You tell it! Watch us change, like, later. Like in two years they’ll be like, make complete videos that explain things to people! [both laugh] Only thirteen year old want to them to be
three minutes long! Grown ups want to know what the heck
you’re talking about! John: Oh yeah. Cinnamon: So we have that there. Right, and now I’m gonna [sighs] have the under layment. The under painting! John: It’s really cool, because, you know-
Cinnamon: I’m gonna add some phthalo to this now. To deepen it. John: The Ghost Hostess just said something that was sort of- Cinnamon: You call her something different
like every time. John: I know. It is because it’s the Ghost Hostess. Cinnamon: Ghost Hostess! What does the Ghost Hostess have to say? [laughing] Sorry, I’m gonna just paint some grass over here. [laughing] I’m gonna move the up close cam. I’m just… John: Well, she was saying how awesome it is, you know, like, we have over two hundred people hanging out at our house. Right? Just while we’re doing this. Cinnamon: Yeah. You know what. And I couldn’t host two hundred people at a painting party. John: No. Cinnamon: You can handle about forty to fifty, at its max. And even that’s unadvisable. You really shouldn’t go over twenty five. Cause you can’t take care of the people. You know what I mean? I understand for profitability, you want to go over twenty five, but can really take care of twenty five people. John: Yeah, and I mean- Cinnamon: You’re just bussing forty. John: But- Yeah. I wasn’t even talking about,
like, you know. Cinnamon: Oh. I’m sorry. John: Stuff like that. But I mean more like, you know, remember how the other day I was saying someone asked me, what do I do. And I was like, well. I wake up every day, and I make content for twenty five thousand Cinnamon: Twenty six thousand!
John: Twenty six thousand of my closest friends. Cinnamon: You said twenty five thousand, but you were just out of date. You didn’t even know. John: It was at that time, I was like, I make content for twenty five thousand of my closest friends. And, you know, that’s what we do now. And I think that’s about the coolest job in the world. And every day, when we post up live, there’s over two hundred people who come and hang out with us while we do that. Cinnamon: It’s very compelling to keep doing it. John: We love doing that. So as long as you guys will come, we’ll keep putting these up. You know, cause as hard as it is to do a four hour painting, it’s really rewarding to have you guys here. Cinnamon: But we won’t be doing a lot of four hours. We’ll just do them on occasion when you guys that are ready for the four- Cause there’s a few of you that are ready for the four hour painting. John: Yeah. Cinnamon: This is what the truth is. This is where this comes from, is we know there’s a few of you ready. To go this long. And we know many of you want to hang out with each other, and us, for four. So that’s a good enough reason. Right? John: Yep. Cinnamon: You know why? Because Art. Doesn’t need to be more complicated than that. Cause art. John: Yeah. Cinnamon: For all you know, in 2017, we’ll do a daily painting together. John: Yeah. Cinnamon: John’s like, wait. What?!? [both laugh] Cinnamon: That wasn’t- That’s something you discuss in the morning meeting! [both laugh] Cinnamon: Alright. So I have this kind of grass structure, which you may or may not be able to see, put in. And now I’m going to take this sort of green. I’m gonna add a little white to it. So it’s a little minty. A little minty! John: A little minty.
Cinnamon: A little minty! A little minty. And then I’m gonna come up and visit my leaves. My leaves, John! I’m gonna add some of these little minters. John: That’s a weird song I’ve got in the rotation! Cinnamon: What is it? John: It’s the, uh…. Native American song
that we have for- Cinnamon: Is it? It’s not a weird song. Dude! I used to be really into that! John: I mean, it’s a Southwest song with a medieval theme…. Cinnamon: I could go off.
John: You know. Cinnamon: On, like a southwest art kick, like nobody’s business. [John laughs] Cinnamon: People don’t even know the crazy I can open up there. Pena, Gorman, Feblita, Concho. John: But you like that stuff a lot.
Cinnamon: Huh? John: You like that stuff. Cinnamon: Yeah, like, so sorry that that fashion went out. If it comes back, there’s Navajo blankets everywhere! John: Oh yeah. Cinnamon: You know what I mean? Pottery, and… John: You know, it’s funny. For Greensleeves
