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This is great!! I'm a student searching for helpful content, and this is what I'm searching for! Thank you so much🙏🏻

wow that was so much fun!! thank you for this, such an inspiration!

That painting is perfect as it is.

Hello Michael, I don't know when you made this video, but I've gotten a lot of insight regarding value and painting keys from it. However, you have an example of a moon in a plein air painting that puzzles me. The time of day seems to be evening as that's when the full moon rises and there is still some light from the sun. but the light on the moon is clearly coming from above. This is not the way the light on a moon ever appears; the shadow portion of the moon needs to be more vertical. When we look at a painting, one of the first questions is, where is the source of light and the light on the moon is the first place I looked. Just an observation. Thanks for the video. Neale Quenzel

If you need your 🎨 with paints for another day, cover your palette (I use the smooth side of glass cutting boards) with clingy plastic wrap. Be sure it’s sealed well, and stuck in the freezer. It’s thin so you can just slide it on top of stuff in your freezer if you have the room. I’ve tried the Clive oil and it didn’t work. Maybe I didn’t use enough as I just soaked a couple q-tips (cotton buds). 🙂

THANK YOU SO MUCH FOR THESE CLASSES! YOUR WORK IS SO AMAZING ❤❤❤

Excellent demo. The second one was better. I think it's the blue in the first I didn't like so much. You have found your place. Poetry in painting.

Thank you so much Michael! I love your work❤❤❤❤

Some green golds are a hue and not as strong but the mono-pigment PY129, particularly the M. Harding, is a very strong color/pigment. Also a bit pricey but it lasts.

These color combinations are very instructional! I especially like the bottom, tonalistic combinations!

Green, Pink and Blue

Practical Tips: ● Experiment: Try both techniques on a small scale to see how they interact with your chosen palette. ● Patience: Both techniques require patience, as they involve building up layers and allowing for drying time. ● Balance: Use glazing for areas where you want smooth, luminous effects and scumbling for areas where you want more texture and variation. Both techniques can be used together to create a dynamic interplay of light and shadow, enhancing the overall impact of your artwork.

Scumbling Scumbling involves applying a thin, opaque layer of lighter paint over a darker, dry layer, allowing some of the underlying color to show through. This can create a textured, broken color effect. This technique is used to: ● Create texture and softness: Scumbling can soften edges and add a textured, atmospheric quality to your painting. ● Lighten areas: It can lighten parts of your painting without completely covering the underlying colors. How to Scumble: 1. Prepare the paint: Use a dry brush technique with a small amount of paint. The paint should be thicker and more opaque than a glaze. 2. Apply the scumble: Gently brush over the dry, darker paint layer. The goal is to create a broken, textured effect rather than a smooth layer. 3. Build texture: Different brushes or tools can vary the texture and effect. Benefits of Scumbling: ● Texture: Adds a textured, atmospheric quality to the painting. ● Softening Edges: Can soften edges and create a sense of depth and distance. ● Variety: Introduces variety and interest in the surface of the painting.

My favorite panels I use are made by American Easel. americaneasel.com/product-category/painting-panels/

Hello Michael. I am new to your channel and I'm amazed with your easel. Did you make it yourself? If no then where did you get it? I am loving your work.

Glazing and scumbling are two essential techniques in oil painting that can add depth, texture, and complexity to your work. Glazing Glazing involves applying a thin, transparent layer of paint over a dry, lighter layer. This technique is used to: ● Enhance depth and luminosity: By layering transparent colors, you can create a rich, glowing effect that adds depth to your painting. ● Adjust color and tone: Glazes can subtly shift the color and tone of the underlying paint without completely covering it. How to Glaze: 1. Prepare the glaze: Mix your oil paint with a glazing medium (like linseed oil or a commercial glazing medium) to achieve a transparent consistency. 2. Apply the glaze: Use a soft brush to apply the glaze over the dry, underlying paint. Ensure the layer is thin and even. 3. Build layers: Allow each layer to dry completely before applying the next. Multiple layers of glaze can be built up to create rich, complex colors and subtle transitions. Benefits of Glazing: ● Depth and Luminosity: Glazes can make colors appear more vibrant and luminous. ● Color Adjustment: You can adjust the hue and value of underlying layers without completely covering them. ● Smooth Transitions: Glazing can create smooth transitions and soft edges, ideal for rendering light and atmosphere.

