Original subtitles

Welcome back to the studio for the intermediate and Advanced Techniques of enamel

I'm going to be using these on glaze Citrus enamel paints once again

And I want to show you a little bit more detail about how different mediums can affect

The color of

Particularly fugitive colors

And they tend to be the Reds and purples

So I'm going to take say turquoise and purple red

And show you the effect on a tile of using different mediums

Now with turquoise this absolutely no problem

I've got different media labeled along here

And you can see that there's no change in color at all

Turquoise is very stable along with most of these colors in the sunshine and sourdough range

But when it comes to the purple read this one

Which is used in portrait painting and is a lovely color to use in any sort of painting

You can see this quite a dramatic change in many of the media that I've used

And what I'm looking for is a really steady pink like for paraffin for example

Rosemary oil

And it's something you probably need to do yourself if you get a different medium don't expect

Behave in the way the previous medium has has behaved

You need to do a test

So for this I would take

Just a little test tile like this

And anchor it with some

Blu Tack

And then try something like

Sewing machine medium for example this is something that

The Russian painters use all the time

It looks yellow it's very very runny

But it's amazing how much paint it holds when you add

Paint by grinding so just going to take a little bit of the

Purple red

Put it on a tile

Like that just a tiny bit that's all it needs for a test

I just need some paper towel to wipe the pallet knife keep it clean

My spatula

Is it going to have some sewing machine oil

Just next to it as before

I don't need to use all of it having put that out just put water to one side

I'm just blend enough and you can see

Just a little bit

And you've grown the paint

Which is fine already at 3:25

Mash

When I pick it up like that it will form a little bit of a lump like toothpaste

Which is ideal for painting from because if you make it runny like that it's just going to be

Hopeless

The color will be really diffuse

And what you need is intensity of color in the mix that you've got

So I'm going to wipe this

Section away

And work from the sewing machine medium

So I'm going to take a Miniatures brush now

This is a number one

Bizarre

And here's a number two so in that order the two

Is the largest one I got these tubes on which could be straws as well

And then you can see the brushes

Do people think that we paint with one hair of the brush know if you did that you just

Couldn't hold enough paint on the brush

So it's conical the shape

And that means that it's bit like a pen

But the paint is driven down the brush

To the fine tip and it could be just one hair at the very tip that you're working

But that's what makes it such a beautiful brush that holds the tip

If you're testing brushes it's really important to make sure that that tip is a point and hasn't split

Say synthetic brushes are fine as long as they make that tip at the end

So you're going to be using the same

Medium hair

To wash the brush

Just put that to one side

And first of all I'm going to put some into the medium on the brush is already clean so that's fine

And then I'm going to roll the brush in the paint that I've mixed up

On transfer across to the test piece

And it's just going to be

A little test like that like the line that I did before

Just to show

How to paint flows and you can see that

The brush up and down

It's as if there's like veins on the leaves I'm leaving behind and that's because this paint

In the medium the medium is an open oil which means it takes a long time

To evaporate

And therefore that's excellent for working pieces like portraits where you need to do many many hours on

The piece before you fire it you want it to stay open to accept more paint takes a long long time to dry

And you can also because it's saying machine

It means that you can lay down

Play Dance little dots of color

And they will stay there

Unlike some medium other mediums that I'll show you so this is just one example

You can do some pointillism which is very rough here but just to give you an idea that would have to be so fine that

You get the idea

How the sewing machine

Medium works really well for that

Say just wipe off the brush

And then you said it

For the solvent so this is something you've got in your pack

And I'm just wiped the brush on the tissue and then into the zest

Now you could make yourself a chart

Do test scientifically really isn't it looking at the different media

Down the side here and then how they behave along the top

And how you like them yourself

So if you've got something like the two water-based media you'll know that unimed

Add rice very quickly

And glycerol which I'm going to be using today

That takes much longer to dry it's more open as a medium

Takes longer less evaporation goes on and therefore you've got longer time to work it

And it takes longer to drive off the glycerol at the Kiln the pros and cons

Confusing oil and water-based media are that if you use water-based generally it's

Is it going to be quick work

Literal will take a little bit longer

But with oil

Genuine oil it's going to take longer to dry and therefore they're open media

And they'll accept more oil and the paint will stay wetter for longer

Which is an advantage

Against it would be that putting sewing machine oil into a kiln

When it's drying it's not very nice smelling those Vapors

So you've got to be careful of your health

Some other oils like Lily oil and Spike lavender oil they

Oh really nice

My studio smells more of pine oil because that's the one that I trained with and I like

Thank you very much and it just harmonizes with my speed of working

So it would dry within a day and my pants are mixed for that day

So try another medium here which will be that

Pine oil which is called painting medium from Vikram Signum in UK

And it has got that distinctive smell of pine in it

The purple read The Fugitive purple red which is used for testing

And this time

Put some pine oil beside it now you can see

Holds that s*** like a blob

And that's because the oil is much thicker

Pine oil

Painting medium next to the paint the purple red

And you can see that it's holding its shaped like a little Mound where the sewing machine oil

Which is even more open and very runny just spread everywhere

So I'm going to wipe away the sewing machine

This time blend the purple red

With a painting medium just a bit at a time and to me the lovely smell

Old Pine oil is coming off here I don't know what you think I'll schedule you like that or not oh it's a lovely smell fresh

100 percent of us here like the smell of pine oil

It's really gorgeously glossy

It's a bit like

Silk screen printing ink I think

The look of

I've mixed way too much but at least you can see what that doll that looks like and