being, uh, a…. Cinnamon: Depressing song? [chuckles] John: Well, I was going to say for it being, you know, effectively open content, it’s really hard to find a good copy of it that, you know, to use. Cinnamon: Yeah. Is it open? Cause I feel like we get tagged sometimes when we shouldn’t. John: Well, yeah. I have to be really careful about who’s and what’s I use, so. But you know, maybe I’ll pick up a Greensleeves for us. Cinnamon: Alright. So I’m coming down here. Also adding some of these little leaves. This is just about trying to say, hey! There’s some layers! Some layers. You can add some of these here. You can go as bananas with this as you want. We’re just kind of saying- We’re completing the layers! That’s what we’re doing. That’s what we’re doing. John: There’s a lot of southwest art fans
out here with us. Cinnamon: Really?
John: Yeah! Cinnamon: Dude, I can make y’all so happy! John: Yeah, they’re like, we’d be interested in that. Cinnamon: They always say yes too, so I never know if they’re saying yes cause they like it. [John chuckles] John: I think that’s just because they’re up for whatever the shenanigans are. Cinnamon: They only go for shenanigans. So, I’ve taken my cad yellow and my phthalo and a little white, and I’ve made a very bright bright, bright BRIGHT! John: Bright. Cinnamon: Bright leaf color. I’ll put some of those out. John: And now for something completely different… [music changes] John: You can have some banjo. [both laugh] Cinnamon: [laughing] You start- It’s been four hours and we are now officially out of music. John: Oh!
Cinnamon: There we go! Look at that, look at that! Leaves and a tree… John: Leaves and a tree. Cinnamon: You can come and pick up some more yellow. Just make some… Super yellow ones to go here and there. You know. It’s all good. Now, while you still have your dark green somewhere. Right. Get your phthalo and your dark green. You can go ahead… Maybe get this up close. John: [laughing] Laurie’s like, That’s the song! That’s the song that drives me crazy! [both laugh] John: Alright. I’m gonna pull over. Let’s see what we can do here. Cinnamon: I’m dabbing, dabbing- Have you got on the up close came? John: I’ll put you up there. Cinnamon: Ok. So I’m dabbing dabbing dabbing. Just while I have my greens already made. Right? I’m dabbing that. And then get one of your lighter greens. And add a little highlight green on what’s going on on her headdress a couple of places. I want that, um, John: I’ll throw that back in there. Cinnamon: Get your very bright green and hit with just a couple dabs of the bright bright green a couple places as well. Ok? Now, your very bright bright green, your super green.
John: Super green! Cinnamon: Super green, as Chris Rock would say.
John: Ruby Rod! Cinnamon: Ruby Rod! John: Super green!
Cinnamon: Super green! That was such a cool movie. John: You have your Leeloo Dallas Multipass hanging right over there. Cinnamon: I know. I do. [laughs] So I’m gonna add some of these highlight colors to the grass that I’ve got going. Not everywhere. Just a couple of places, to say that there’s just a little. Maybe a couple. Maybe it’s here. There’s just a little bit of that going on. Now. Now, friends. Get your… A little blue into your burnt sienna, but not too much. Add a little white to it. John: Donna’s on the big screen. She says, ok. You can start over now. I’m ready to go. [John laughs]
Cinnamon: Donna! And draw in some little branches. Little vines. That you can attach some roses to. Ok? John: Yup. Cinnamon: Ok? Ok. John: Cause we need flowers. Cinnamon: Cause flowers. Cause it’s romantic cause they’re in this like idyllic setting with flowers. It’s so gummy, it’s not dispensing. [both chuckle] John: It’s almost time again for new paint. Cinnamon: It is and I’m gonna resist it because I feel like resisting it. You don’t have to resist it, but your studio is probably not cooking your paint as you paint. Just give yourself some vines. I’m gonna switch to my clean, clean water. And I’m going to make a nice, light leaf color. Pops from the rest. John: Yeah. So. Cinnamon: I’m gonna add some of these leaves. See, the brighter colors say that these leaves are in front of the other leaves. See? That’s what we’re just doing. We’re just saying that these leaves are brighter. And they’re there. We’re gonna let that dry for a second. And I’m gonna come over, and get some just yellow. And I’m gonna find a couple places and I’m gonna- Maybe even add a little white to my yellow. I’m not gonna get just yellow. I’m gonna add a little white to my yellow, guys. Actually I really like my Nickel. I’m gonna use my