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In Volume #24: TOMATOES, PEACHES & PEPPER painting lessons DVD Hall introduces the eleven important phases, such as "form light and shadow" that are the foundation of classical observational painting. Featured are three 8"x10" demonstration painting lessons, including an elegant cluster of three ripe red tomatoes, a single yellow pepper with silver cup, along with a group of three luminous peaches resting on a blue cloth. Within the two-hour DVD are stunning close-up shots of Hall's classical oil painting techniques and views of his studio as he discusses his paintings at different stages.
Through his innovative, step-by-step oil painting course, Hall outlines the processes that were used by such 19th century painters as Edgar Degas, Edouard Manet and George Inness. Using a clear and concise teaching approach, he teaches the the beginning painters how to create dazzling paintings filled with dramatic light and shadow, teaching one how to arrange the foundation forms and composition, develop the background, painting the subtle reflective lights and striking highlights and details. Learn how to soften and diffuse edges to create a sense of atmospheric realism in your work.
PAINTING LESSONS DVD STEPS
PAINTING DVD TECHNIQUES & TERMS
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Hall has taught art for over twenty years, and currently is a Professor of Art at Broome Community college in Binghamton, New York. ARTNews Magazine critic, Gerard Haggerty, states that Hall Groat II's still life paintings evoke the big picture that we call art history, including painters like Jean-Baptiste-Siméon Chardin, Edwin Dickinson, and his teacher Lennart Anderson." Collectors of his work have expressed that the work is "Alive, full of grace vitality and beauty, capturing light that is sublime in nature."
PAINTING LESSONSDVD
LEARNING HOW TO FINISH A PAINTING
If your painting becomes laborious, you are undoubtedly doing something wrong. Doing art work is supposed to be fun. But if you are struggling to no avail, join the club-every artist struggles with these issues. You may be trying too hard and that can be counterproductive. Be the boss and don't let your painting control you. Back off a little and loosen up until you can work your way back into your painting. Sometimes it's a good idea to bounce off of a second piece and switch back and forth until something clicks in your head and you see the light. Putting your art away and just giving up may be a cowardly way to deal with it. I used to do that- just give up in the middle. But when I had a rack filled with too many unfinished works it became depressing. I spent a whole year without starting a new work of art. I dedicated my entire efforts into rescuing unfinished paintings. I became so astute in this process that I learned to enjoy that which was agonizing before. Learning to finish well is a better test of your ability than starting. Now, if I find a painting in my studio that needs finishing, I meet the challenge and feel empowered when I can turn it into something good. And when I reach the finish line and sign my work- that really makes my day.
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