How to Paint LAVA in Acrylic art lesson #bigartquest #21


How are you guys doing today. It’s
Cinnamon Cooney your art sherpa If you’ve come here to live, welcome, I’m so glad to have you. If you’re here in the replay you’re going to love this lesson. On the
mic today’s my husband John He tracks me with cameras and … I
don’t know am I not on … are you not on… maybe you hear him, maybe you don’t. He tracks me with his cameras. He sometimes talks to you and he reads
comments.Today is going to be about how to paint lava. This was brought to us by
Brooklyn, community member Brooklyn. Thank you, Brooklyn. She actually hooked me up with some
photographer friends of hers and so we’re actually getting to do some stuff
from Lava Light Galleries, which if you collect photography at all your jaw just hit the ground. Now I really want to state right at the
beginning this is for educational purposes only and so when you’re
learning, you know we’re doing along with this photograph, realize that this is
just for your personal enjoyment. Not to be at your local craft fair or art show. This is just to show you how to paint lava and Nick Selway was kind enough to
share some of his hard-won research and art with us. ‘Cause let me tell you it
was those two things to get this photograph. You want to show them the photograph, John. So, I cannot say enough about these two photographers that make up
this gallery. I think the thing I’m most excited about was that I learned you
could take a tour with them and they would show you how they got these
pictures. Now we do enough photography here in the
studio, where we know, that even knowing how to get that picture how to get that exposure, is its own
journey in that truck. True John? Yeah. I mean that these
pictures that they get, this isn’t just the thing, you know, stuck a photo lens on there like they were
hoping. There was some stuff there. There are some amazing things. I am going to show you how to paint that one that you just saw. Today I’m going to be
painting that. You can go to their gallery and what I’d love you to do is
in the comments below, after the show is over, besides like
commenting and subscribing, I would love you to put in the comments what your favorite image is from them
because I have been invited to paint more. You’re gonna just completely blow your minds. And also if you’re looking to collect a photograph, from these guys, collect it. Are you just off mic. CINNAMON: Ok. You guys don’t get to hear from
John today. That wasn’t necessary. JOHN: You just don’t need me today. Oh wait, no, we may be back now. CINNAMON: All right. So I’m going to do this kind of in a one stroke style, I mean one stroke … that was crazy, in a daily painter style
which means i’m going to put this up real fast. I’m putting out a little quinacridone
and a little ultramarine blue and then some white and that’s kind of how i think I’m gonna sort of put in my sky I feel like that’s what I will be doing. CINNAMON: Mostly.
JOHN: I found my microphone button. CINNAMON: Did you find it? JOHN: It was missing. CINNAMON: Was it missing? I’m actually gonna, in this picture, unusually use black. And I’m also going to put out some
phthalo green. And I may grab other colors as we go. The other colors, the ones for the liquid hot magma, right, are gonna be your cad light and cad medium, cad reds. Also i have cad yellow medium and I have cadmium orange. I like the cadmiums for the lava. That’s a preference that I have.
It’s something that I enjoy. JOHN: While you’re over there looking for your brushes, I’m gonna give a big shout out to all our… CINNAMON: Number 12 JOHN: friends and moderators in the room and I
see Mr. Todd Graham hunting around in there. CINNAMON: Is Mr. famous Todd Graham here?
JOHN: He is. CINNAMON: He’s famous. JOHN: And our wonderful moderators and Alan and Ghost Hostess and Flame And I thought I saw Kim here earlier so so so many people here with us it’s really nice. JOHN: Oh my gosh over 220 people here. CINNAMON: We had some other news and it relates to the after-show. I’m just going to do this horizontally.
I’ve mixed a little of the quinacridone red with a small amount of ultramarine and I’m just going back and forth with horizontal brushstrokes … pulling up the canvas I’m not using even a blending medium or anything Interestingly enough I’m going to pull out some of my ultramarine blue and just pick up my white here and I’m going to do a wet into wet blend as I come up the canvas with my ultramarine JOHN: And you’re just doing that just by blending the two there with just a canvas CINNAMON: If we put the photograph up fast we talked about a couple things even
though we’re talking about lava today I want to talk about the photograph. So you guys always ask me how I
decide what to paint first. JOHN (whispers): We’re on a Mac. Shh.
