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Hi there everyone, Matt here with thevirtualinstructor.com In this video I'd like to share with you a time-lapse of the entire process of creating a still life oil painting from start to finish Now this time-lapse video is taken from a series of live lessons that we just wrapped up over at thevirtualinstructor.com Of course these live lessons are recorded and presented in real time Now for this live lesson series I brought in my good friend and fellow artist and art teacher Ashley Hurst to lead in this series His specialty is oil painting Now you might recognize Ashley from our Getting Sketchy series here I know a lot of you guys here on YouTube love learning from Ashley Now this live lesson series of course is part of our membership program at thevirtualinstructor.com If you want to access this complete live lesson series just look for the link below this video It will take you over to the website and give you information about how you can become a member Now our membership program includes a variety of drawing and painting courses on a variety of subjects and mediums Weekly live lessons, weekly critiques as part of the members' minute and even a year-long curriculum for visual arts teachers Like I said if you want to check out our membership program I'll leave a link in the description below Now if you want to check out three of our course videos and e-books for free you can do so Again I'll leave a link in the description below Now if you're new to the YouTube channel or you haven't done so yet I encourage you to subscribe We cover a broad variety of drawing and painting media and subject matter here So definitely subscribe to the channel you won't regret it Now with that being said let's go ahead and dive into the process So as you can see this painting was created on canvas board And Ashley used a modified grid technique to set up the contour line drawing Now instead of drawing squares that were exactly the same size on both the canvas and the photo reference He instead just split each segment down into half So we started with the overall size of the canvas Went right in the middle down across the top and down along the sides And then segmented that even further which resulted in rectangles instead of squares And you can see the photo reference matches this of course Now the initial sketch was created with graphite here And Ashley used a regular old number 2 pencil for this This is an HB pencil And you can see with this initial sketch he makes some fairly dark marks here Ashley has somewhat of a heavy hand which is perfectly acceptable for this type of art Because the oil painting applications are going to cover up all of these graphite marks So you can really be fairly free with your initial sketch Knowing that you're going to be covering up most of that sketch with an opaque painting application Now Ashley chose to do a combination of both indirect and direct painting for this particular image And he started here with an underpainting Now an underpainting is designed just to establish the values And this is a relatively loose underpainting He thinned out the raw umber color that he used for the underpainting with a bit of solvent And worked with the white of the canvas in order to create the lighter values And just the more opaque the raw umber applications were The darker the value was So you can see again it's a very loose underpainting You can of course take your underpainting as far as you wish This of course is just a step in the process In order to better understand the values And establish those values in place on the painting Now I mentioned that the approach is a combination of indirect and direct painting With indirect painting A fairly developed underpainting is created And then a series of glazes is applied over the top And the glazes of course are transparent And allow the values of the underpainting to show through Now in this particular case Ashley is going to do some direct painting over the top of the underpainting And direct painting is where you try to match the values and the colors in the subject And then apply them directly to the surface So most paintings honestly are a combination of direct and indirect painting Most beginner painters typically start with direct painting Where they're just trying to match colors But a combination of direct and indirect painting Like Ashley is doing here Gives you a broad level of control over the values and the colors So you can see at this point He's moved on now to the direct painting part of the process Where he's matching the colors in the clove of garlic here And you'll notice he's also exploiting the colors to a certain degree Or exaggerating the colors to a certain degree Where some of those cool grays are almost starting to look a little bit blue in areas Now Ashley is using traditional oil paints for this process And mostly hog bristle brushes for the most part He does use some softer nylon brushes here and there But those are mostly used in the latter stages of the painting Where he's establishing some of the details Only a few colors are used So Ashley limited his color palette He used raw umber obviously for the initial underpainting He also used ultramarine He used two different reds Cadmium red and also alizarin crimson You can also see that there is a touch of yellow ochre up there Cadmium yellow And of course he also used a bit of titanium white as well Now of course one of the major advantages to