And then roll the brush into the paint mix

Dipped into the solvent

Phoenix invested

And bring over

Put the brush in there and wipe it so that it's a damp brush before

Play roll it into here now you've never put zested

Into the paint mix

It will spoil the color

Only use the medium that's in there already

Say painting medium next

You'll see that the silkiness going down here and that's why I like it so much because

I think I can get a smoother wash like this by just gently

Pulling the paint down

Well we're saying machine as you saw it shows every little every little stroke

Have fun the brush brushing

Say that silkair could spend more time on that

As I said before

When you've got your first layer down it's like the icing on the cake and then you can add more

Well that's your intensify it

Say that that color is darker at the top

And then you're walking down towards the half tone

So that's Blended beautifully

So I would say to me painting medium

The race of evaporation is good

The viscosity is good the runny nose and it's not too runny

And I like the way

You can use brush Strokes on it

And when it flies up it will give a lovely pinky color

Heritage in the bottom

Right hand corner of the chart that I made

When you study the chart in my book you'll see

But I've got

The same machine medium up here

Sing she medium paraffin oil

Pine oil

Instead of paraffin oil you could actually use Johnson's baby oil

Because that's paraffin based you can get

Paraffin oil from the pharmacy

To bring the

Painting medium

And show you how paraffin oil

Play once again

A little touch of the

What's the paint

Transfer to that

And then some paraffin oil just placed alongside

Because I'm here noticing that it is

What's slightly more runny so it's

It's less viscous than

Pine oil but it's more so it's stickier

Turn the song Chino

When it comes to Johnson's baby oil I think it is runnier so whatever else they've put in it

Button top set the paint

Put that down there hold it shake quite well because I didn't flood it with

Medium

Possible to work off one little tile like this

I'm going to wash the brush incest it but make sure I dried it so no zest it

Listen to the paraffin oil

And then roller brush in the paraffin oil

And lay down the paint like this

To me it's behaving between these two

It's showing some streakiness left by the brush Strokes

But it's also making quite a good wash

Say this is one that I recommend and when I was teaching in the states we use this

I thought it was safe because we were firing the pieces outside

And say please make sure if you're using sewing machine oil or paraffin oil

Or any of these really that you've got good ventilation in the room

We'll have an extractor fan or something

The final medium here that I'm going to try is glycerol which you have in your kit

So instead of having disaster

It's just going to be water from here I meant to mention that other solvents could be white spirit

Incredibly Fierce smell nobody really likes that

Or you could use

Surgical Spirit from the pharmacy and that's used for cleaning

In UK

It has a 15 lb tariff on

Buy it on the continent

It was just a couple of quid

And it's now 70 but it used to be 97 it just shows how things have changed

Turn on the Pand

So I don't know what the charge would be but you could bring back this pure alcohol in bottles

How about 2 L was the maximum and it was sold so cheaply because and I think it is as well in the States because

Does it use for preserving fruit

It's no smell at all

So here I'm now going to add

Some purple

And then blend

See the way those balls of powder scatter they just got to be gathered in

Smashdown

And as you work the paint

It becomes

Because

The act of grinding makes it runnier

Turn off for a while

Like toothpaste

Say this one being the final one

Just wash the brush

In the water solvent

Turn into the glycerol

Roll the paint

Into the glycerol paint mix and then

Just apply this

And that's behaving really nicely it's a very smooth

Silky

I like that very much and that's why I recommended it to you

And it's super saturated you wouldn't want it any thicker than that otherwise it won't fire properly

Say very good to just work it down like this going to the halftime show at the bottom

And then wash the brush

And that's the sample test that's all you need to do really

Rather than a chart

Who's the test pie

I'm sitting on the titanium mesh for a quick firing

I'm going to lay down there I've got the blue glasses on just to Shield my eyes from the

I'm going to open the Kiln door

Actually evaporating the oil isn't it

So you went to steam Rising you've got the oil

Just about

Who's the heaviest oil

Spatula to lay it down there gently

Just like everything else

1382

Call tile back here at the bench and it's really interesting what's happened here

Yeah I'm going to quickly label up

How I painted down the medium so this one first one was sewing machine oil

Then it was painting medium

Then it was paraffin oil and finally glycerol

I'm using the marker pen you'll notice or with a sharpie that it burnt out in the Kiln like

Don't be really useful because you can mark up your tile

And then you can paint within those lines knowing that the lines are going to disappear

So you can see that the successful things are up this end saying machine oil

Painting medium very successful

Paraffin oil and glycerol not so good

Now another Factor

In this fugitive red is the actual base that you're using

And the basis that you have those who bought the kit it's from AJ wells in UK

Play and you can see that all of these are beautifully pink

His glycerol compared with the test base not successful it's gone Brown

And here's the liquid paraffin oil

And here it is brown so you can see quite dramatically what it changed that makes

And it may not matter if you're not using these fugitive colors but if you are it's really well worth getting

Bring the right place on the

It says in my book

The basis that I recommend are

Dw1 dial White

And a medium White

And a couple of medium whites T6 is a good one and you'll find your own as well

I've done lots of tests over the years

And I kept them from

And it's really good to refer back to them from time to time

This was using Festival making a Swatch of colors

With a pallet

The colors

I'll just mixed colors

And then of course there's the very detailed one that I've made

Off my palate using sunshine and sourdough

Circle two colors up the side here and I've got them repeated along the bottom

So his number 17 which is this black

Is the strong black is the half turn black and then mixing it with white

You can read the grid as you go up

Analog say whatever color you choose

Then mixed with something like orange you're coming along here

And you'll find the mix

Which is a lovely Smoky sort of khaki color

So just get familiar with your paints and what they can do and then the brush Strokes

