‫Welcome back! On this coat I'll be working on the kettle again and I'll start with the spout using
‫my detail brush and some 3rd value.
‫I just want to make sure you can see what I'm doing here, I'm painting in this rim light around the
‫brim.
‫I'm going to be switching from a wide angle to a zoomed in shot for detail during this lecture.
‫So I'll bring in a cross-section of the photo reference to help you follow along with what I'm doing
‫on this coat.
‫I want to do my best to match the values I see, smooth out my blends and look for any subtle transitions
‫or gradients I missed.
‫This will be one of the most visible layers.
‫So this is where you want to start looking out for and painting in details like that.
‫I'll move up to 5th value to manage the shape of the rim.
‫Because your focus on this coat is to refine all the gradients and blends, you have to work more cohesively.
‫So you'll notice that on this coat I'll be using the entire range of values on each area as needed instead
‫of Darks, mid tones and lights in that order.
‫At this point, your painting should be solid but simplified so you don't have to worry about losing
‫your drawing.
‫This coat is your opportunity to strive to create a sense of harmony in your painting.
‫So all the parts you painted and focused on separately should start to come together.
‫Because this shape has an almost round gradient starting in the middle and gradually getting darker.
‫I've started by painting down 3rd value and I'm building the lighter value up from the middle outward,
‫and I'm using a crosshatching pattern to make the blend.
‫Make sure you're using 2nd value for this area.
‫It's not pure white.
‫This, however, is 5th value.
‫And there should be a gradient right here, I'll use 4th value to help me make the transition.
‫I'll move to the rim of the spout next, I'm just working my way down and to the right on this one area
‫because it's the furthest to the left and most complex spot on the painting.
‫I'll begin by putting in this fine dark line.
‫This shape needs to be darker.
‫I'll try 4th value.
‫Just take it one step at a time, no matter how small, there's no rush.
‫Remember to enjoy the process.
‫I'll pick up some 3rd value because it looks like it gets a bit lighter in here closer to the spout.
‫It gets darker down here again, your paint should be very thin and diluted with liquid medium, so
‫you have maximum control in an area with this much detail.
‫I'm focusing on these details right now.
‫I'm not doing as much talking during this lecture because there isn't a philosophy or lesson to take
‫away from this step in the process.
‫It's best absorbed through close observation of what I'm doing.
‫And I don't want to distract your focus away with what I'm saying.
‫See the curve of this 4th value shape, it's small, but shapes like that are going to help immensely
‫in making sure this kettle looks like it's metallic.
‫And I find that details like this are commonly noticed and appreciated by the viewer.
‫I'll paint a little 3rd value on the screw to give it some structure.
‫OK, I'll move on to the handle next.
‫I apologize again for blocking the light, it's unavoidable, the main thing to take away from this
‫is that I'm making sure to adjust the outline of the handle again while I create this gradient.
‫Now that I filled that area in with 4th and 1/2 value, I'm going to gradate in some 3rd and
‫1/2 value to lighten it even more at this point on the handle where it's the lightest.
‫Don't worry if it doesn't look right yet, that highlight plays a very important role in creating its
‫structure and defining its texture to our eye, and that doesn't go in until the detail coat.
‫Just trust the process.
‫This is 5th value, there's a bit of a glare from the lights on my reference right now making it look
‫a bit lighter.
‫I'll move to the lid next and I'll begin with this shape because it's the darkest one in the area.
‫However, if you look closely, you'll notice it's not quite 5th value.
‫It's just slightly lighter.
‫Pay close attention to how I manage this blend.
‫Again, I'm overcompensating and bringing my darker value in closer to the lighter shape, because even
‫though it's 3rd value, I'll be able to control this gradient by bringing that value over to the right
‫gradually.
‫I'm going to leave this shape open for now and move on to the lid, I'll explain why later.
‫I've begun by filling the Shape in with 5th value, adjusting the outline of the shape as I fill it
‫in. As always, strive to get your value to look solid on this coat.
‫So manage the opacity of your paint with less medium as needed.
‫But remember, it's a dark value, so it should be very thin.
‫You have to find the right balance with your ratio of medium and paint to retain control while achieving
‫a solid value.
‫And I'm painting right over this highlight, I can control it's shape better by adding a lighter value
‫on top of it.