Naples. I just… See, there’s some yellow flowers happening. John: Those are really pretty yellow flowers. Cinnamon: Yeah. Maybe put friends back here. Some color right there, far far away. Maybe some little yellow ones over here. [John chuckles] Cinnamon: What? John: So, we- With all of the, uh- There’s been a lot of Fifth Element comments. Cinnamon: Oh. Ok. John: And jokes been going on. And I was like- Everyone was commenting, Oh the costumes were so good. This was so good. There’s just been a lot of, you know, fun chat and… So now Ghost is like, I know what I’m watching after the show! [both laugh] Leeloo Dallas multipass. John: Yep. Jean Paul Gaultier was the designer, or the consult designer, on the costumes and stuff. Cinnamon: Just so you put some little flowers out there. Alright. So some little flower happened in the thing. Now I’m gonna take a small amount of whatever’s left of my red. And I might even get into the fluid white again. Just, uh- Uh oh! Really?
John: Don’t squeeze it. [John laughs] Cinnamon: Really? I’m gonna just do this because… Squeezing it goes badly for me.
John: There you go. Cinnamon: And I can just needle it out. You can do this heavy body or fluid. It’s just a little bit of the red, and I’m going to drop some. Petals.
John: There they are. Cinnamon: Just some flowers. Just some roses. And I’m just literally dashing. I’m not even dashing cause I’m trying to rush. This is just a loose little flower that I’m painting. John: Yeah. Cinnamon: That’s all that’s happening. See that? John: Yeah.
Cinnamon: Isn’t that lovely? John: So, did you do the horse’s eyes, or is behind the…? Cinnamon: So, he’s in shadow.
John: Ah. The horse’s eye’s in shadow. Cinnamon: The horses eye is in shadow.
John: Oh, yeah. I can see it. Yeah. Cinnamon: Yeah. Isn’t that cool?
John: Yeah. That is. Cinnamon: Yeah. Guess what?
John: What? Cinnamon: Daaaaa, da da da da. Rinse this off. Get some white paint. On the brush. Dab. John: You think?
Cinnamon: Little dots to her head. John: Oh, you have to get your close up camera on that. Cinnamon: Alright? Guess what? She’s done! It’s done! We did it! We did it!! [chuckles] John: Oh my gosh! Cinnamon: Online. Live. Painted a Raphaelite.
John: That was crazy! Cinnamon: Together. It’s all doable. It really isn’t a painting that’s not doable. It’s- The only thing between you and a complete painting is layers and time.
John: Layers. Cinnamon: And seeing paintings like this- and we could even do more layers. We could do two more layers after this if we really wanted to tighten it all up. John: Let me pull it over quick just to show them- Uht. Pulled out a Perform. So you guys can see, there’s the finished. Cinnamon: Yeah. We got that and then we got this one here. John: Yeah. Which is, you know, now we have both those copies there. Cinnamon: Yeah.
John: They wanted to see- Cinnamon: Two copies. Now we have two copies. [both laugh] John: Well, gosh. So, I have to say thanks. We had a whole bunch of moderators that stuck with us. Stephanie, and Monie- [chuckles] Monie! Mona. Cinnamon: Mona. Mona, thank you. John: Bonnie. We have a lot of people with keys- Jane.
Cinnamon: Thank you Bonnie. Thank you Janne. John: And I know that Mark was out there a lot today.
Cinnamon: Thank you Mark. John: And KimSim.
Cinnamon: And KimSim. [laughs] John: And Lisa. Thank you.
Cinnamon: Thank you, Lisa. John: We really appreciate all of you- Cinnamon: Did you guys like this? We won’t do this often, but every once in a while, I’ll do- If you guys like it, you show up for it, every once in awhile we’ll do a more involved painting. John: Yeah. Cinnamon: Just so that there’s somewhere you guys can go do this. You know. Just in case you need it. John: They all love these painting. They’re just telling us how much they appreciate it, and how much they love it. Cinnamon: This is Valentine’s Day, though, right here, isn’t it? This is love and romance and next level- Just don’t read the poem because I don’t want anybody- [laughs] John: I’ll tell you, it’s love that you guys stick with us for four hours while we painted this. Cinnamon: And this is actually part of John and I’s history. This was in our house. John: Yeah. The first house we had built, we had this inlayed, so. It was pretty cool. Cinnamon: So it’s meaningful to us, and we’re sharing it with you. And we love you. And we appreciate your perseverance and confidence in us. John: Mm-hmm. We love you guys. Cinnamon: You get some rest. [both chuckle]
John: Alright. Cinnamon: Bye bye.
John: Bye bye. [closing music]

