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Oil Painting Lessons – Glazing, Layering, and Useless Lessons

Ethan — Fri, 08 Jan 2010 08:40:07 +0000

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Layering your paint. Do you know how?

Ethan — Sun, 06 Dec 2009 14:00:16 +0000

One of the biggest things to learn, that seems to never be taught is layering paint. And using a definite procedure to do so.

You know, those great paintings you see in museums were not painting with just 1 layer of paint. This combining layers gives beginners a huge headache.

I was never taught this layering process in school. In fact in one class I was in, we used to paint by drawing outlines and carefully filling in these lines, modeling form as we go. We always used small soft haired brushes and would just mix a little and apply the paint using these very small brushes. Even when the canvas was very large. We would start in one little area and just lay the paint on inch by inch.

But, I knew from my visits to the museum that all the artists I admired didn’t paint this way.

I asked the instructor. “I can’t imagine Rubens or someone of his time painting like this. His paintings don’t show that he painted like this.” The teacher response was…”Oh well, he used a complex set of layers with glazing.”

“Bingo!” I thought to myself. “That’s what I want to learn”, I said.

The instructor kind of chuckled and said “yeah yeah.”

And, I never was taught that complex layering method.

I was usually just left to plow along making mistakes and have the teacher tell me where they thought a mistake was.

You know, the ol’ method of teaching by pointing to your painting and saying…”this area is too dark” or “that part is too green”.

Somehow this was magically going to make me a better painter.

It never did of course.

Take a look at this:

This is an underpainting of a woman that is in the National Gallery in Washington D.C.

It is not by any truly famous painter.

I had to take a picture of the nameplate because I hadn’t heard of this painter before.

Van Ceulen was his name.

But look at how this “no name” painter knew his craft.

Ask yourself a question…

Do you think he was following some procedure for painting this picture – such as first making a monochrome underpainting…

Or do you think he was just muddling along with his teacher telling him “That hand is too big” or “Her head is too dark”?

He was using the layering process and it looks like the underpainting was just about complete.

Now began the process of overpainting.

Now, ask yourself another question…Would you know what to do next? How to begin the next layer?

Here is a pretty famous work by Vermeer. Do you think he knew what to do next?

Judging by the final work, I believe so. I think he understood the layering process very well and new just how to get from the image you see above, to a finished work like you see down below. And he could repeat this over and over again, with confidence, and without an instructor telling him to “make that hand darker”.

It doesn’t have to be a secret and you can finally know how to use layers the right way.

More Resources

For At Home Instruction on Layering:
Check out Ethan’s new DVD “Underpainting Solved”

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To End all your confusion about oil painting techniques and materials, check out Ethan’s newest At Home Training Program “Oil Painting Formula“

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Are your oil painting lessons helping you

Ethan — Mon, 09 Nov 2009 15:31:14 +0000

It doesn’t matter if you like to paint landscapes, florals, portraits, or still-life. If you get the proper instruction, you learn more and you improve.

I was appointed to be a teacher’s assistant back in my student days at age 20. In fact, my instructors would refer other students to me about problems they had about oil painting techniques. Some of the other students even sought me out to teach them privately.

I remember the frustration that many students had when they were in art class.

You don’t want this to happen. I know about this frustration from experience!

I’m sure you have had some of the following experiences.

Isn’t It Time these Experiences Stopped Happening To You?

You try hints other people have told you, but find your work still doesn’t improve
You walk into an art supply store and feel so confused by the choice of oil painting supplies. Which ones should you buy
You ask an art teacher a specific question, but the answer they give is double talk or a confusing answer that you don’t understand.
You enroll in an art class or workshop, but the teacher only spends 5-10 minutes with you.
You search for art classes you can take, but they are just too expensive and the times they meet make it impossible for you to be there.
You go to a museum and wonder how a painting was made, but have no help finding the answers?
You ask an art teacher about a particular topic and they tell you the answer is “not important”! And you wonder if they know the answer themselves?
Your teacher tries to persuade you that the artists you admire are not good.

This brings up the question of how do you learn to paint? What is the goal of your art lessons or art instruction?

To teach you how to paint and draw better is the obvious answer. This is the goal of every art teacher, isn’t it?

Why isn’t this goal accomplished more often?

Have you ever been frustrated in an art class? You felt like you were not getting any better sometimes after months or even years of study.

…Why is this?

The answer is simple, all art instruction is not always good and all teachers do not always know how to teach.

I have had many teachers over the years. All had a different way of teaching or “not” teaching. This theory of “not” teaching is something that is very common among art teachers.

Usually, when you take a painting class here is what happens…You enter a large studio and get yourself your painting space. It can be very hard to find a good space if the class is crowded.

You share the room with many other students, sometimes twenty or more. You usually paint from either a model or a still-life setup.

The teacher goes around the room. He or she stops at each persons area and makes his or her comments, maybe even paints on some people’s work.