CINNAMON: What? JOHN: I said we’re on a Mac.
CINNAMON: Ok. I don’t know what that means. JOHN: Everyone knows because you can tell. CINNAMON: Oh ok, so if you look, what’s the furthest thing away that you can see. the furthest furthest thing away in the photograph that you can see. JOHN: The sky.
CINNAMON: Sky. The background sky. The atmosphere sky. Right, so the
first thing that I have to figure out how to paint is that background. That’s
before the clouds even, isn’t it. JOHN: Yeah, I guess so. CINNAMON: And as I go up, right. I’m going to add a little more ultramarine
pigment to my brush So that as I pull this up
it gets a little darker as it goes up. That’s what I’m doing. That is
how you get that first layer. That’s how I determine what’s first.
It’s really really just that mellow. and i’m going to get a nice stiff round.
You see this right here. JOHN: We do. CINNAMON: So this is a stiffer bristle. Sometimes you could… this isn’t bristle. This is actually filament. Bristle is from hog’s hair. But i’m going to use this just to start laying in my clouds Right. And my clouds are gonna be a
fairly dark purple with just a smidge of black in them. I’ll get a little white to lighten it up
I’m just looking for this great dark color I want it to be fairly dry I’m just going to put in some of this…
here I get out of the way of the up-close camera just like dusting of these as I
look at them clouds. A lot of times when people think that they want to paint
clouds they think that they want to paint light colors because they think all cloud is
white. They think symbolically not factually. JOHN: What do you mean? CINNAMON: Well the symbolism of the cloud is a white fluffy little cotton ball. But a real cloud is, you know, a
collection of mist with light shining through it So a bunch of it will always be in
shadow. So if you don’t get your shadows in on
your clouds, your clouds will never look like clouds. JOHN: That’s what you’re working from there. CINNAMON: I’m right now I’m putting in my dark portions of my clouds. I’m using the picture as a reference.
I’m not going to be real crazy about this. I’m using a dryer brush. You know I could also have grayed this out with contrast but today we’re going to be using a strong amount of black in
the mix. I’m just going to… now one of the things that will happen as I’m pushing my brush in is i’m letting the paint
underneath show through and I am letting some of the paint
even pick up into this because I’m trying to make sure that I’ve got that
there. Do we have any questions about these clouds? JOHN: I think it’s Karen, says, what is the best method to create clouds on canvas. Is there a best method? CINNAMON: A best method. My honest.. ok, so there’s technique based methods, right, where somebody has a brush
that’s designed to do something specifically CINNAMON: Like this brush.
JOHN: Can you show us that brush on that camera? CINNAMON: Yeah, right here, do you see this brush?
JOHN: We can a little bit. That’s got.. it’s got looking like a flayed CINNAMON: Yeah, it’s got these little flays, right
and so I could come here with these little flays. JOHN: I’m going to zoom really in on that. CINNAMON: I can use this really easily. this is actually for decorative flowers,
it’s real interesting for when you are stippling and stuff. So that’s one that you can do. Here is another one. These are super popular for this. It’s like… JOHN: You have to bunny hand .. there you go. What is that thing called? CINNAMON: I don’t.. It is called the loop. Right, so I load this up this is a great cloud maker. And I just scramble along with my little loop. and its shape kind of wants to make those clouds JOHN: Right there, can you just hold that brush still for a second? Oh, so it is loops of… CINNAMON: Yeah it’s like the bristles.. it was like a detail round that got flipped over and taped over You could probably make it at home in similar way So see how i can just sort
of scramble on these clouds. JOHN: These are all technique based?
Or brush based? CINNAMON: Yeah, these are based in the brush, right. Another thing I could do, which of
course I didn’t pull out, was have like a glazing medium or a blending medium or any of that and if I’m allowed to run off camera run back on I can grab one. JOHN: No running..ok you can run off camera. CINNAMON: Can I run off camera just real quick. (laughing) CINNAMON: I can’t believe I forgot that.