Who was an exercise for actually stippling out so that you've got

The pale stipulate one end on the intense color at the other end and it's been

The brush into some medium and dry it so using a dump brush

And just go down the side like that

And then you've got a fabulous

Band of color which everybody would think well how did you do that but you can

So here are more tests and

More color

We

When we were learning and going into the Payless sort of colors there just to see how it hold

What's the color in the Kiln firing because that's the other Factor you got the medium the base and

Turn on the firing temperature

And that's why I recommend 7:50

1382 Fahrenheit but

You need to know that some pieces far more quickly obviously if it's

Millimeter

Piece of Steel that it's going to fire much more slowly than a piece that just has

Half a millimeter there that's going to be a very quick firing and if you left it in too long

Then it would begin to

And it will begin to burn out and go Lacey

This needs watching more closely

It May Fire quicker than 750

How's this one did

Spike lavender oil on the end which came from held of Harrogate that are now

Book of Holland

And it's the spike lavender that is the beautiful oil that is collected from the

Leaves at the beginning of Spring

And that's got the most oil in it

And that was used very traditionally in the 18th century and Lily oil was

List

Is used today in Switzerland in the clock watch industry industry and they use it for

For that paintings to do watch Styles and it has got the most wonderful smell

Add a pot like this costs about 50 lb

I think go for something

When you're learning

On glycerol should work well

This AJ Wells said that you're safe as well using water as a base

So now I'm going to show you some flower painting where there are different approaches you're already familiar

Play with using an outline Penn line

And then

Filling in with a wash

So this sequence shows the Penn line just on its own and

Using different colors appropriate to what

Painting later

And then adding the wash and then finally using lacquer resist to

Text the flowers and sponging over in the sequence and then another thicker layer of this

Background color

I'm using square feet total and lack of resist to reveal the layer below

To get more three dimensions to the design

So that's fairly easy to follow

This one is where you just do some free painting

As washes using brush Strokes

You can actually build up these lines by using a wet in wet

And then you introduce more paint which

Does another which is more risky method of wet on dry so you've allowed the base to

Play some

And then you add little flicks of color but if that goes wrong you have to wipe the whole off a whole lot off and start again

But if you get it just right and the bottom layer is damp and you introduce more color can look really intense

Some good

Where there's a layer been fired on below which is the

Play Old Town of this leaf

And then apply more darker green

The Richer color on top and then scratch back and you can see the little vein lines

I'm here again that's had two firings to achieve that effect

I hope you can see that now in detail

So it's interesting with the pencil outline that I showed you here's a strong pencil outline

Which is on a piece of copper

And I had hoped to keep the copper flat

Because it's quite thick

Just like the steel

But inevitably it's gone salsa shaped which you can see when it's lying flat like that

It doesn't lie flat like the steel tile so this is a much better

Flock to use and here's the outline in pencil

For a sequence that I'm about to show you

I'm very very fine pencil just scribed over

To transfer the pencil line and fire at first

So that's been completely fixed and if I was going to then paint it up

Just to wipe over

And then it's ready to go

I'm trying not to touch anything with your fingers because no matter how clean they are they still got a bit of grease on that

How do you spoil a painting

Play this sequence goes like this

It was a design

Which was V

And then I transferred

The line

To the enamel on farted

And it was just a pale guide it didn't show through

On the first wash of color

Where I was just adding paint freely with a brush

And here's the next firing of paint color

And the next one

Say that's the final one where it's looking richer and the colors of gone darker so just like a watercolor sequence

That's how you would build up the color but you fire in between the layers

Can you don't add one color or another at the end like The Fugitive Reds it's possible with

Is sunshine surdel range to mix them and use them all at the same time

But that little bit of intensity Works quite well in the final firing

Say if I just do a little demonstration to show you

How to do say this piece here I'll move these up a bit

And then show you the paints now

Here's the color wheel is a reference and I keep my Paints in just a plastic food box

Glycerol as I've recommended for this course

And on top

I've got

Play mixed colors for portrait painting

And I'll introduce those in a minute but

Is the whole Warehouse of colors

Just like these

But it's

A couple of mixes as well

You've got the great black that I've spoken about before and you've got the rich dark brown

Favorite dark brown is the purple

And the rich Chestnut so those three colors make that one

And if you just change this

Chestnut for Reed green

That's your purple black

Say two mixes

Two dark colors

And for portraits later it's going to be this cream color as well

But don't need to talk about that quite yet these ones down and then

I need to bring in

Medium

On the solvent so I put the paint

Closest to me

And then

I'll put some tissue down here

And I put the solvent first

And then I put the medium so that I'm washing the brush first that makes sense

I'm going to take

Number one brush

And these are kolinsky miniaturist

And actually the labels worn off on this one I've used it so much but

Here we are here is the remains of it

What's the kulinski series 7 miniature finest Sable by Winsor & Newton

England

If you can find some equivalent that works that's absolutely fine but as I said just make sure it reach

She's not very fine point or you'll be frustrated

Put down the number two brush

Whack it into the solvent

And just get a little bit of glycerol

Julie's Pizza mixed in already

Am I going to put

A slightly darker green over the top of this base

And some of the Reed green

Which is a very dominant color

I'm just for the purposes of this demo

Will see the effect of putting one layer over

The original foreign okay so coming around here

I'm

Gently stroking the paint into place like this

And then I can do a bit of tidying later

Roll the brush

More of the paint

And you're virtually pulling the paint over the surface

To get that effect

Clean

And then

Using the dump brush

Wipe down here to make that point finer

And go round

And then take out the middle

To reveal

The lab hello

Bright light in my eyes but I hate that you can see

How it's looking

And just turn the painting around

Pool paint towards you

Say don't go across like that it's very difficult to make a horizon that way but if you turn it through