They basically tell you what they think you are doing wrong.

“Make this area darker” or “This is too small” they may say.

I do not understand this way of teaching. I think it does not accomplish much at all, and the proof are the students who have taken the class of a particular teacher for years and have not improved.

Sometimes it looks as though many students have been painting the same painting over and over for years without getting better.

This way of teaching would never take place in a music class. People are always talking about how similar music and painting are, but…

–Nobody talks about the difference in the way music and painting are taught!–

Sometimes, in a painting class, the teacher gives a demonstration, which always excites the students. I remember the excitement of demonstration days at school.

Students who felt they were not learning from the comments the teacher made to them individually, felt that now they could almost spy on the teacher while they were at work.

Of course sometimes you would get a teacher who loved performing almost as if they were putting on a magic act. This type of demo did not teach much to the students. It only helped to boost the ego of the instructor.

Good demos were quite interesting to watch though and very informative for the students. It would have been better for the students if the instructor came in and did demonstrations every day. And then went over the demonstration step by step.

Students could see all the stages of a painting being created in front of them. They would then have an answer to questions such as…

“How do I start?” and “When do I use medium”.

Maybe you have had the experience of being in an art class and the teacher comes around to you and tells you something like…

“Make that area darker”
“That arm is too big”
“Don’t get too light in that corner”.
And other similar comments

How Is This Helping You?

If someone knows the answer, please explain it to me. With this way of thinking you will always need that instructor. For the rest of your life.

Yes, for the rest of your life!

Who else will be able to tell you to if an arm is too big and so forth if you are not taught how to correct these problems for yourself?

I can even recall an experience when I brought a book to class to ask one of my teachers what they thought of it. The reply I got was “oh, that book is only about technique.” And I never heard anything more about it.

Let me say this right now…

There is nothing else about painting that can be taught except the craft of painting and different techniques of painting.

If someone tries to teach you how you should “express yourself” or how to paint with a certain “style”…

run the other way and fast.!

To sum it up, the goal of an art instructor is to teach you.

You have questions, you want them answered. You wish to be instructed. After you have studied painting for some time you shouldn’t have so many unanswered questions.

Do you believe I have experienced people who have been painting in an art school for years and have never been taught how to stretch a canvas? Or they don’t even know that there are different types of canvases to buy!

This after being in art school for years! There is no excuse for this.

You should be able to accomplish your goals in the most effective way possible, and by yourself. This is what you go to an art instructor for. You feel you need help and want to receive it.

An art instructor is supposed to teach you to not need them.

Now, for some oil painting lessons you will never get in a formal art class, click here

how to paint detail and edges in a landscape

Ethan — Tue, 09 Jun 2009 00:00:26 +0000

Hi there.

This article is going to show you the sequence to painting your detail, specifically leaves, and edges in a landscape painting.

Many people ask questions such as…
“Should I paint over another area (overlapping), should I paint around an area I already painted, etc.

Let’s try to cover some of that here.

I will use an old master landscape for our lesson.

Here is the videos on this lesson. Turn up your sound, watch, repeat if you have to, and learn.

Part 1

Part 2 is here

Note: Museums are the best place to learn and I strongly suggest going as often as you can and looking for real examples of the lessons you learn from me.

This is an old master landscape painted by the Dutch artist “Hobbema”. A nice wooded landscape I’m sure any of you would be happy to paint, or at least know the procedure to how it was painted so you could paint your own landscape using the same or similar procedures.

Lets focus on a detail of this painting in the next image…

Look to the right of the Black Letter “A”. Do you see how those leaves overlap the sky? This is painted over, not around. Have no fear about going over the sky. It is most likely done after the sky has already dried. Painting into a wet layer, like I will explain soon, helps to get rid of that cut out look.

If you look to the left of the letter “B” and at the highlighted leaves all around the letter “C” you will see another example of detail being painted “over” not “around” an area.

The step by step process would be something like the following…Let’s use the area to the left of the letter “B”.

After the dark areas of the trees in the background were already in and dried, an intermediate glaze layer would have been applied…

Here are the steps from this point, starting with the intermediate glaze layer.

1) Use a bristle brush of the size that would fit the area you are working on.

As an example, you may want the bristles to be around the width of the letter “B” itself. This should give you a good idea of the size brush to use if you were working on this painting and the image above was life-size.

Now, take that bristle brush and dip into a darker green and thin it down with your medium. Perhaps a mixture of sap green with a little burnt umber, or perhaps raw umber with some ultramarine blue. The color mixture is not what we are focusing on here so I am generalizing about color for this example.

We are only mixing color and thinning paint, getting it to the right consistency in this step.

2) Loading this paint on your brush. The paint should not cover anything, therefore we do not need thick paint. Your goal here is to only make the canvas wet to paint into it and add a thin film of color. And not dripping wet either, just a damp film (maybe think of it as a stain) of color.

3) Apply this thin film of color over the dried area where you are going to work on the detail. This would give you a wet base to work into.