JOHN: So while you’re looking over there. CINNAMON: At nothing. Don’t tell anyone
that we did this. JOHN: I’m over here looking at the camera actually at the what you’ve already done. We’re going to zoom out a little bit. Then we come over here and
take a look at just the reference photo CINNAMON: One glazing medium dries superfast JOHN: So this is me killing time
while we are on the show. CINNAMON: Sorry. So, we are going to talk about these two things Right, which are not the same
product even though they say glazing medium. This one dries real fast in thin translucent glazes. This one dries real slow in thin translucent glazes. This one you can keep..
you know you can add just a tint of pigment to. This one, there’s actually a percentage mix before it stops letting your paint dry. Right, so for this I might
be more inclined to do the fast drying glazes Which is the Liquitex glazing medium. And then I can come here And I can also do this and it will, it will give me more of that oil effect see what I’m doing, this here.
JOHN: Oh, it all blend.Then it’s super blendy. CINNAMON: Then it’s just super blendy. So the correct way to really deal with clouds is to treat them like any object
that exists in your painting. Not a technique based solution as
much as, say, a solution of shading. Look at the shape, look at the shading
and just try to duplicate those things. If you want to paint clouds like Tim
Gagnon, right for those of you guys that know him. Well that is, that’s not, that’s not a brushstroke. That’s actually just painting. Right he’s just painting the clouds. And we use these different tools and mediums. Somebody asked me what was the
best medium for this and they really Thought it would be oils but because of
all these different glazes and mediums and products that we have now, right. We don’t have to worry about that
the way that we used to in acrylics. We can pretty much do any technique from watercolor to oil techniques now in acrylics. They are an incredibly versatile medium. So I’m doing the glazing here and I’m going to come up and finish some sky up here real fast. JOHN: Cool. While you’re doing that I’m going to say thank you everyone for showing up. We have over 260, 270 people here in the
room with us today and it’s been really awesome. There has been lots of chatting. Our
moderators doing a great job keeping keeping all the questions answered,
helping everybody out. And i just want to say don’t
forget to like, comment and subscribe and Give us a thumbs up.
Those thumbs up really help us. CINNAMON: Oh yeah and we’re going for 300, right. JOHN: We would love to try to hit 300 before the end of the episode. That’s great because then we get to do our sherpa dance. CINNAMON: I have a new 300 I’m going for.
JOHN: You have a new 300? CINNAMON: Ok so it’s 300 people in the room.
JOHN: Yeah we’re close there. CINNAMON: 300 likes on the like meter. And then 300 subs in one day. And when that happens you know what I’m gonna do? JOHN: What are you gonna do? CINNAMON: I’m going to paint and
create the Sherpa 300 poster. JOHN: That’s awesome.
CINNAMON: Oh yeah, yeah. JOHN: Ok, do it. CINNAMON: We’re gonna dine in Luby’s (laughs). Sorry. That’s only funny if you are in the south. So I’m just trying to kind of like
pay attention to that, make sure that I have some nice atmosphere in my sky. And down here I kind of..
JOHN: You have some wishes there on the canvas. CINNAMON: I do, I have one for Brenda Her eyes are going through a lot. and so that was the wish I just kind of
put in today even though today was like about lava. JOHN: Today was a lesson, it was really about lava. You just snuck a wish in there for us. CINNAMON: Yeah I just saw that and it spoke to me so I did. See if it just got this little cloud sort of in. JOHN: Now, for
those who just join us normally we like to put wishes in our canvas on painting
days and we just… sometimes we try to sneak them in there where we can. CINNAMON: Yes, just makes us happy. So see this nice little sort of dusty sky that I’ve got going. And I don’t need to just do too much about that.