Box store plywood is notorious for not staying flat. If you go to a woodworking store you can purchase cabinet grade plywood, it will stay flatter. Quite often Rockler has sales on 1/4 inch thick, 12" square, cabin grade plywood.

Great presentation

So happy to have found you... Wonderful video!! Thank you friend xxx

Odd music

Thank you!

OH WOW CANON BEACH. LOVE IT.

Wow very nice Painting. I like you style in Painting.i want to try with this.

I like your back-and-forth discussion.

Hair gel will bring them back.

Great lesson

Thanks for this! Nice painting!

I can follow this class just through You Tube alone. Thanks for your consideration.

You make it look so easy 😭 I can't wait to get to this stage with my paintings

Very nice, thank you!

Painting Demo Starts at 25-minute mark.

Thank you Michael!

Love this!

Great exercises to practice. I have a question about when to stop. I seem to over work on the details and should just keep it simple.

This video is a year old, but I'm still digging it. Fantastic style of teaching. Thanks

This is one of the best art lessons I've ever seen, very good and covers several subjects, especially about the lines. Thanks, this is the first time I've seen your lessons.

Wonderful

Thank you for the lesson, Michael. For the demo. I see what you mean about achieving that glow from the sun, as you were saying and did, adding the reddish glaze around the trees, then the yellow. Fantastic!! And I like the blue fog and trees in the background. Let me ask you a question- how does the thicker overpainting of bluish tones for fog hold up? Does the light over dark opaque become pasty looking? Do you wipe it off? I’m watching to the end to find out!

Wow! This is absolutely beautiful! ❤

Hey 👋 Michael Do you suggest a certain order to applying hues when you glaze? For example, yellow / green / red / blue as you build layers darker.

VIVA makes both textured and no texture. I bought the no texture last week at my grocery store.

Beautiful job, Micheal!

That's an amazing art piece

Hey 👋 Michael! I like this technique a lot. Having been in the commercial art world, now retired, and exploring plein air painting, I appreciate your style… and reminds me of Bernie Fuchs, using rags or towels to create atmosphere. Very nice! It’s a technique I learned in a Master Painting Technique college course in 1973. 😂 I’m going to try it again. And the fact you reference Bob Ross is fantastic!

Thank you very much. Please let me know if you would like to participate in the class. You can learn more at www.MichaelOrwick.com

Beautiful, great presentation 🕊️

Wonderful Michael i enjoyed today..

Kimberley Brooks's book discusses the use of clove oil, the very odor of which can keep oil paints from drying (oxidizing). So I put a few drops of it on a cotton ball and place it on my palette, then cover it and the paints with sheets of "rescued" plastic salvaged from packaging (e.g. from unwrapping commerically made canvases.) And I learned a painting medium/brush cleaning recipe from Amery Bohling that eliminates solvents: 1/4 clove oil to 3/4 linseed oil. Dip & wipe your brushes between colors and at the end of the day and they stay ready to use for several days - you can also drip one drop of the mixture onto each dollop of paint you want to stay soft on your palette. No more solvents for me.

With only 15 strokes, simplicity becomes crucial. Simplify your subject even further. Focus on the absolute essentials. Bold Choices: Be bold in your stroke selection. Each one should contribute significantly to the overall image. Think about contrast, balance, and harmony. Expressive Marks: Use expressive marks-thick, thin, jagged, or smooth-to convey texture, emotion, and form. Remember, these challenges encourage you to think critically about your brushwork, composition, and storytelling. They’re not about perfection but about embracing limitations and finding creative solutions.