Horizon is much easier

Say that just gives you the basic idea there and once you've got

Something fired on then you can build up the detail

And just put in these little touches if you put it straight into the yellow

It would blend too much so just plan the layers and the firings

Lines like that I can show how I would then tidy these up to get refined lines

So it looks clumsy at first but with the paintbrush you can tidy and make it look

So this is really wash

Colors like like watercolor the same demonstrating

Not miniaturist techniques quite

And then you would find

It would look like that

And then your dad the next layer on top

So I hit that gives you a good idea for flower painting

Exercise I'm just going to first of all show you the paint palette for portrait painting

This is set out in quite a different sort of way as you can see with the mixed color

Close being bad for the flesh tones

But your Warehouse of colors is exactly the same as I've shown you before

And I've circulated all these sheets to allow you to chop up your own

Size of

Charles said that you can cover it with a film to protect it from getting grubby

And then just lay it under the paint palette if you're using glass so here's the

Play Flesh tones

Matching beautifully

And here's what I call the war

What color

Just below

Almost matching

Great black

In the end you won't need these charts but it's just

Initially to just see what the mixes are

And that's to slow down the rate of evaporation

I recommend putting the paints into the fridge to slow down the evaporation even more between

Painting sessions

An inside I've got these two little pieces I've made from copper

Which helps you to make the double decker

Paint colors now if you go to Russia

Far far better organized they've got mini chest of drawers and they just slide these plates in

And they're completely dust free

And because they're using sewing machine oil they're just not going to gather any dust and they're going to stay wet and

I can just bring out the pallet mixed palette for that particular subject that they might be repeating

But here this was the method that I was taught in Barcelona and it works for me so I've still got the original

My teacher

Chopped up for me

Play Just

Show you that if you bring out your pallet

From working say the previous day

You must

Because they tend to get a little bit dry around the edge if you view something like

Pine oil and particularly if you've used

If you're working quickly anyway you will need to grind them properly every half

Day like every two and a half hours depending on the ambient temperature of the room that you're working in because

Is that will influence evaporation

With the glycerol they do stay wet for a while

And there's no need to freshen them up

But I'll just show you what I do anyway as a matter of course every day that I'm painting

I would

The first color the white

Then the yellow then I would mix up

Stop

What color which is the waxy color cream color which is the the basis for the flesh t

Is that I'm going to introduce for the portrait painting or any Flash

Make sure that that's all well ground

And anything that's dried around the edge it's ready to then put back

So I would

Use

Cotton or linen cloth this time rather than

Now that this is Advanced Techniques and I don't want any dust or little hair

So I'm going to put that back

Where is nice and clean now

And show you how I actually mix that color

So having mixed up the white polar White

Play cloth over here

You can just be a handkerchief this is an old napkin

Tiny little bit of the yellow cuz it's quite a dominant color

Depending on the complexion

Base color

Has to match the

Put the lightest tone of the complexion of the person that you're painting

So you need to look at your color chart to see where that would come in this area here

Somewhere in in this area and just practice by

Mixing two colors together

But in different proportions just as I showed you with the yellow tiniest bit of yellow it may need a third

What color as well to make the base

But I'm just adding in

I think it's quite important that you see how the flesh tones are mixed so I'm going to

You've seen them as a reference

And just use the cotton

And of course it's water that I'm using

Elsa my solvent

What I'm going to do is

Look here you've got rooster this one

Thanks Oscar

And then you've got a touch of purple red so I'll mix this up to show

How that's done

Some Christopher

I would say about that much

I then tend to put a little bit more

Of the Oka

And then it's

Calm the little bit by a touch of the purple red here just a little touch of it

But I know scoop that up

Put it in place

Say that's the color mixed

And that's really what they would call in the past traditionally the coronation color or the

Now the shadow of the flesh color is chestnut and purple so

This one first

And then public self

It's about Eco quantities here

A little bit more purple

And place that here

So that will be into the Shadow the crease of the eyelid

Things like that

Then you've got this

Color hair blue color with some of the chrome green so little bit

Little bit more

Because this is this tends to be a male flesh tone

It's going to give her

5:00 shadow

Does the town of it little bit more blue

And then there's the cream green going in

On the final one here is the blue Claire again

Touch of purple and this is more

A female softer shadowing color

Elizabeth Mall

This is for the Flash

Four basic colors there which you'll be using all the time and for all my

That's pretty well all I've used

Although I have done

Portraits obviously of

People have different complexions and I've matched that very carefully

To get

Brown tints more yellowy tints whatever it is more Oak cretins so just have

The selection there that match the portrait that you're going to be

I'm going to put these back in the Box again

Because just leaving them in the open

Isn't too good

No the next thing I'm going to do

Is to show you how to

Blend colors

To actually use these four colors here

And then paint this sphere

Actually shows the 3D look

But you will need if you're able to paint that or an apple as they say or anything then you're thinking of the

With all these flesh tones so this is just a little exercise to show that

I'm going to Anchor this

Tile which is a blank onto here with a bit of blue tap and onto a piece of cardboard