I think I’m really coming to the end of it And so I’m going to now lay in my rocks and my ocean. JOHN: Well, can we let, can we let Flame let the
cat out of the bag? CINNAMON: Yeah, Flame can let the cat out of the bag. JOHN: She is going to announce in the chat what the secret is. CINNAMON: But you guys gotta come after because you could… JOHN: Just the people in the chat get to know right now. CINNAMON: Just the people in chat get to know? CINNAMON: I think a lot of people have already
figured it out. JOHN: Towards the end of the episode will talk more about it. CINNAMON: It kind of like blew my mind. I’m like people are already figuring this out. So I’m taking some ultramarine blue over to my phthalo green And I’m even gonna gray it out here with a little black which you’re going to notice doesn’t do what you expect it to do. It
actually makes quite a lovely deep ocean color. And I’m going to come in And make sure that I’ve got some
nice oceaniness coming in. JOHN: But you know what Ghost just said?
CINNAMON: What did Ghost just say? RELEASE THE KRAKEN! JOHN: Which I thought was kind of awesome. CINNAMON: I’m not saying she’s wrong. so I’m going to just pull this first
layer, this deep kind of layer here Right, I’m going to pull this across my
horizon line because even if I have waves coming in, Somewhere far off in the distance the water is level. Right, so that’s the next thing
I have to paint in, right, I have to paint in this water. This is how i create that first illusion
of anything on my canvas. That’s how I do it. That’s how we do. We’re just gonna throw
this in real fast The lava part’s the fun part. Lava is not hard. So I feel like there’s some objects in art That people feel are hard but
it’s an emotional hardness Not a functional hardness
like smoke, fire, glass or water. They’re just not sure how to
represent those in paint. And so it stumps them but it’s
not actually that hard to hit that. So I’m going to put a little ultramarine
into my black and I’m gonna pick up some white here Make this sort of deep gray
green rock and coming before this Above my horizon line i’m going to plant this far-off rock. JOHN: Look at that far-off rock. CINNAMON: Gonna plant that far-off rock. JOHN: It looks fairly planted. CINNAMON: I’m gonna plant it and we know it’s far away from a very important visual cue. JOHN: It’s small.
CINNAMON: It’s a gray. Things that are far away in the
distance in our pictures are gray. I was gonna actually just pre-paint this
and show the lava part But then I thought you guys might enjoy seeing how we would work from a photograph. Had this weird idea you all would dig it.
I don’t know if you all dig it. I’m going to pull some pure black just.. I still want it gray but I’m going to blend that along the top edge. See it’s just blending in
nicely, just pulling that down Still telling that distance story just
deepening it up. JOHN: I’m watching the jokes in chat right now.
That’s pretty funny. CINNAMON: Yeah we think you’re so funny. JOHN: They are very funny. CINNAMON: They are very funny. JOHN: I’m totally getting a kick out of it. CINNAMON: Now i’m going to come here paying
attention to the shape that I have right here. And I’m going to put in this next
closer rock and it’s brighter so we Definitely know it’s closer. Pull that
down. Gives us a place to drop some lava off the black lava rock. And rinse my brush That’s actually pretty helpful So this rock is darker than the one back there. I’m also going to take a little black
and blue and pull some beach right here and still in that color but I let it
sweep back and forth. Can you see the sweep, John? JOHNn: Yeah I think so. CINNAMON: Alright so that is an interesting little way that I do that ‘Cause I’m looking for that next layer. Show them the photograph again. So we’re just kind of generally
talking about this. Generally. When I said generally I mean generally because I’ve only got a small picture i can pull from. Because they have great photo protection on their site. I’m going to add a little black,
blue and white to this next little brush stroke because I pull this one closer because I
want this one to kind of really show. In the preview words are over some
information that I need so I’m going to have to guess which is always super scary. Grab a little white and i’m going to put some little sea foam coming up this beach. Like you do. You were like do I?
I don’t know, I don’t know I did. Yes, like you do. JOHN: Like you do. Ok, there you go.
Now I can see it. I see the foam. I see foam. CINNAMON: Yeah, oh goodness. Now my hat got in the way. We’re just going to talk about that, just a little bit.
