Video Library


Watch an oil study become a final painting, with design changes and notes on how to hold an oil brush for maximum paint control. Special notes on how to 'stack' wet colors. See 'Notes' for colors used in demo.


This demo is more than how to make a painting.

Brushwork: Shown and narrated are tips and techniques for how to use a flat brush to the maximum. The artwork is created with Rosemary Ivory Long Flats #4 (mostly dark) and #6 (mostly light). The first part of the video shows mixed colors and palette, but after this I show the closer view of the demo and you can see how I mix or deposit color by controlling the brush. Angles and edges of the brush are narrated.

Design: I share tips on how I arrive at my design decisions. No sketch was done prior to creating this painting and I show how my blob beginning acts as a 'sketch' for dark/light ratios.

Materials List: Centurion Linen panel 6x8" (all media primed), mostly #4 and 6 Ivory Flat Brushes by Rosemary & Co.

Colors, listed clockwise from white (M. Graham oil paints, except as noted):

Safflower-Titatium White, Bluff (Vasari), Cadmium Light, Cadmium Yellow, Azo Coral, Thio Violet (MAX), Transparent Oxide Red (Cobra), Cobalt Blue, French Ultramarine Blue.

Challenge yourself to practice mixing and stacking of color. Wet, loose, exciting brush marks are created with a 'push-pull' of dark/light colors and getting comfortable with wet-in-wet mixing. If a painting starts to get out of control, wipe down the section that seems gray and dull to get back to vibrant marks (value & color variety).

Having a quality panel will facilitate your efforts, a cheap student panel or paper will not create the look as I'm doing and will 'grab' paint or wick it away instead. Centurion linen panel 6x8" shown.

Notice how there is hardly andy perspective in this painting, as most of the windows and doors are boxes. Avoid the tendency to make boxes and lines! There are more shaggy edges than one might assume would be present in a city scene.