John Wellington Light and Shadow Master Class

[@fremberg]

The explanation at 25:00 about "do not touch it again" was so helpful! It makes so much sense and never dawned on me. Thank you again, John.

[@JerrysArtarama]

You're so welcome!

[@CanUsta]

The best tutor on KZbin!

[@fremberg]

I prefer to call him the best professor at KZbin University. 😊

[@JBMotorrad]

I am very new to exploring the artistic journey...I've been in technology for 35 years. -__- I am discovering, quickly, that patience is a must have to even sit down with paints and brushes! That is the first thing I am trying to teach myself. Slow myself down. Allow myself to not have a hard deadline or "goals" anymore. Allow for childlike play again. I like your style!

[@JerrysArtarama]

Welcome to the wonderful world of art! We're so glad you're here.

[@elizabethlee6077]

I really enjoy listening to him teach

[@sweethomes674]

Excellent 😊

[@JerrysArtarama]

Thanks 😊

[@kathleen4811]

One of the most helpful demonstrations I’ve seen in a long time. Thank You

[@EricTViking]

Nice to see another video from John. Liked in advance and in my watch later list 👍

[@marypartridge5154]

You are just the best teacher so thanx John. I wish you were my teacher.

[@debrarank928]

Wow! John, that’s a lot of content in a short amount of time. Thank you thank you!

[@carolyndemaggio]

why were you not my teacher in college. You're wonderful. I love the references to the old masters and the terms you use. Although I was an art major in the late 60's, most of what I know is self taught and I'm just now trying to learn the basics. You are a god send!

[@fremberg]

We are lucky to live in such times. If only everyone in the world could see it. 😊

[@natesbored]

Another great tutorial. I’ve been learning a ton. 🙏✌️

[@suzannewolf-i6n]

John, love your teaching, and funny you mentioned painting a Harley Davidson, which I did a couple years ago… Just starting to paint again! In my old age!

[@JerrysArtarama]

So happy to hear you're back to painting! Keep up the great work.

[@denisemitchell2498]

Thanks you, John. You are so generous with your information and a true teacher. I too am waiting for the skin tone demo and I bought the T&P portrait colors set.

[@karenjarman185]

Thank you! Lessons learned, hopefully retained.

[@sabrinag4820]

You’re an amazing teacher. Thank you :)

[@robcpwoodturner]

I love this artists , John's tutorials . I hope there's many more to follow 🙏 thank you for sharing .

[@bellaca4326]

Explained so beautifully! Same rules for Acrylic’s

[@marypartridge5154]

I love the way you repeat terms as some of us are slow to learn

[@HB-oo9ty]

John, many of us still waiting for the continuation of portrait you did last time (Skin Tones and Underpainting Master Class).

[@SkiesOfBlue4MeAndYou]

Very good, thank you!

[@solweigolsson3114]

Thank you ❤ I learned a lot!

[@GT40Ford]

Thank you.

[@Jose-py3ig]

David Leffel would say dabbling is like a run-on sentence, no break, and no emphasis, just one resounding note, and then here comes you, to appreciate as described that beautiful old master's stroke. Interesting. I like your approach because we can't reduce painters only to those who make a variety of strokes and accuse those who dabble to only be concerned with picture making. I see Leffels point and would argue, adding contrast through strokes just like the parameter of gradation is another feather on one's cap. Sure, it's easier to dab your way into a sphere than slicing it with plains through brushstrokes, but not every painter needs to paint like an impressionist or like the late Richard Schmidt, although personally I also do classify painter's as those who use brushstrokes before any other art metric in order to consider one a painter, but I don't judge lowbrow surrealism or Florence Academic Atelier approach. There's beauty in all types of paintings if they are painted from the heart and soul, just like you have. Sorry for separating paintings from painters. The average art enthusiast doesn't know the difference, perhaps intuitively.

[@marypartridge5154]

You are just the best tutor on utube

[@fremberg]

Just 1 question. When you applied the accent lines around 1:06:55 you remarked that they remind us that theres gravity. What if there is something leaning, like a ruler leaning up against a wall or something, and our light source is below the point where the ruler touches the wall. Would you still add an accent line to the top of the ruler? Excuse me, im horrible at wording things and even worse at typing. I hope this makes enough sense to not give you a migraine.😅

[@dawnmillett4875]

Thank you for simplifying undertones for me. Appreciate all your tips about the Masters too. Have you written a book? Wondering the make is of your red tipped brush?

[@gildaalmeida5589]

❤❤❤❤

[@canalcerrado2433]

Actually it was said a perfect circle, Giotto and Raphaello , not Leonardo . The filbert brush was invented in the early 19th century. It emerged as a result of evolving painting techniques, particularly during the Romantic and Impressionist periods, when artists began to experiment with softer, more blended brushstrokes. The filbert brush, characterized by its flat ferrule and oval-shaped bristles, became popular for its versatility-it could create both broad strokes and fine lines depending on how it was held. It’s especially favored for blending, creating smooth edges, and painting natural forms like flowers, foliage, and skin tones in portraits. While the exact inventor isn’t known, its development is closely tied to the advancements in oil painting techniques and the growing variety of artist brushes during the 1800s.