JOHN: Those are some dark rocks. CINNAMON: Oh yeah, they’re jet-black. That’s one of the key things about lava, is that you will have a lot of jet black in all of your magma art. In fact it won’t feel like lava if you
leave the black out. Won’t look like lava on a brown rock. Ok. Just enjoying. Just putting a little
bit of white here I’m gonna do a cool thing with my … I’m going to get a number
six bright and i’m going to just Get some water going like I’ve been wanting Just some water going. We’re going to
just pull that back. Just pulling that in and i’m creating those little shadings in the water. Pulling just the green and ultramarine in. These are all very dark colors because this is dusk And the ocean is actually fairly
reflective of sky and light around it You can even come in and pull some black right into that ocean which is just shocking. Little shadow there. JOHN: So cool. CINNAMON: It is. It comes in real fast is what it is. Comes in real fast. You’re just doing.. If you were doing a daily painting, what you’d want to do, is as quick as you could, just talk. Say everything that was
important about this painting. This won’t actually take us that long without,
you know, missing it. So I think that smoke is the last that is going to go. Pull little more white onto my brush. I’m going to add into the ocean Some of this foaming water. JOHN: And you know thank you guys for all
coming and hanging out with us. It’s been really awesome. 270, 275 people
out here hanging out with us. CINNAMON: Learning the liquid hot magma running up on a beach. JOHN: Yeah. Thank you guys for coming and
hanging out with us and please do like, comment, just hit share. Especially
give us a little thumbs up down there that really helps uh yeah lets everyone know that, you know, that
you guys were here, let You Tube know you liked So what you liked what you saw.
It helps us. CINNAMON: It does. I does really actually help us. JOHN: So, you know, give us a thumbs up. Leave a comment and hang out with us.
Oh, post a picture. We want to see your pictures. CINNAMON: Yeah we love seeing the pictures. JOHN: Post up on the
Facebook page, post up on Twitter Pinterest CINNAMON: Alright, so see how I’ve got some nice
little ocean stuff happening here. We talked about some seafoam. Trying
to, you know, have some fun. One of the fun things I can do now… JOHN: What can you do now?
CINNAMON: I can take… hopefully I can do this. JOHN: I don’t believe you…
CINNAMON: I need you to pull the picture up big and zoom in on the rocks for me. I’m literally painting blind here, just so you know (laughs). JOHN: Alrighty then. CINNAMON: It’s really challenging, it’s like, it’s… No i’m not because John Bramblitt is actually literally doing
that but, I’m not that cool. See if we can pull that up. I’m looking to see if we
can pull it up. I’m loading a palette knife. Just. Uh, that is tough to see. We gonna have to come up with a new viewing screen. All right. I’m gonna just fake it till I make it (laughs). JOHN: These the rocks you looking for down here? CINNAMON: Better. I just need to see some of the…
I’m going to come across the top very lightly … using the edge of my knife and
see how I’m getting that rough scrape Come here. Look, I’m making rock. JOHN: Oh yeah, that’s really popping right out.
That is not in the photograph. You are really having to reach for that there.
CINNAMON: I am. JOHN: That’s like your painting from Rock memory. CINNAMON: Well I’m having to. JOHN: That’s pretty awesome. CINNAMON: There’s, there’s some of that going on.
I come back with my pure black make sure I’ve got some of that happening
here on this rock JOHN: Your mom’s got some rock skills, too. CINNAMON: Yeah. So we’re just.. use..
I’m using a knife and And you can see I’m loading on the left hand
side because i’m stroking right And just allowing that to talk about the rockness
of what’s happening a little bit In a way that makes that enjoyable and fun Telling that rock story there. JOHN: You ever paint the sides your canvases? CINNAMON: Yes. JOHN: That’s okay? CINNAMON: It’s always ok. I do it when I’m on a true gallery wrap canvas And I’m gonna have an object up for sale. JOHN: So what’s a gallery wrap canvas.