This is a cake support and

And that way you can

Put on the subject around

Without having to touch it

Say this

Little bit of Kit that's really useful if you're working Flats like this

As I say I tend to work vertically

For this exercise I need to bend over the work

So I got everything lined up here

And I'm going to use the glycerol

And I put

Open first and then I put the medium so be able to get it like that and then wipe the

On your napkin or handkerchief whatever you have

I'm going to use the number one brush again

And take off the tube

To protect

And sometimes I get these brushes of hair wash with shampoo and it's just a very good way to keep them and finally

Play I would just drove through to leave it as a point

Don't leave it with medium minute definitely not with solvent in it

Everything lined up now

I'm going to be putting down this first Splashtown here

Say stop quite intensely and then draw it out

And then the shadow of that color here

Say this was the purple in the chestnut

Carrington is possible by

Just becomes automatic to WIP

Only Hank

And then into the water to clean the brush and then finally get into the glycerol

Which is the medium this time and if you turn it around like this then it's the easiest thing to

The trolls the brush down

Make a lovely tidy line like that

And I'm going to pull it that way because it's easier

Play that's the beauty of being able to swivel around a piece of cardboard

Pull the cake stand

Play tidy lions

I'm not going to put these in until the end because they'll get in the way

I'm just going to show you the The Secret of

Building up a portrait is to put the bass down which I've mentioned before is like icing a

And you have to have this

Covering the whole portrait except for the actual eyes so anything that's Flash

Just lay this color down this waxy color

But it's the thing that is a key to receive the other paints

So I'm putting in

I think

A little bit of a sphere it's a rough shape of a sphere can you see that Oscar is it looking any different

The background

This is how I started this one

Just to match it

The next thing I do is put in the Carnation tone

And introduce that very very gently here

Just working it in

Coming around

Just imagining I'm going round the highlight

So you've

The light on the cheek and then you've got it coming into the The Flash turn the Carnation town

And then it will be going into the the Richer

Chateau town

If you need a bit more of the waxy color then you can add it in but don't make it so thick

So you can just blend the color gently like that

Just keep adding until you're satisfied

Being in a bit of a hurry

But you can refine this your heart's content because the glycerol stays wet quite a long time

But when it begins to get tacky

That's when you must stop painting because it doesn't you can't really wet the colors

And rework

And that applies to the paints as well if you've allowed them to dry out then you must wipe them all

Often start again

I I do that naturally between portrait Miniatures anyway

I would start with a new palette just because you're looking at it all the fresh

I'm considering what the flesh tone really is

The real subject

Then I come into this darker color here

And just work this in

So you can tell I spent a bit longer on this one but

You'll get the idea and it's just quite a good exercise to try for yourself

Can you come get a bit of an overlap but obviously

Colors will go muddy if you're mixing

Three colors plus two

And then some Shadow tone here

Say this is what I mentioned was a female tone it's quite a warm color

You can use the male flesh tone in women but just

Use it sparingly

Masculine

Okay

Just now working

Some of this underneath here

I'm just playing with the four colors mixed just to see how they work

It's really nothing in the morning and then blending them in

Am I going to

Around the edge so because I've got some color there already it takes it very

And it's still wet

If I were to leave it to dry I'd be working wet on dry which is a bit alarming

And then you go around the easiest way possible if your right hand it is to have it like this and

Call around with the brush and because it's a damp brush it's like

And it's just soaking up the paint and you're getting a crisper outline

Mexican mall all

A little sphere

Because it's still wet I can add some more flesh tone under here

Just tiny little strokes called cross hatching

I'm just blending into the blue butt

I'm not wanting to make it

Read my day

Just stopping short of that

And I'm going to roll it into some of this

Just to pull that down

And

I'm actually mashing down with the brush say the time also doing pontillas and

As you work into it

Say this is just how I work a portrait

On any particular detail of the the face

Rolling a bit more of the the waxy color

How long will talk to

And if there's a really strong highlight you could add a little bit of the

Polar White

Justin

Just blend

That's quite strong and intense so I'll just blend it backwards here

And you can just totally lose yourself in

Just perfecting perfecting

If you've got time

On your own

And you're just practicing and

Sing how it looks and if you're not happy with it

At any time you can just wipe it off and start again and that's the beauty of enamel

Effectively any brush stroke is a spontaneous one

I'm not particularly pleased with that but it does demonstrate

What I'm trying to achieve

With the painting of a sphere

And I'm not going to put in the other two colors which are

The female color which is the

Mixed with purple

Good morning thanks to this end

When you're doing a portrait

Starting a portrait one day and my husband would come into

What have you been doing

Very tentatively when I'm starting a portrait

Because first of all you're putting in the physical features and you're really concentrating on the Conte

Photos of the face

And what is it that makes that expression

And then later you have a dialogue

With that person

As you begin to see the features in place and

Working on the flesh tones and modeling the face

And the whole thing

An old fashioned photograph

In the fixative

So I put the brush into a little bit of

Glycerol the medium only

Not water on the painting ever

I'm just in that out a bit

And then I'm going to turn it through

90 degrees so that I can just draw the brush down there

And get more of a fine line

I'm the same on the other side

Or if you want to leave it freely and do and you could label this up

Of course with your pen oil

Which these flesh tones are

Just for reference if you're not sure

So it's a very good Aid to use

And I'll find that so that you can see how it

How it falls

On how the colors are fixed

On the side

And I want to next show you

A portrait sequence

You've already had

But I'll put the paints away because

It's good to have them

Books

Before I start showing you an eye portrait

Yes I'm going to demonstrate so that's the way

And now we can talk about

This chart

Distance from a piece of copper all the way through to a finished portrait

Although I haven't done the full face it just would have taken a long time

It was an enamel painting friend who I trained up who helped me with this and it took 65

