Zorn Master Copy of Coquelin Cadet

[@louiswolfe5012]

Pls make playlists of all the different artists you done master coppies of

[@tjs9876]

That's damn impressive. The brushwork, the colours, the likeness, is all spot on.

[@orbahalul8426]

Also i would like to see you do a piece of your own you are very good

[@philsmith7398]

That blue was well spotted! Great painting too!

[@JapanJimmy]

Superb, you had the character of the subject just in the underpainting. Amazing given the scale you are painting on. Thank you very much

[@maluje65]

Top!!! Wonderful!

[@eduardoventura1704]

¡Al fin regresaste! Tus videos se extrañaban. ¡Precioso trabajo, muchas gracias por su arte! Por cierto, ¡qué buen descubrimiento hizo con el zoom! Yo pensaba que Zorn usaba azul ultramar, ahora veo que era cobalto.

[@susancaulton5470]

Wow, that explains why the greens are better

[@madjidchouarbi3921]

Amazing work !

[@susancaulton5470]

The agony and ecstasy of copying old masters………..

[@emilleum48]

This is such an incredible and wonderful method of re-creating another wonderful master copy, I had to really focus on the first paint-spotches you first put down, trying to see your relationship to the copy,but it is so masterful how step-by-step you slowly and methodically put the pieces together bringing more clarity. There is so much more that you can teach me. I am military retired, disabled and color-blind, so, I have rely on my gallery friends for help. I do have a question for you, I have a great deal of problems when trying to keep-up with teaching videos, mostly the stoping, rewind, and resuming the steps. Another Patreon Artist, that I also financially support, gave me some additional help, with his new type of teaching instruction, he divides his painting subject into 4 or 5 separate images, that I can download and print each step off. This is so much easier for me because it is easier for me to follow his process when I have the stages in my hand. The teacher is Chris Franantaro, i.e. the "Paint Coach" It would be so helpful to me and others, that share my same issues with teaching videos, if you could or would break down your lessons for us in down-loadable print images. You are an incredible teacher, and I will support you financially if you are with Patreon. Thank you, MSG Leum

[@olddirtymasters]

Thanks! I’ll consider this for the next. One thing you could try is slowing the playback speed or taking a few screenshots throughout and compare them.

[@jimmychoo1857]

Beautiful work.

[@cynthiahalewijn6140]

Fantastic! So talented!

[@coryrain3937]

I always watch your videos, thanks for sharing them! Please consider adding some audio to the video, they will have at least 100% more traction. A voice over or even just some decretive piano, please!

[@greatwhitehunter3789]

Top man

[@user-xz1ht3xl6i]

Amazing work ! When I paint with liquin, my colors are always more transparent because of the liquin gel added to the paint. Do you have the same problem ? How to deal with this? Thank you very much

[@olddirtymasters]

Thank you Z! Are you using gel because you want a thicker paint layer that dries quickly? I’m using just a few drops of liquin fine detail- enough to help drying but not so much that the paint doesn’t cover well. I think lead white can help speed up drying also if you haven’t tried it. It’s more expensive to use less medium but sometimes it’s worth the effect..?

[@orbahalul8426]

Hi great work, how do you manage the brushes after using a different color? Just clean the brush and use a different color or just use different brushes for different colors?

[@olddirtymasters]

Thanks Or Bahalul. For this painting I started with about seven brushes roughly dedicated to each color. I try to keep them separated by color temperature, for example not using a brush that has yellow ochre on it to pick up some ultramarine blue. As the session progresses the brushes can get muddy and I will occasionally dunk them in linseed oil as needed and wipe them on a paper towel. If I need a very pure color note like pure black or blue I will do this a few times until the brush is quite clean.

[@orbahalul8426]

@@olddirtymasters okay thank you very much for the response really helpful

[@victorefrenmendozagomez7936]

Woooa!

[@fernand1914]

The painting is very good, as a novice who has just begun to try oil painting, I am very envious. I myself always have problems with color grading, and I often can't find a certain color. Also, do the colors on the palette only require a basic four or five colors？

[@olddirtymasters]

Thanks fernan D:) I had many difficulties with this painting but learned a lot. The colors I used here are listed in the description- around ten colors. When I’m having difficulty with too many color choices a limited palette really helps. Making a color chart with even just 5 or 6 basic colors is a great exercise for a beginner too. Keep squinting to see if your values are working- sometimes a color problem is actually a value problem. Or take a picture and view it in b&w to see if there are awkward value jumps.

[@fernand1914]

@@olddirtymasters Thanks a lot for your answer， it’s helpful

[@davidw9827]

Loving this as usual ODM. Just to confirm: you used a tiny bit lof liquin in the original stage and added linseed in increasing amount as the painting progressed?

[@olddirtymasters]

Thanks david w. Full confession -I don’t always strictly adhere to fat over lean but look at what the surface is telling me as the painting progresses. Sometimes I’ll put a fast drying layer over a slightly slower drying layer and so far I haven’t had any cracking or adhering issues. Oiling out with a mixture of liquin and linseed seems sound enough when it’s a very thin layer. The darks often need more fat to keep their deep tone and yellowing over decades is usually less noticeable in these areas. Long answer and I’m not an expert but happy if this is helpful in some way:)

[@jeffyaltavasquez6278]

Hi again, beautiful work. I really admire your dedication and effort with every one of your works. I have a question and it's about the lights and medium tones. Normally I make these zones more contrasting than they really are and then watching your work made me think of the beautiful value harmony that your works have. I'm having troubles with the white and I really don't know where even start, even if copy the reference completely cause there is always like a yellowish layer over everything. I know it's a little bit confusing, but I will appreciate your answer. Love your videos!

[@olddirtymasters]

Thanks for your kind comment and question, Jeff:) I have the same trouble with contrast you’re describing. For me it usually happens because I don’t stand back and squint often enough. In the end I’m always surprised by how subtle the values must be to get close to the original. Are you saying your reproduction is of a painting with yellowed varnish? If you find the reproduction beautiful it’s good enough to learn something from I’d say.

[@jeffyaltavasquez6278]

@@olddirtymasters, Wow, thank you, I´ll back to watch more of your videos and comment, I have learned a lot with your content, channels like yours should be more aprecciated. Thank you for taking the time and effort to share

[@perrofoca7486]

That's not a zorn palette