working with oils Is that they dry so incredibly slowly This allows the artist to focus on the shapes of color and value That they see on the subject Put those shapes of value and color in place And then use the tip of the brush to blend those applications together So you can easily create smooth transitions of value and color You can also alter the colors once they're in place on the surface And as we'll see later in the process You can also apply glazes over the top to alter the color further as well So oil paints are perhaps the most versatile painting medium out there But they're definitely the most forgiving painting medium out there Now at this point you can see that there are some red accents in the glass But I want you to pay special attention to this Because right now they look extremely out of place Because the background of course is still made up of the raw umber But as you'll see in a moment As Ashley is starting to mix up some of the reds for the background And he starts applying them to the surface That red starts to make a whole lot more sense in the bottle So that's just a good example of how you have to trust the process When you're going through a painting A lot of times people will do the right thing During the painting process But then second guess themselves And then start making changes Before they've gotten deep enough into the painting To make those changes So a lot of times it's important To just trust your instincts as a painter And trust your process As you can see Ashley definitely did here Now Ashley chose to leave out Some of the details in the background like the pattern And this is purposeful Because of course that pattern is rather busy And of course the focus needed to be on The three elements here in the foreground The three elements that the painting is about The onion, the garlic and the bottle of course And by adding a pattern in the background That would have distracted the viewer to a certain degree And made the viewer focus on the background So it's important to sometimes remove things in your painting So that the visual experience by the viewer is a lot better Now as you can see he's continuing to mix up paints He's using both the alizarin crimson and the cadmium red here To make a variety of different reds Cadmium red of course is a warmer red And alizarin crimson is a cooler red That just simply means that alizarin crimson Leans a little bit closer to blue Compared to cadmium red Which leans a little closer to yellow of course Of course both of those reds are warm So you can see here he's adding some of the details Of painting around the shapes of the eucalyptus at the top And here's a great example of how Painting those basic shapes initially Is so incredibly important You can see that there's a solid shape Developing there of lighter value Coming down right underneath the eucalyptus And then you'll notice that He starts to blend these applications And as these applications are blended It starts to look more like folded fabric Again just a tremendous advantage That oil paint has over acrylic paint for example Then it was time to address Some of the smaller and more finer details here Like the roots on the garlic And you can see he switched over now To a nylon brush This brush is designed for watercolor It's obviously a softer brush Compared to the hog bristle brushes But it's great for applying details And he's using quite a bit of the medium Here to make the paint A little bit easier to work with To get into that small area To develop the detail He's relying heavily on the contrast And value here To create the illusion That's necessary Now for the final adjustments To the painting Ashley decided to apply A few glazes over the top Now it's important That your oil painting is dry underneath Before you apply these glazes But you can see Just a bit of the medium Is mixed with the paint You want to make sure That you're using a transparent paint You can find this information On the back of your paint tube Here he's applying a bit of Indian yellow But he just applied a bit of ultramarine And also a bit of alizarin crimson there Of course mixed with A healthy amount of solvent Now these glazes of course Help to unify the painting And as you can see here The Indian yellow glaze Definitely helped to warm up the background So that the red was Quite a bit more vibrant Which made all of the parts In this painting pop a lot more And look a whole lot more interesting Now of course a soft brush Should be used to apply glazes And here's a look At the completed painting It took Ashley around 10 hours to complete Thanks so much for watching this video I hope you enjoyed it I hope you were able to pick up A couple of things here and there Again I want to thank Ashley For being a part of this live lesson series I'm sure he's going to be a part Of some of the future live lesson series as well One last reminder If you're new to the channel Or you haven't done so Subscribe to the channel And click on that bell notification So you're notified When new videos are posted of course You can check out three course videos And e-books for free There's a link in the description below And also if you want to become a member Get access to all of our courses Weekly live lessons Weekly critiques And a year long curriculum For visual arts teachers There's a link in the description Below the video So you can go check that out as well As always thanks so much for watching And I wish you all the very best In your artistic success