Hey it's got many layers about seven layers altogether

Starting with a piece of copper

This is domed already and it's actually been punched out with hydraulics

On the back

Tension on both sides of the copper

Making a sandwich of glass

Copa glass on the other side

You can also paint on steel as you've seen or

Where is Silver and copper

So you just have to plan accordingly

So the

Coach on the front side of the enamel

Is actually a clear flux that I fired on and I started with diamond flux

Which is a little bit more blue

But the ghost locks is a lovely warm color and just enhances the portrait on

Then I would add

Opalescent

And under here

Firing at the same time it's quite good if you can put the country now on the other side of the

Play flux on the country now on the other side of

The opal used to be soja 101

64 and that works very well

And you may have other ideas and then share them with us please

So there's a second coat of opal

Wet laid

Android and then fired and a third layer and as you can see it's going white whiter than

Still has

And finally that layer when

Has been stoned back and then it's fired again

And then it's absolutely smooth

So if there's any roughness in these two

LaRon Fox then you just stay back with direct to make it completely smooth

So this side now shows the sequence of the portrait painting

And you first got the pencil line that's been added to

Modeling clay has been rolled over this piece and it's then acting as a key for the

When's the line that's transfer

Define scrib

Is that you can manage just to see enough

Chick-fil-A The Contours for the painting

Each of those fine pencil lines with paint

So if you're not confident which I'm not when I'm doing portrait I would fire the

The line in place

No higher than 750 °

You can wipe it off

So you fire on the painted line and then you start to model the portrait so this is the

The first wash

Play some tissue paper

Developing

Using this follow through

Until you hear you've got

And 5th and 6th

And it's like adding seven layers of skin really

Open painted

Each time 7:50 1382 and you can't go wrong really

So we're not going to move on to an actual portrait of a loving eye but first i'm going to

I've got some family portraits of my own in my own collection that I've brought to show you

And it shows over

A sequence

This was the first one and I put in a very tentative background around

You can see the pink in the opal I rather likes it and I've just enhanced it a little bit

Around the shoulders and the half and so on otherwise I've left it pretty well natural

Lucy's outfit with the with the cat stripes

The next one

The background

Was inspired by trip to Turkey and saw Turkish tilings and just thought

So here's the background to this brother and sister

Is my niece and nephew

And I used White

Transfer paper at that stage

That was the method that I was taught and it's described in the book

Very difficult to actually see the white line you have to remove the chalkiness it's the transfer

Can you put that they use in dressmaking

And then you remove the chalkiness and then you've just got a greasy line and that's what you put the paint line over

Just stopped the sequence

And in this one

I've used pencil and this is the baby 14 years later

And in this it's interesting to show how I was exploring

Backgrounds made with underglaze painting

Say when I finish the background painting it

Using underglaze black

Not the overglaze and I've got a test piece here

Because I discovered that putting the third layer of opal over the top

Made it go this gorgeous Inky blue

So I rather enjoyed that background and inside then tinted it a little bit more with

Some blue and lavender color paints just to enhance that

I did the same with this one of my grandfather and he loved writing poetry so

One of his poems in the background using underglaze and then put the opal layer over the top

So I had a white silhouette and then I started the painting so all the background was done

Before the painting

Then I did this one

Of my mother

When I moved on to working with gold

And I really wanted to put in a background that that would represent her love

Of Shoals so I've Got The Paisley shawl in the background

And all of that background was worked

Again with a white silhouette and before I did any sort of painting

IHOP's the old lady goes in place that's gold foil in the background and

And painting it up

The most recent one

What is a loving well faithful I am going to call it

Switch off my dog's spice and

Thought it would be quite interesting to show my Silhouette in the pupil of her I I just noticed

Play after I had taken

The photos

Say Nei is a great study if you have access

Magnification

I have changed over the years when I was taught my teacher had a handheld

Pocket lens like this

And she held that in her left hand and painted with her right so that she had everything in view

Peace

Which has a Halo light around it

And it can be used for all sorts of craft work

A magnifying lens in the middle

And for using larger pieces this is really useful because the microscope that I'm going to show you is

Quite confining in the pool of light and the site size that you're looking at

So that's another option

Another way is to get some magnifying specs

Like these ones

And you can also get

Clip-on magnifiers like these

So here's the clip

And this is my preferred method when I'm sitting at the easel painting

And make sure that they're absolutely vertical in line with the work

And then a long hair

We've got the actual magnifying

Wizard of all which is a like a microscope

And I was lucky enough to be able to

Make a donation for this only rather than have to buy it because some people in our village

Used microscopes to reclaim gold from computer parts

Play all our workers were working under microscopes and getting the gold back

I was very interested in this one and they

LCD

Lights in here which is bendable and wonderful to really focus in on what you're looking at here

And you can adjust this up and down according to your height to be able to get this at the

So I like working at the microscope at the beginning of a portrait

When I'm making a fine lines and at the end for the final layer of painting that works

Very well to be able to see the final detail that you're putting on

Andrew though you can't necessarily see the detail when you're holding a piece and looking my eye

It is

Under the microscope and you know that

Has to be able to be magnified to actual size

Say to recap we've got various stilts to put into the Kiln and this is the one that I recommend which is ceram

