[James} Like with this house in front of us it's it's above eye level so because
for me i've been spending hours just trying to get the drawing to work.
[Chris] Yeah and at a certain point you're just winging where the vanishing points are
you know look to the left or the right and then if they're over your eye level it gets trickier
well how do you plot remote vanishing points when you're on a small thing like this, Chris i just
hold up a ruler at a certain angle you know and then i kind of transfer that angle down to the
artwork and compare do you draw an eye level on there uh i didn't i always draw
i always draw an eye level yeah almost everything i do how about you ginette
you too i actually write e l and a line okay where it is i put an h z horizon ah
okay yeah the light is a little bit different on the right plane than the front plane
what do you think chris is it that way for you too well because it's an overcast gray sky
the light is fairly equal all the way around
but it's a little stronger on the left side of the building as we see it than the right
because it's afternoon and the sun's going towards the west right so by sunset that's
going to be a dramatic difference but right are you doing a slight plane change slight pain
plane change a slight plane change and jeanette you're still working on your pen and ink right
yes i am um i us i envision this in line yeah and uh you get to the color later and line's
more important that's more colors last time what do you think i could put in the flowers in too
yeah need something hi james this is niska from the netherlands i have a very practical
question for you when you're working on location using gouache how do you clean your brushes if
you switch to a different color i usually work with transparent watercolor when i'm on location
and when i try to use gouache once i ended up with quite a large volume of very muddy cleaning water
with all those opaque pigments in there that was quite awkward so that's why i'm wondering
how do you deal with this problem or don't you clean your brushes at all when you switch to a new
color thank you looking forward to hear from you okay i'll quickly answer that by saying i
keep a small cup on the palette for wetting the paint but to really wash the brushes i try to
remember to have a larger tupperware to wash them out if i need to and if you're painting
something that involves a lot of pure color like a flower garden you do have to clean your brushes
if it's just browns if you're doing firewood or something like that you can get away with a brush
that's got some paint in it what do you guys think about that i do pretty much the same thing i hang
an old tupperware off off my tripod and with a i'd say maybe a cup worth of water in it and i i
bang the brush around to really clean i also squeeze out my my bristles so i'm it's not um
and on the ground actually i i don't use a lot of pigment i'm more line and wash i um two things um
i have a big squeeze bottle full of water so when the cup gets muddy i just throw it out into the
grass and then squirt the squeeze bottle to clean out the cup and then throw that out and then i
have a a new cup full of clean water oh yeah right i just figured that out but uh the other thing is
that i learned from two artists uh who worked with uh took lessons from a guy called lucas in l.a
oh yeah they'd have like well i i often work with between 20 and 30 brushes laid out and basically
a size several sizes for each of the different color groups so every brush brush i'm reaching for
i basically don't rinse my brushes because yeah are so many brushes they're specialized now on
location that's really tough because yeah where do you you don't have a table with a bunch of brushes
laid out right right okay so jeanette wow you got the washes on there i do i started out with pencil
and i wrestled with perspective for about half an hour you wrestled and who won the wrestling match
um i think the the mistakes might have but the building itself to me seemed out of perspective it
was an extremely old building probably around 1800 yeah this is thomas cole's old studio yeah and it
was the most comfort-less studio i have ever seen in our life and boy he produced some fantastic
paintings nice and chris you got yours done in in what was it two hours we were there yeah yeah
it was a nice straight lines on those verticals thanks yeah that was using a straight edge and
lining up the straight edge to the side of the paper and then just painting this isn't gouache
i hadn't painted in gouache since i was a teenager many years ago so i was learning about what the
how to handle the paint as i went yeah but i also have rarely done architecture on site and so i
drew upon a lot of you know what i knew about the perspective and there's that plane change a little
cooler a little darker on the side yeah so because there was more light coming from the setting sun
area even though it was through clouds yeah and we were talking about the darks in there i mean
it's close to black it seemed if if you were looking at it like a photograph but
our eyes see into it yeah and i built the whole thing around having this beehive oven the top
of that as the only pure white in the scene and then knocking down these other whites a little bit
and simplifying the trees because they were too complex before okay thanks for watching you may
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