‫Notice I'm picking up 3rd value here.
‫This is a technique I use quite often, so I want to make sure everyone is grasping it, although this
‫is where the highlight is located.
‫I'm not going to paint the actual highlight yet.
‫I'm painting the gradient that exists underneath the highlight first, because remember, the highlight
‫goes in in the detail coat.
‫I'll do the same with this spot here on the bottom.
‫Now I'll pick up some 1st value and blend it into the shape.
‫Using this process gives you the control to manage the distance of the gradient while ensuring that
‫it's gradual and not an abrupt change from 5th value to 1st value.
‫And again, bear in mind that this isn't technically the final highlight in this spot. That will be painted
‫over the area once it's dried in the detail coat.
‫I'll paint in the plane on the side of the handle next.
‫The value is so close to 5th, it's only about a quarter of a value later, but that's enough for our
‫eye to pick up and differentiate and enough to keep from losing the shape of the finger hole.
‫OK, that looks good.
‫I'll move to the shape of it next, I'll begin by filling the area in with 5th value first.
‫Be sure to redefine its outline and paint around the lighter shapes and highlights.
‫Then I'll pick up some 4th value and paint in the remaining tones, if you look very closely, you'll
‫notice it gets a bit lighter here on the right hand side of the handle.
‫See that?
‫I'll move down to the reflection of the handle next, again, begin with 5th value and paint the outline
‫and its darkest shapes first.
‫I'll work some 4th value into the area around it so it stands out more.
‫Let's just focus on this side of the lid for now, use that light shape on the right as a temporary
‫"mental barrier" and finish painting the area around the reflection in, making any necessary adjustments.
‫For example, I'll reshape this highlight a little by overlapping the outline and making it thinner.
‫That way,
‫Later in the detail coat, I can paint that highlight in with nice, thick 1st value and not loose
‫its brightness trying to blend it into black paint.
‫I don't want to get too into details and texture yet, but I can't resist showing you how easy it is
‫to get a nice brushed, tarnished chrome.
‫Look, just pick up a little 4th value and make a couple lines like this.
‫Isn't that great?
‫I'll get more into those nuances in the detail coat.
‫OK, let's continue painting in the rest of the shapes in the reflection of the lid, again, starting
‫with the values that will go beneath the highlights, so 4th, value to create the underlying gradient.
‫Then 3rd value for the highlight and just to note, the highlight in the reflection of an object tends
‫to be less bright than the original highlight casting it.
‫So this may just stay 3rd value.
‫While the highlight on the handle is close to the 1st or 2nd. That looks good,
‫I'll move to the right side of the lid next. And I'm going to approach it exactly the same way as I did
‫in the last coat.
‫Begin with 4th value paint in the gradient on top and work my way down one shape at a time.
‫And pick up a little 3rd and 1/2 value to lighten the outer edge.
‫OK, I'll move down to the next shape, which is just this 5th value line. By the way, I've chosen
‫to edit this video in a very specific way.
‫I want you to experience painting exactly the way I do.
‫So when I lean in and focus on one small area, I move the camera in to focus on that small area.
‫Then when I sit back upright to clean my brush or change values, I pull the zoom out to look at the
‫addition to the painting I just did.
‫I look for things like whether or not the blend is smooth, if the gradient spans the right distance,
‫if it's too bright or too dark, how the change affected the overall painting.
‫That's why I tell you, every time I stand up to paint. To get even more perspective! When I do that,
‫I'm looking at the painting from the average distance a viewer would see it from.
‫So taking a moment to step back and make sure all of your work looks cohesive is a habit
‫I want to help you form through my editing.
‫Finally, pick up some 2nd value again for that light "B-Shape" and really pay attention to how thin
‫this line is. Then do your best to replicate it, because those fine, almost pin-thin lines are
‫very important in creating the texture of chrome.
‫I'll move to the area below the spout next, and I'll begin by mixing a value between 3rd and 4th that
‫matches the value in my reference.
‫As I've mentioned in the past, your 3rd and 4th value piles are most likely slightly different
‫than mine.
‫And your photo reference probably printed out slightly darker or lighter than mine did.
‫So I can't describe an exact value to mix.
‫And even if I could, there is no way of measuring a difference that miniscule.