Inflatable

And it's got killed and clay

Titanium mesh we've been using because there's no chance of any

Nasty Dusty oxide

A bouncing off onto the work and spoiling it

I'm just going to demonstration

Opening a stack of stainless steel supports

A various kinds onto the ceramic fiberboard

Ceramic fiberboard

Child High

With other supports which I don't recommend using

This is going to go into the kiln

Sounds

Ceramic fiberboard in there for firing the next piece

I'm just leave it for a while

The current temperature dropped to about 700 and it's just going to climb back up again

Who is not rich

The high temperature

And everything's glowing in there so I'm just going to flip it all out

Facebook download cool down

Use a butter knife and a slide it across there

I'm going to

Take out

Piece of ceramic fiberboard that's been sitting in the Kiln so it's nice and hot

I know far more quickly because this piece

Is quite a thick piece of stainless steel

Steam

But I can play

Isn't it

And it's in a very hot ambient temperature

Push it to the back and wait for the pill to climb up

And see what's happened underneath here

Just remove the

Yeah there's a few bits on the

So do not use these

It's just not worth it

And sometimes if those need cleaning and they've just been used many many times it gets worse

So it's just not worth even one spec

There is a way of cleaning safe

Phil tiles for the titanium mesh

Enamel glass in there

And that is to heat it up to a reasonable temperature and then quench it into water

After about

20

And that will just crack off

Any animal crossing return the metal mesh so that's quite a good idea

I'm off to firing the sphere when it reaches 750

And then go to show you how to make

A loving eye

Nothing easier is there then

Look at yourself

Take a photo take a selfie of your eye and then set about painting it in the sequence that I'll show you

I'd be making

And I printed out on Plain paper

And then I would print a glossy version so that that's best quality

And then I make a tracing

345

And we've got the light over just catching the light

But interestingly it's not quite fired

So it goes back in the Kiln for a little bit longer

It's much easier to put something back in the Kiln but just to see if it's been in there

Nothing you can really do about that

So that's got to climb back up

Let's have a close look at that so we can get on camera

And it's perhaps because I've used more of the white which is slightly higher firing than any

Verizon temperature and then hold it

Okay so the temperature is climbing back up to 7:50 quite quickly now

And I shall take out the enamel at that point

And check that it's smoothly fired it's got to be glossy all over to work

This is

Near the point

You're so easily distracted at this point possibly

Say no leave it

Out she comes

Shut the film door quickly

And then look at that

The

You can just see it's gone glossy all over

Clay

Which is on the ceramic fiberboard

As the enamel contracts and cools it will just

So it's best to just leave it now

I'm not the painting desk now and I've got a vertical easel set up here

Which was an affordable painting easel to which I've added this block of wood

And then I stick the enamel on here using Bluetooth

On the painting desk I've got the box which these clip-on specs came out of and

They come in various magnifications and this one is about

And that's all I need

When I'm working here I would put these two prescriptions spec

What time are you using the

Magnifying glasses

And it just reminded me using the microscope but that's what I use to study

Play the 18th century Exquisite portraits to find out how they painted them

And you could see all sorts of little graffiti marks that they made in the hair to give it texture

The cross hatching

The layers of color on lace you could see where they had put

Then stock dots of color on to White

And it was just fascinating to learn from people who painted for centuries

I've got a sequence of

The painting of my eye

I'm starting at this end I've got

Which has the painted layer on it

And then I've got the first layer

A paint that's been fired on just all painting quite tentatively

And then the next layer has been built up

And you can see

3d effect beginning to take shape

Until the final layer

Shows it to be more realistic with all these Dent shadows and so

Depending on the age of the person is just how many little wrinkles you put in

How much the white of the eye has shading

It's in a baby it's just amazing to see a kind of porcelain white of the babies

And

Just see that it's really about observation and what you're seeing before your eyes

Is plus a little bit of editing and if you want to be kind to somebody

And make them look 10 years

Then it's very obvious how you just lift the eyelids a bit

Recognizable

So I'm going to go to this piece which has already had the paint line over the

The line and it's been fired and I'm going to demonstrate how to build up the first wash to make it

Hit like this

We've got the paints down here

Are they going to be talking through which paint colors I'm using all the time

So I've got little pot of water

And then I've got my glycerol there as solvent and medium that I'm using

So I did some dried and the first thing is to lay on this waxy

All over

And this has to be put on at the same sort of thickness so you don't want any ridges

Office waxy White

You just want enough to receive the flesh tones

On the top

Because when the whole thing flaws it's all got to be about the same level

I'm just working quickly with a number one brush I could have picked a number two that would have made it a bit faster

This glass paint is obviously very abrasive

And so it's wearing the Sable brush down much more quickly than you would wish

That's the point where the brush is perfect for you

And then just one more

Oh no it's not like it used to be and you have to

Set breaking a new brush

So I get through about a brush a month

I think

But you can increase the Life by

I'm looking after them while I'm not leaving them in the medium or

The solvent

You're just working around here

So you can everywhere

The eyeball itself

Anything that's flash basically

We can

Best with flesh tones

And I should really have the photograph alongside that's what I want to get back to you rather than

Copying this one but

That would be great

I like to edit the photos in order to work up the portrait

Bob Franks Oscar that's brilliant

The original reference rather than Chinese

Chinese West puzzle the way down here I'm looking back to this and just looking at where all these little

Wrinkles

Personality

So let's pull out in and

Carrying on with the flash color

I'm going to work alone here

I'm down and around here

Does keep charging up the brush with paint

And it's a case of dispersing the paint

Hands mixing it with this waxy layer

Soft pinky flesh tone coming in here

It's just incredible how a tiny little stroke can make a difference

With the liken

Set up my 8:00 my mother

Physical features

Dialogue with personality

Mainly getting Rhythm into the whole thing

Even listening to classical music you just want to switch it off and just empty your mind