CINNAMON: Well a gallery wrap canvas is any canvas That the staples are on the back, instead of on the sides However it used to be that they were really
thick stretcher bars so that when you Painted or stretched your art around the sides it was like the whole painting was complete it didn’t require frame, nothing
interfered with the art and it was a really great way for artists to produce
large substantial pieces and not deal with crushing framing expenses. JOHN: Gotcha. So you can just like hang one of those on the wall. CINNAMON: Yeah but almost every canvas now is stapled on the back So you can paint around the edges of any canvas. JOHN: Ok. There’s no problem with that. That’ll be fine. CINNAMON: No, there’s no problem. Somebody gives problem send them to me. (John chuckles). CINNAMON: I would I would totally be like, ‘hey!’ JOHN: You can paint on your canvases anyway you want. CINNAMON: Don’t tell me what to do.
JOHN: You can’t box be into the front of my canvas. CINNAMON: So I got couple of rocks happening here and i have this little.. Now I’ve got this little seascape sort of a foot like you do. JOHN: So if you were horrible with a palette
knife what would you do here ? CINNAMON: I would just do a dry brush.
JOHN: You dry brush this technique? CINNAMON: I would dry brush this. I would go like, I would pull up some white paint like this. Bead on the edge of the brush and I
would come in just… JOHN: Oh, you would palette-knife-fake-it.
CINNAMON: I palette-knife-fake-it all the time. You are all the time like “is that palette knife”, no, it’s brushwork, I got too lazy to pull out a knife. (Chuckling) JOHN: That’s awesome. CINNAMON: You would think it’s bad, my mom gets so annoyed at that. JOHN: So, what size canvas is this?
CINNAMON: This is just a little eight-by-ten canvas. When you do a daily painting my whole recommendation is to take your size down to an eight-by-ten. Really really recommend taking your size
down to an eight-by-ten. I’m gonna dry this real quick because the lava and
the smoke are gonna come in real fast. We did a painting today just for fun. I said I would do that but then I
lied… I hope… Oh, it’s so unplugged. It’s so unplugged. Can you plug me in? Because I have to disappear. This is the episode of big art quest
where I’m hardly ever on camera. How you guys doing today I’m doing
really well. I’m so excited. Remember to go to Lava Light Galleries. I want you to look through all the photographs and tell me what your favorite, favorite image CJ Kale and Nick Selway have
because I think they’re amazing. If you’re collecting photography
definitely look at them. I think that, actually, I think that they are some of
the most amazing photographers on the web and well on the world. I just know them from the web because I
don’t live in hawaii. JOHN: What is it you need… plugged in? CINNAMON: I hope you’re going to … JOHN: Ok. So i can turn that down now so you
don’t have to listen to that. Sorry. I had, I was… I was over there helping her out plug things in, sorry about that. Ok, I’m back. CINNAMON: You’re really funny dude.
JOHN: I’m, I’m just hanging out here. CINNAMON: You’re really funny dude. Aren’t you? Aren’t you a little funny dude. Aren’t you? Alright, so colors that i would really..
like ideal perfectly I would actually do cad red light, cad medium or dark.. because, yes, it’s a difference. JOHN: So, Sly had a question here.
CINNAMON: Cad yellow. Yeah. JOHN: Will absorbent grounds work for non archival spray inks like it does for some watered down acryllics? CINNAMON: Yes. Yeah it stabilizes it. And then if you seal…you should seal varnish it on top with a spray varnish, then yeah, you’re good. Now sometimes they mean non archival
because they’re saying that they’ll fade And that.. I’ve got some orange here. Some
cadmium orange. No i don’t, i don’t have it. JOHN: You have a dried tube of cadmium orange. CINNAMON: I have a plugged tube that’s for sure. JOHN: Alright, do I need to come over to unplug? CINNAMON: No, I got it. There we. Clogged tube of cadmium orange. That’s what my pencils are for. I’m going to get a small detail brush and if you
observe this lava, this liquid hot magma. JOHN: Liquid hot magma. CINNAMON: Liquid hot magma. You can zoom out a little bit and I’ll figure out my magmaflow. So the thing about magma is it flows down quite a lot like water In the first color the first thing that you want to do on your liquid hot magma. John is not zooming out on. JOHN: Which one, oh, over here? Oh, I didn’t know what you’re talking about. Sorry. CINNAMON:: You know, it is, it’s flowed down the rock, right. Yeah. You want to show the flow down the rock. That’s what it’s doing, it’s flowing down
the rock into the water. Maybe it’s pooling as it goes down. This is a lot like hitting a waterfall. Alright, so, that’s how you’re doing. So, first is your darkest color. Maybe it’s only there. Now you can also add to the flow. I mean you could you could say that
that’s tube is coming out And then far off we’ve got this little spot over here happening. JOHN: Would vermilion work well with lava? CINNAMON: So what I’ll say for lava is On any of your reds or oranges which you want
is of.. you want a very hot color So you don’t want it to run to the blue you
want it to run to the orange So I think pyrrole, I think orange vermilions. I think any of those hot warm reds will
totally jam for you. I’m going to grab my cad light here. I’m going to just make sure that I’ve got a pop of that
cad light in my lava flow. See. Shows up. It’s important. You don’t think it’s
important but then it’s important. JOHN: So Lyn is wondering if there is a
substitution for the cad orange because that’s the only thing she doesn’t have.