83 thoughts on “How to paint Pre-Raphaelite | La Belle Dam Sans Merci | Valentines Angelooney

  1. Wow! You did it! Way to go Cinnamon! You should submit this to the Guinness World Book of records for the longest Youtube painting live show! I can't thank either of you enough for taking so much time out of your day to show us how to paint like this. I enjoyed EVERY MINUTE of this collab with Angela and the live chat too. I love this community and there are several people that show up for each live chat that just have me howling with laughter. Thank you so very much – so glad to have this community. Love to all of you in the community…now get to painting! This is going to take us awhile. LOL. Happy Valentines day to everyone!

  2. So wished I could have been there today. Boys had 2 hockey games today, so I'm trying to thaw out now. Can't wait to watch and paint along later. The finished result is ROCKIN!!

  3. This was EPIC in the history of Sherpa art; over 5 hours long. Not only that, but the subject matter is challenging, but compelling to try.. I knew when you said there was something big going to happen in 2016 it wasn't going to be just art for the art journey. This is big in term s of opening the door to other artists and the big picture of art. I know you weren't feeling well, but no one could tell from your demeanor; you were upbeat and just as much fun as ever. You were really a trooper. BTW, there must have been a big edit because the video play back started midway through the painting. I know that was a LOT to tape. Anyway the painting is beautiful and romantic, perfect. kudos to you and John and I'm looking forward to what you'll come up with next. Loved the collaboration.

  4. This was a fantastical painting Cinnamon! I caught all of it but the last hour :(. I will definitely be doing this after I get a few more paintings under my belt. I feel you have taught me SO much in the past month! I love that you don't do time lapse, I feel as if I don't learn anything with time lapse. We appreciate all that you do for us. You just proved that nothing will stop you from bringing us your knowledge and wisdom, you will be here in rain and snow… and sickness and health!

  5. Thank you Cinnamon and John! That was amazing! I hope you're getting plenty of rest Cinn. We all love you both, and appreciate the work you put into your channel and your art. You inspire me so much <3
    (Just get yourself better!)

  6. I cannot believe how you did this and how it turned out, this was incredible to witness. Amazing is not good enough. I know you were sick and i wish you the best! Thank you both for all what you do for us!

  7. I really enjoyed this and learned so much, I hope you do more challenging paintings like this in the future XD

  8. Cinnamon, Thank you! As always your painting shows are wonderful, inspiring and so much fun! Even when they are long and involved you break it down into easy to achieve steps that are obtainable by anyone who really wants to follow!

  9. thank Cinnamon for your 5 hours paint. You are so generous, it's unbelievable !!!

  10. Absolutely Amazing!! Thank you so much Cinnamon! I loved the lesson and can't believe what a trooper you are! You are awe inspiring!

  11. Dear Cinnamon and John thank YOU for a wonderful live event! And Cinnamon you are a trooper!! I was so concerned about you, if you would manage to do this being sick. The painting is FABULOUS! Love it!!

    Get some rest and hope you get well soon!! Arthugs to you both!

  12. Love the painting and am trying to paint it myself.

    Question: Could I trace over my painting after I blocked in the colors to recover some of the details?

  13. this is the favorite poem of my International Baccalaureate Higher Level Teacher (yes that is a subject xD) so i told her to go watch the sherpa! I LOVE it sherpa and i will definitely try painting in this style. <3 keep being awesome (Holland consists of 2 provinces within the netherlands, just in case you didnt know 🙂

  14. You made it through the sherpathon! We made it through the sherpathon! that turned out incredible. Go drink some apple cider vinegar to feel better so you can get back to more amazing lessons. thanks John and cinnamon! !

  15. this was an awesome video from a very awesome woman (and her hubby)! Thanks for your loving heartsl

  16. This is EPIC can't believe you worked on this this long awesome lots of great information, thanks Cinnamon and John!❤💕💖💟💞💓💘💝💗HAPPY VALENTINE'S DAY!

  17. Thank you SO much Cinnamon! And John too of course! This is an amazing painting and you are an amazing teacher. So wonderful to watch!! We appreciate all you do for us. Take care of yourself!!