And then other times I am able to listen to a radio play or something like that because it requires

The most critical

And once I had to do well several times I've had to do an addition of portraits like

Are Queens

Diamond Jubilee

Each one to me was just very slightly different

Alongside each other

For his six children

And he decided

But otherwise you try your best to make everything the same but we're not machines

This is how it comes out when it's hand-painted

And I go into this darker flesh tone now to just catch a little bit there

I'm into this

If you were to use what you see is

It would look like very heavy makeup so

Just use what you know is there

And that's where you're using these flash stones

On a piano

I'm just feeling my way with these little bits

Otherwise you become aware that your neck

What's the balance variable here

I'm feeling comfortable

Until the next morning when I just come in and I check the work and I think

I know that's not quite right and it's still wet to be able to

You're committed the only way is to scratch it

With some scruffy to

And then fire and then

A very good way but I just want to check before I fire it that morning

Play the

I'm putting this easel horizontal and just laying a cardboard box over

Hope for something like that

Public blue

Which is the soft female Shadow here just coming up there

Getting around

Nicely

Going to come back to here I'm going to load the paint with a little bit of a waxy white just to patch this

I'm going to put tiny bits of this shadow

Blue into here

And when your father's paint on

If you slightly on the fire so it looks glossy

But the paint will act as a key for the next layer

The brush will drag over it and

Just where you've left it and it will begin to paint itself

You've got some lines and it will just emphasize them even more

So because you've seen the video of my mother

Hot port

This one is a rough example

Next to it

Working live and to time schedule

But I hope it will give you confidence to make your own portraits

Of the I at least

And then post it on to the Facebook page that I've set up will be lovely to see what you do

And everyone can learn from everyone else

And I'll make a comment if you like

Positive

Write the eye color here

Is quite like the green and blue that I mixed already so I'm going to lay this down as the

Face coat

I'm putting that down and then I can lift anywhere where there's a highlight so I'm just putting it all over and

I'm trying to follow

The iris with the brush Strokes so it's got these

Paint lines radiating out like this

I'm just washing the brush

Dipping it into the glycerol and then just tidying here

By saying

Does the highlight coming around here so you may as well lift the paint off and definitely over the top

No ready it's just a little bit more life into it

And then strengthen up

Play color around the outside

Will it still

Just before he died

And I saw this little

Colored spec

On his eyes or in the eye which I didn't know whether to be that all the time

So you really begin to look at all the colors

In the eye itself if you just want to paint the iris

That's enough

It's okay

And I need to darken up so I added a little bit of the

Darkest blue the blurry

And then I've got the

Blue and the Green Mix

And I'm just making that more intense there

If you're not confident

And you can see the color mix is there

We could do a test piece before you file the whole thing

And then once again

And I'm not going to add some

Animal itself

So there is a

Say that's going to be

Little touch of this

Play purple

And on the other side as well

Play some

Flesh color along the top here

List of makeup

That is the

The mix

You could swing it around and destroy a brush

Drop down

And I'll just clean up the brush and then it's going to act as a

Because it's

Racing a

Put in the colors and then you

Possibilities of correcting it next time whereas if you leap to that stage straight away

There's no way that you

I'm thinking now have I got the likeness

And you're really sitting back

Of changing things as you go along

Tempted to get the lightness and get the anxiety out and to see

I'm just bringing the layers up

Each stage

Firing in between

So I'm going to come back up to

Eyebrows here and this will have dried a little touch so I can do some little

Netflix yeah

Play the pen work

Just put those in place

And you can refine those to your heart's content

Just going to go into the

Play Black

I'm just every chance of making it darker next time

I can see myself

Doing the selfie

And in the loving I of spice

I put myself in knots as well

Very very tiny

So that's about as far as I go

Play soft and gentle work and just consideration for what you're doing

And I can refine the lines better

By moving the paint around that I just dumped down and then just refining it

I'm pulling that down so there's more color there

I'm bringing these tiny lines down and

At the next stage you'll be looking more carefully at the color

And refining it

But hopefully

And then the second layer is the most difficult that takes the longest time because

Play Backstreet is a commitment because when your father

As long as it's still wet

And if you take a break just cover it and then come back to it and look at it

Fresh

So it's always wise to think well how does the I work you've got this lid folded back here

Play Aaron

Play the shading here

Fold away

I'm coming down here

What you're aiming for

And I'm not going to take it off here and fire it in the kiln

All right so here's the first layer of paint that I was doing at the easel and remember to take the

I'm going to use the titanium mash for Speed because that's a good conductor of heat

Ready to go

The water in the glycerol

Does steam Rising

Philly rise and try to stop the temperature now and the painting is

And it's ready to offer up into the kiln

Play opening the door

No big shock putting it in straight away

So now the piece is ready to remove from the Kiln and I can already see just looking down on it glimpse

So here it is just put it underneath the light which you need to check

Which means that the enamel paint has just sunk by a hair

Add things to the bass

All the way around

Yep that's it

And off it comes and I can put it on the steel block just to hurry the cooling down

And you'll see significant color change very quickly

Search the Kiln off and I always switched off at the wall as well

Add red Burning Down The Darlington estate

It's pretty well come back to the original colors

I always dread marble cracking or something so I put it on the steel first

So usually I put that into cold water

To cool

And then I would put it back on there to help cool and then finally onto the marble

But to try a section

For the Advanced Techniques now