CINNAMON: Yeah it makes a cad yellow and cad red. What it is, is a.. so sometimes you can mix
some colors, like, you know You could obviously use cad yellow light and
cad medium to make cad orange. Or a really close approximation with cad yellow
medium and cad yellow medium… Cad red medium and cad yellow medium.. and you can do all this in hue. You can switch it over to the pyrroles. The orange is convenience because it was mixed out of professional factory and the saturation
of the pigment is really high and I can use that in my advantage. Is it necessary? No no no not at all. Just fun. No pressure on you, don’t ever worry about that stuff. I will always tell you what I’m using so
that you are, you know, Getting kind of like that the truthy truth out of me. The true truth. Being funny,
I’m having a Russell Brand moment. JOHN: We’re getting close to the… we’re getting at the.. close to that 300 numbers in here So i’m getting excited so if you guys like, comment, share And don’t forget to give us a thumbs up because as
soon as we get 300 of those we make the Sherpa dance And we love to see all that
really helps in here (chuckles) And thank you guys for having and hanging out. Don’t forget to post your pictures on our website And on the Facebook page, Twitter
and Pinterest and pretty much anywhere you can We’ll come find them. We want to see them. CINNAMON: So I’m gonna add another layer of light
colors. Everything he said is true. And what you need to realize is the hotter
the molten rock is, the lighter And then as it cools it darkens
and then it becomes black So things you just want to have on a lava flow By the way this totally important in how you might want to paint a Phoenix Just.. just does I’m gonna get some just yellow now and
I’m going to add that on my little lava flow. But not everywhere This is where the fire is hot, so you know
fire is never hot everywhere Or things have gone really wrong and you should
run away there quickly. JOHN: So you remember the little secret that we …
that Flame told about in the chat. CINNAMON: Did she let it out? JOHN: She did. Everyone loves it. They think it’s great. CINNAMON: Is there any point forestall a meetup over it in a video I’m gonna grab that loop again
because i had some fun with that loop. Which is the brush that is I guess like that. CINNAMON: Where.
JOHN: There. Or up, or down. CINNAMON: It doesn’t have a focusing. I don’t think this one has the focusing JOHN: You’re right.
CINNAMON: How about I go right here. JOHN: That one does. That one has magic focusing. CINNAMON: Ok. See this is just a looped over round. You could do this with a really
inexpensive brush and tape. But The Brush Guys carry this one,
the loop, and then they’re not like crazy pricy. JOHN: I was right, we have that… you’re going to be revealing that brush here in next soon time. CINNAMON: You just like to ?? reveal… it took so long. JOHN: So you can get that brush at The Brush Guys. CINNAMON: Yeah you can totally get that brush at
The Brush Guys. JOHN: You like those guys a lot. CINNAMON: Bring over ultramarine blue.
I so felt like I did. JOHN: Sherpa should do a phoenix.
CINNAMON: I should do a phoenix, I agree. JOHN: Actually I think there’s some definite phoenix… CINNAMON: I feel like I want to do like Pele and I want to do like a really good phoenix. I like doing fire. They had a…these guys had a picture of a tree with a fire next to it and a really incredible sky. I’m mixing some ultramarine blue and black.