‫So you have to do your best to use your judgment and the value isolator I gave you.
‫The good news is that your painting will still look good as long as the value you mix is relative and
‫close.
‫The only thing to watch out for is making sure it stands out from the background so the shape of it
‫doesn't get lost.
‫It should be slightly darker and that information alone should help you mix a value that's pretty close
‫and relative.
‫And that's the way estimating values works.
‫You start by guessing based on what looks right.
‫Then you look around the shape and see values you can compare it to.
‫That'll help give you a more accurate measurement, like in this case, where it must be slightly darker
‫than the background.
‫Next, move to 5th value and fill in the shape next to it, then blend the two together.
‫I know there's more subtle values in this dark area, but just ignore them for now.
‫That's easy to put in during the detail coat.
‫Now, I'll soften the two values together, and by the way, I'm using a 1/4 inch angular shader.
‫OK, before we begin working on this next area, I want to help you break it down into some simpler
‫shapes.
‫I know it can get a bit confusing because the shapes in here are very organic and don't have defined
‫edges and overlap a little.
‫So the first thing I'm doing is painting in the 5th value outline around the spout using my detail
‫brush.
‫This way, I've now mentally defined the area.
‫I'm working in- this area, and blocking everything else out of my mind.
‫Now let's take a closer look at what's actually happening in this highlight area.
‫I'll zoom in even more to get a closer look.
‫First, there's this shape.
‫This is a wall in my studio.
‫You don't need to paint the things on that wall for this to look right.
‫Just that shape in fourth value is enough, and we're going to save this shape for the detail coat
‫anyway.
‫So for now, just leave it 5th value.
‫Next is this shape around the rim of the spout.
‫Again, this is very organic, but if you isolate each shape by itself, it's not that complicated.
‫Next is this shape, which alone is in complex, but they start to get difficult as they add up.
‫So let's just look at this shape by itself.
‫Finally, we're left with the two main highlights, this one and this one.
‫Don't worry about this burst.
‫I'm going to show you how to paint that in in the detail coat.
‫Once you remove that from the equation, the area actually gets much more manageable, especially once
‫you've really looked closely at it and gotten acquainted with the simple shapes.
‫It's just four shapes and we'll take them one at a time.
‫I'll begin with the shape that wraps around the spout and start by painting 5th value around it to
‫isolate it.
‫Then I'll pick up some 2nd value and paint in the shape.
‫I'll slow it down a little so you can see how I'm handling this in real time.
‫Remember, we're not painting that bright flare, just the shapes beneath it.
‫I'll switch to a 1/4 inch angular shader to softly bring this shape down some more.
‫First, I'll manage the underlying gradient, then I'll gradually introduce the highlight until it gets
‫to its desired brightness.
‫While I'm in this area, I want to take the opportunity to make this highlight thinner, as I said,
‫painting rim lights is a two part process. Painting down the light color, then painting the darker
‫color around it and squeezing in on it to make it look thinner and more precise.
‫This is another great example of using acrylic paints, quick drying time to your advantage. Reducing
‫the width of a fine line like a light around the rim and cleaning up its edge
‫So it's almost mechanically smooth is a powerful tool for painting chrome
‫or any extremely reflective or detailed surface!
‫Keep count of these highlights and only focus on one at a time and remember, no glare until the detail
‫coat!
‫I'll pick up some 1st value and begin managing this oval highlight next.
‫As usual, I want to handle the underlying gradient before painting the bright highlight on top of it.
‫So I'll pick up some 5th value and outline it so I can soften its edges outward.
‫More 1st value and all blends out.
‫Just focus on how soft its edges are.
‫Don't worry about it's brightness that always gets added last. And don't worry about those scratches
‫in the surface, that goes on in the detail coat.
‫Doing it this way assures that your highlight will be pure 1st value and you'll have complete control
‫over the objects texture.
‫Now pick up some 1st value and there.
‫I'll move to the main highlight and glare next. I'll begin by switching to a 1/4 inch angular shader
‫and painting in the white shape first.
‫Make sure your brush is completely clean, pick up some 5th value and paint in the area around it.
‫You can start blending it into the highlight as you go.
‫Remember, this is the underlying gradient.
‫You'll paint a brighter highlight over it afterward.