  18. I've done long paintings before but never in one sitting, wow Cinnamon it's awesome.

  19. my hero. amazing stamina & courage while under the weather. I might look at trying this…….oh, in another lifetime. lol. Absolutely exquisite painting. – (stunt hands will appreciate this one!!) – love that you guys had an inlay of this in your 1st house. (I believe that is what I heard). thank you for the experience & sharing so much of yourself. ♡

  20. Hi there Sherpa, this is my first time watching your video's. I missed the live broadcast but I'm really glad that I got to see what you did with this subject matter, excellent work! Take care of yourself and rest, your fellow artists want to see more of your great work. Thanks so much! I am most definitely going to give this painting a try.

  21. AMAZING! i cant believe we all hung in for 5 hours!! what a marathon! thank you soo much for the time you give us.

  22. Wow! What an amazing video! Thank you so much for doing such a long live video. I just love it. You are such a trouper and I feel very lucky that I won't have to do it in just one sitting. =))

  23. I must do this one! One of my favorite paintings and artists EVER! Thanks for the transfer tips – was about to buy transfer paper…

    And I NEVER thought of "A Knights Tale" that way. Hmmm a new appreciation.

  24. wow….nearly 5 hours! thank you for your dedication to your tutorials and to your fans!

  25. Wow Cinnamon and John…almost five hours! You two amaze me! Thank you so much for all you guys do!

  26. I had a great time Saturday even though my battery went to the great beyond didnt know that John saw my comments til somebody told me and I didnt see the replay til later Sunday that was AWESOME!!

  27. I love how much you talk about and are pro references, I've met people who seem to think all art just needs to come out of one's head. Having a reference makes things so much easier. When I traced this on my big canvas I used the reference line drawing and the original to see where I needed to add or make changes. I can't wait to get this painted and share. would love more of these. Easily my very favorite period in art. Thank you guys for making this happen!!

  28. 4 hour lesson for free, Amazing!!!! Can't wait to get paints and canvases, to do this!!!! wish I could get your autograph!

  29. I watched both yours and Angela's videos today. What an extraordinary art experience! Thank you so much for organizing it. I love watching you paint Cinnamon. You make everything look so easy. I understand now why it's important and useful to block in the areas and then get in the layers. I would be so proud to be able to paint this one day. I can't get over how many details this painting has and all the layers that went in to painting them. I enjoyed every minute and I felt honoured to be able to watch it. It felt like we were in the studio with you and John. Thank you for sharing your painting experience with us and for broadening our perspective of art!

  30. Just want to say a big THANK YOU for showing us your art, versatility and all the tips and guiding. You are fantastic. I can´t speak when I´m painting because I get lost within the canvas. Thank you ever so much. Joy

  31. theartsherpa, you and your husband are the kindest, most thoughtful and the most genuine people on youtube, hell, in the world as far as I am concerned. The dedication of this painting to me, filed my soul full of warmth and joy. When I viewed the video I couldn't stop crying, I was overcome with happiness and thanks. Your act of kindness restored my faith in humanity and gave me hope for my future. This will definitely be something I cherish for the rest of my life. I will attempt to paint this, in fact I am going o get started this morning. I will definitely share it with you as soon as I am done, it just takes me a little while due to my condition. Some days are better than others. Like I said before, painting gives me reason along with my grand daughter to get up and fight everyday. Thank you so much for what you did, you and your husband are absolutely the best. Keep up the great and important work. Yall inspire people in ways you could never imagine. Thanks again, your friend, Glenn.

  32. to make your paint last longer. I use a cookie tray with a wet cloth under the wax paper. then put the paint on the wax paper

  33. Thank you, thank you, thank you for the very detailed, very long tutorial!!! THIS is what has been missing from YouTube. I am so grateful you did this. Thanks to you and to John too.

  34. I Did it I Did it I painted a Pre-Raphaelite La Belle Dam Sans Merci <3 Thank you so much for this lesson Cinnamon

  35. I love this, it's great to see how it's broken down and know that I can work up to it! Want you to know it's much appreciated!

  36. First of all Thank you so very much Cinnamon and John ♡ I finished my painting ♡ Blessings and joy♡ You both have touched my heart and brought so much happiness into my life though painting ♡ Perfect tutorial, perfect time♡

  37. I don't usually watch your videos live, but I do watch them and I love the long format showing every brush stroke (so don't let YouTube diss your format). Seeing how you broke down the painting into back-, mid-, and foreground as well as the entire blocking in process was extremely helpful in this video. I'd love to see more old classics re-done this way. Thank you for your work!

