I've Never Painted Anything Like This | Reynard's Banquet

I have already made a lot of progress on this painting. I've been working on this painting for hours already, with the background and the magnificent Here, it was a lot of work, and all those elements in the background are now in place. And the bird that emerges from the shadows and the vision that I am truly trying to convey here Here, from the show here on this canvas, comes together and I am truly happy with how everything turned out Start to fall in place, but there are still many more things I want to show you and Add this to the painting, and that's what I'm going to work on today. I'm going to add a few more characters and some more important elements to this piece, and I I can't wait to share the rest of the progress on this painting with you, so let's get started. I'm going to start painting the martin, and he's actually quite important. the character in this painting, for just like the bird, he still brings a small amount of danger In this story, but I wanted this creature to feel a bit different, because the bird is much more present while the Martin barely holds onto the darkness, he is a bit Faster, as if you don't even see him at first, so I'll take my time with his face, Slowly build up the fire and add all those little details and doubts. I really want his face to emerge from the darkness without revealing too much of the entire creature. I can make him a bit lighter or darker later, but for now I'll leave him like this. Before I can begin working on the cake stand, I first need to wrap up some background matters. I'm adding all these small flowers and leaves to create another layer before I know everything to bring to the floor. Actually, there are a few things in this part of the painting that I've never seen before. built, like these small dark cakes are one of them, and later I also made a whole a detailed patterned glass to paint, of which I must admit I'm a little afraid. I have the feeling this is going to take a lot of work, but first the cakes. Okay, I'll just start building them exactly in the same way I've built most of the others building up the elements in my painting, starting with quite dark tones and gradually working with light. And you can see how, with each lighter layer, the texture begins to appear. The difficult part here is finding the right balance. It's in the upper right corner of the painting, the dark side, so I want this one cakes shouldn't demand too much attention, but they still need enough detail to be fully complete genuine to feel. And especially because there's still a small painting behind them. Now I can finally start painting Robin, and I quite like where he is in the story. He is engrossed in all his food, completely unaware of the joy that simply waits around the corner. While Martin looks away from the dark, Robin gazes at the rest of the painting. what your eye is drawn to, the rest of the scene unfolding before him. It's a very small detail, but it's those little things that you hope will make this It feels like so much more than just a collection of animals and objects. Thus, wing by wing, I slowly bring him to life. And now for something completely different, I know I've already said this many times, But this is one of the things I like the most about paintings like these. The paintings I do, because at one moment I paint forward, then wings, then cake. And now, apparently, cheese. Once again, it's all about building up the texture, layer by layer, until the It's actually starting to look like Vincent. And I'm so responsible, you must hand me over here. Anyway, I've nearly completely filmed the entire knife easily, except for the very end of the knife, so apparently that part must remain a mystery for you. I also went back to Robin because something was bothering me so much. I realized I had made him too pale. So I cautiously put a bit of color back into those wings. I don't want to lose any of the detail below. I just want him to sit more naturally in the dark environments. And now I can finally move forward again. I always try to work from the background to the foreground. so that I can start building this good part with everything behind it. It immediately creates a new layer of depth in painting. But while I paint all this, there's one thing exactly beside it, that I've been thinking about quite a long time, and that is the glass. To be honest, I haven't the slightest idea how difficult this is going to be. To be honest, I keep thinking also to make myself easier to paint a glass. But we'll see. Just a brief reminder. If you'd like to see my videos a bit earlier, Can you now add me as a member of the channel? You get early access to new videos. At the same time, it's a wonderful way to support my work and everything I create here. But for now, I really have to figure out this glass. Okay, so now I'm going to figure out this glass. So instead of thinking about all those little reflections at once, I will begin painting in the basic shapes of this glass. I'll just try this anyway. Okay, and then I'll place the darkest values in some of the main areas where I know the light will ultimately come. And from there, I must build it up very carefully. And this is just one of those things where, It seems as if almost nothing happens at first. But with each layer, with every slightly lighter layer, I can still add another reflection, and another. A slow beginning, those strange little shadows started to form. And one thing you should also consider is, When you paint your glass. It's all about not painting the glass yourself. It is the reflection that you paint. So you paint everything, it reflects. Eventually, your brain begins to perceive all those different shadows as something transparent. What is quite striking. Especially because I was certain that I was looking at this part. And then I'm going to a different small detail that I really wanted to add. And this is the peeled mandarin. I think most of you should know this classic element. Because prolonged lemon still lifes depict so many of those old Dutch still lifes who inspire me. They were often lemons and dramatically tilted over the table or even hung over the edge. So I wanted to take that whole classical idea and do it myself by using a mandarin. And I love what it does here. Because that little cuddle immediately moves you to one and a half the quiet part of the painting. At this point, it is truly important to take a step back and look at the whole picture. and taking everything together. What I have created so far. There are always things I notice whenever I look back. And one thing was the cheese board. I just felt it was too thick and heavy, so I made it a bit lighter. It's a small adjustment, but I think it fits much better now. Before I finish this section, I'm going to move entirely over to the candles on the left wing And this is already closer to the lighter side of this painting. And since they are in the background, I want them to be in place before I to begin working before they are in my next painting sessions. With these candles blocked off in another large section of this painting, it is now Finally done. The dark side of this painting. That there isn't so much more, but there are so many important parts that I need to paint later. And I can't wait to move out of darkness and go into the light. It feels so good to see all those sections I've painted so far, Since I painted them section by section, they're all falling apart now. You can really see where this painter is taking the painting now, with its atmosphere. And Martin really gives this painting another layer of tension. And I'm truly happy with all the other elements I've painted. And especially the glass, because that was difficult. And I can't wait to move this painting further. And I will work on the left side of this painting. That's the brilliant side and the unbelievable side, since there are incredible unknown creatures on the left side. And I can't wait to close this deal. I don't know how far I've come or how far I'm going. But I suggest you subscribe to my newsletter, If you are the first one to see this painting completed. And I thank you for watching, and I hope to see you in my next video.