‫And don't worry about that glare starburst yet.
‫Now, pick up some 1st value and do the same thing you did on that last highlight. Painting Chrome
‫requires you to have an enormous amount of control over the edges of every shape within it.
‫That's why I chose it
‫for this course! The highlights have to be very bright and the transitions from highlights to darkness
‫can be extreme.
‫But learning to paint this texture will lend itself to countless others you attempt in the future.
‫It's machine made and precise, and it's the polar opposite of the subject you'll be painting in the
‫next lesson.. a grapefruit. Which is organic and has soft edges, blends and textures.
‫The goal of this course is to equip you with the knowledge and skill set to be able to manage any texture
‫you want in your paintings in the future.
‫So I've cast a wide but very calculated net for the subject matters I chose to give you.
‫I'll just fill in the rest of this dark shape.
‫I'll move to this large light shape next, remember to use 2nd value for it. All values are relative
‫so compare it to the highlight and you'll see that it's slightly darker.
‫Therefore, it must be 1st and 1/2 or 2nd value.
‫I went a little too far with the 2nd value. These reflections should line up perfectly, so I'll
‫quickly pick up some 5th value and adjust that line.
‫All right, I'll move to the shape on the bottom next.
‫Just think of this shape as one long strip of gradients getting darker and lighter again, very similar
‫to the blending exercise you did in the beginning of the course.
‫But before we begin, I want to point out that they're not all perfectly horizontal.
‫So be sure to pay attention to the angles that the gradients
‫create like these.
‫As you can see, I've begun with 3rd and 1/2 value. Just make sure it's slightly darker than the
‫background.
‫Be sure to get this light shape around the rim before you move forward with the gradient.
‫It's helpful in holding the kettles shape.
‫Now I'll pick up some 1st value and blend it into the 3rd value to create the gradient.
‫I'll move in a little closer so you can see how I'm handling the paint for this.
‫Next, they'll pick up some 1st value for the brightest part of the highlight.
‫I know it's such a soft gradient that it's hard to determine where it begins and ends, so just keep
‫managing it until it feels right.
‫And if you don't get it on this coat, you can always give it another glaze.
‫So there's no pressure to be perfect.
‫And remember to push the white a little further to the right before applying the next value over in
‫the gradient. White gets contaminated easily by darker values
‫So it helps to give it some extra space.
‫I'll pick up some more white to manage the span of the blend into 3rd value and the shape of the
‫gradient.
‫And by the way, don't paint in any of these tarnishes yet, I'll show you how to put those in during
‫the detail coat as well.
‫Notice I'm leaving some brush strokes in my blend.
‫I prefer areas like this to have a "painterly" feel to them, but feel free to blend yours as much as
‫you like.
‫OK, and finally, this shape at the end looks like it's about 4th value.
‫One blend at a time, so manage this line first.
‫Notice that the drop shadow gets slightly lighter here, right next to the kettle.
‫The reason that's an important detail to remember to put in is because brightening up its value a little
‫will keep this part of the kettle from getting lost into the shadow.
‫It's a minor value change, but look for its shape and put it in as a placeholder for now.
‫Don't start blending it,
‫That's part of the background.
‫Remember to keep your work compartmentalized.
‫I'll bring in this line in the reflection next, using my 1/4 inch angular shader.
‫And finally, I'll finish painting in the rest of the handle, you'll just need 5th value for this,
‫I'll move in a little closer.
‫Looks good, I'll stop here.
‫Let that dry and paint another coat of clear self leveling acrylic gel over it.
‫I believe the background will need another coat of paint, but I won't know specifically what adjustments
‫need to be made until this glaze dries.
‫You really can't tell what acrylic paints will look like until they have a clear coat over them.
‫As you know, they tend to dry, flat and chalky.
‫And remember, you should do your best and not to paint over an area that's chalky.
‫Acrylic paint is water based, so when you wet it, it reactivates the paint beneath it.
‫So if your brush over those chalky areas enough with a wet brush, it's going to pick that paint right
‫up off your canvas.
‫That's one of the most important reasons why we paint this isolation coat in between layers.
‫OK, let that dry, then come back and give your painting an audit.
‫So make a list of any remaining areas that still need adjustments before moving on to the detail coat.