  38. I will def Get that book! You should also check out the free PDF called the Colour book it breaks down the science a bit of how mixing and seeing color works and many other things!

    http://www.derivan.com.au/assets/downloads/the-colour-book.pdf

  39. Thank you so much for this wonderfull work , I found it yesterday eavening, I suffer health problems which very often cause me to have difficulty sleeping,and I watched this entertaining and informative tutorial during my night time and thoroughly enjoyed it, you and your husband have such soothing soft voices and such a wondefull outlook on life this was a true pleasure to watch from begining to end XX

  40. I so love this channel i think your awesome and maybe a little hot eww that was a lil creepy lol….

  41. Fantastic painting watched it all really well painted love it so much🙋

  42. This lesson was EPIC! SO awesome to have a tutorial of this magnitude on You Tube! I LOVED IT!!! Can't thank you enough <3

  43. "When the lipstick is on, the Art Party is going on" ^_^ (Not wearing much lipstick these days because I have a baby to kiss on, but isn't it just awesome?)

    This is a loooong one. You're amazing for this. Great endurance, so sorry you were sick during this. I really love the super long tutorials.

  44. This is beyond amazing!…My mind is blown…gonna try and begin my own version tomorrow of this tomorrow…You are truly an inspiration Cinnamon. Thank you so much for sharing and teaching ….!!!!!

  45. Does anyone know the song they used at intermission?? I searched and searched for it but I can't find it.

  46. Does anyone know what the song is that is playing during intermission I tried to find it but haven't been able to.

  47. Oh my goodness! I am in awe at how much painting stamina you have. I once had to take three test for teaching on the same day and had 5 hours to complete it. It took me 4:50 minutes to complete it, and I was wiped. Bravo on another amazing job !

  48. 5 hours, no I'm on day 5. Will post to your page after I finish. I would never attempted this without you. Thank you!! I think I know this whole video by heart I played it so many times lol

  49. thank you for this. I just finished the lighthouse and stormy waves. I'm excited about this one. It's one of my favorite paintings and now i can have my own version.

  50. Goodness, I cannot imaging painting something like this, but hopefully one day I'll attempt it . WOW!!!

  51. PHEW..stuck with ya girl, super well done cinnamon n john, applause from me 🙂

  52. I realize this was posted a year ago, but I am curious to see the post on facebook that enables us to print four parts and tape together. Is that still available? thanks 😀

  53. ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️💋

  54. Hi Cinnamon, I just finished watching you do this painting and it is one of the best paintings I have seen you do yet. Not that I have watched all your paintings. I am still working on that. The details and the way that you explained everything that you were doing was just awesome. I hope that you do some more of these kinds of paintings again some day and hopefully on a day where you are feeling better. I did not paint this one yet, as I am no way ready. I just started doing the art quest and I am watching every painting from 2016 to make sure that I don't miss any mini quest. Thank you for all that you do and you are a fantasic artist.

  55. Misleading video title. Their painting techniques differed considerably from what's being shown here. If you're a painter actually invested in emulating the brotherhood's luminous finish, there are several articles on the subject floating around the internet, like this one : http://www.victorianweb.org/painting/prb/gray.html

  56. I love the painting, super pretty. Can u please paint a painting to do with the show Supernatural. Please in one of your upcoming paintings.

  57. I did this one when you painted it. I love it and it’s hanging on my wall. Thank you for doing these more complicated paintings. I really enjoyed this one.❤️

  58. Cinnamon, I just LOVE this painting & I'm a huge fan of the Pre-Rafaelites. Dante Gabriel Rossetti & William Holman Hunt in particular. I'd so love to see more of this. Please never apologize for a long painting session. We love it & I'd sit through 8 hours of you painting except that would be hard on you. My back starts acting up if I go 3 or4 hours without getting up for a break so I know it can be rough. Please don't ever stop though & John, keep on being you cause you keep us cracking up. I really did appreciate your expertise on the armor though. That was a huge help for another painting I'm doing. Love you guys!

  59. This is one of my favorite paintings from years past. I've got watched yet, but be assured I will. I can't wait❤❤❤🎨🖌🥂

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