I’m getting a lot of it into my white Coming over my glazing medium and then
I’m going to come back here And I’m going to do the very important part of
putting up the smoke because… I was not really smoke, it’s steam. When the lava hits the ocean.. and you can’t miss this part, this part matters. You need to have this sort of cloud of
smoke. It’s what tells the viewer the rest of
the story. And if this part is missing, even though people are not that informed on lava, Believe it or not, a tremendous amount of their brain will understand, that they’re missing something. So I’m just using this just for fun So I have.. i’m getting to play with
it, deciding what I think of it. I want to make sure that I’ve got like
there’s some smoke here that comes up. I’m using the glazing medium to keep it kind of thin. Some smoke coming up here. That… smoke coming up there.. and then some nice, some nice smoke. Do you know what I love? I love that these guys went out on the island and photographed this And I did not have to
figure out how to get near the volcano. Because that would freak me out. No end like I’m just gonna make a little
smoke trail up. You guys see the little smoke trails. So I’m going to come and get just white. Now you can use zink white, because that’s translucent. I’m going to make sure that i’m catching the highlights that I need to have, on this smoke. Because smoke has highlights and lowlights. Like smoke is like my hair. Yes! Smoke is like your hair. If you’re coloring your hair. See we now have some smoke there. Some of my favorite famous paintings are of Krakatoa that had.. color we may do some or artist saw the eruption and it changed the color of their sky and they’ll painted it. A little smoke up here. Now I have a little lava. CINNAMON: What do you all think of my little lava. JOHN: It’s so cool. CINNAMON: Look, lava. Daily paint. I don’t even know how long it took us to do that, not that long. Daily paint. So good for you. And now I have a little lava painting. Check out Lava Light Galleries. Check out Lava Light Galleries. While John checks out who took what from Luna. Hopefully they didn’t take her marshmallow Because she takes that super seriously. We are… in the comments below really tell me what your favorite photograph is from them I’m going to do.. I think just even for
fun I’m gonna take one of my favorites and like paint it. Again remember that
these are for your personal education. It would be like paint this and sell 20 of
them at a thing. A lot of times you can work With photographers like this and they’ll
give you the right to paint it for your own instruction Which is like incredible as they’ve done here Go pick out your favorite picture tell
me what it was in the comments below Go check out their website If any of you does the tour, they have like a tour where they show you how to take these pictures Tell me, because I want to go on that tour. JOHN: Now there is going to be an aftershow. CINNAMON: There’s an after show at 12.45 which
is now not even that big of a surprise except you could win something so you
should probably come back. Did this explain lava?
JOHN: I think so. You guys get that it’s darker on the
outside, gets hotter, gets brighter where it’s hotter Runs down the rock like waterfall unless it does that little firework thing. We’re going to talk about lava more. It’s like one of those fun things. Like we covered some smoke we
covered some clouds We covered how do you paint a photograph. You paint in the order you can see objects in the picture. Furthest back is your first thing and
then as you figure out what’s next What’s next what’s next what’s next and
you can always build a photograph. JOHN: Now would you go over some of
those brushes that you are using again in the after show CINNAMON: Yeah answer any of those questions when seeing those brushes plus we’re gonna have that really cool brush video that John has been editing from space. JOHN: That’s right. We’re letting the cat out of the bag. CINNAMON: We’re gonna let the cat out of bag So we’ll see you like in a few minutes.
JOHN: Just in a few minutes. CINNAMON: Oh, I get to do a sippy sippy from diet demon. Yes I’m still still there, I’m still holding on guys. Just really happy healthy for the rest of my life. I need a healthy doughnut. Work on that. Like one that’s nutritionally dense but yet super tasty like white flour and sprinkles See you back in a few minutes JOHN: We’ll put the link over the description. See you guys in a minute. CINNAMON: Ok, bye. Come join us live Tuesday, Thursday and
Saturday at 11am central or enjoy one of the hundreds of
paintings available on replay anytime.

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