4) Make sure you have a clean brush and create a mixture for the light color of your leaves on your palette, but not your lightest, (perhaps with some sap green mixed into a light gray – again color mixture is not the focus of this lesson so I am generalizing on the color)

5) Take a clean small sable brush to apply this mixture right into your thin film of color that you have using dabs with the point of your brush. The harder you push, the larger the dab for a larger clump of leaves. Do not try to paint every individual leaf at this point.

6) When your dabs of color start to take on the color of the thin film of color you put down in step 3, it is time to load your brush with more fresh color of the mixture you made in step 4. How many dabs will this take to happen?…until you need to reload?… Perhaps 3 to 5 dabs. And when you pick up a fresh supply of paint on your brush, make sure the brush is clean first. Yes, that may mean cleaning it in turpentine before picking up the color again. Wiping it on paper towels alone may work as well.

You have to judge when you pick up and apply new color. If it is not clean, your brush was still dirty.

If you do not clean the brush between loadings of it, your dabs will blend more into the dark area that already have down. This may be effective to paint the light areas which are not the final highlights, but not for the real hard light areas where you are picking out individual leaves.

7) Lighten your mixture with more white (or lighter gray) and load your brush to pick out even lighter leaves which have even more light shining on them. This calls for a little thicker paint and a softer touch with your brush. You are laying on the paint, right over the other paint you layed down. Don’t keep teasing the dabs or they will mix with the wet paint underneath and lose their original brightness.

The thicker the paint, the lighter you need to apply paint with your brush.

If some areas are too light and you need to make them blend into the background more, you can use the sable brush without any paint on it and dry and dab into the paint you already have on the canvas, because everything is already wet, it will automatically blend into the thin film of color that you originally layed down.

Soft Edges

Note that areas are painted right over one another. Every leaf is not drawn in first and then the sky carefully filled in around it.

The edges of the trees are not drawn in first and then the sky carefully filled in around that.

And edge is a detail and can only be made soft by overlapping areas, either when the paint is dry or wet. However, putting down a wet film of paint like I described above will help keep edges soft, especially if you use the right medium. using the right medium will automatically soften edges for you.

Of course, paint what is “behind” first and paint the overlapping objects afterwards.

Details All Over

In this image below you can see I have put a red letter “D” next to some areas where there are details that are painted over other areas.

Branches, highlights on branches, highlights on leaves, leaves painted over the sky, etc.

It is the highlights on the leaves that do all the “drawing” work. They are the details and they make it seem as if every last leaf is drawn. The darker areas are masses of dark, and have no real detail in them.

But with some dabs of lighter thicker paint, these individual leaves are picked out and are great detail work.

By the way, if you want to watch this entire landscape painting being recreated from start to finish, I recommend this dvd Museum Landscapes Quick and Easy

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how to paint detail and edges in a landscape part 2

Ethan — Mon, 08 Jun 2009 00:00:04 +0000

This is the second part of the video lesson.

By the way…

I recommend you get a copy of Museum Landscapes Quick and Easy – 2 hour DVD showing how to paint a traditional landscape (the very one in this demo) using the wet on wet method. This goes beyond the wet on wet method you have seen on tv.

Grandma helped me paint better

Ethan — Tue, 28 Apr 2009 11:42:30 +0000

When I first started to learn to oil paint, my Grandmother would occasionally see some of the paintings I made. And she liked them. She liked them enough that she decided she had to have some of them.

In my family, what Grandma wants, Grandma gets. At least back then.

You see, I was somehow raised that Grandma was always right and you should always listen to her. And when Grandma wanted a couple of my paintings, and I was not that keen on just giving away paintings I had worked hard on, my mother told me…

“She’s your grandmother, let her have them.”

My grandmother lived in a small apartment in Brooklyn NY, right near Coney Island. My Grandparents were not a very social couple. Meaning they didn’t have lots of friends, they never did things like go out to eat with friends, nobody ever really stopped by the house for lunch, dinner, or even to have coffee.

In fact, picture a less social version of George Costanza’s parents from “Seinfeld” and you will have an accurate picture.

These were the stereotypical – growing up near the train tracks – Jewish grandparents, from Brooklyn New York.

Now although my Grandparents lived in a small 2 bedroom housing development, she thought of her 2 bedroom apartment like a museum. She wanted it decorated a certain way and she suddenly had found a new way to accomplish her goal.

Me and my paintings.

In trying to convince me to give her the paintings she would say things like…

“I’ll frame them and hang them up on my wall. Maybe someone will see them and want to buy them.”

I thought to myself, “Who’s going to see them? I don’t think you’ve had anyone over the apartment in 10 years except mom and me.”

But, like I said, grandma always wins so I gave in and gave her a couple of paintings, which to her credit, she had framed and hung them in her apartment in prominent spots.

Well, one day when I was visiting with the family, I happened to have a book on paintings that I took with me to read in the car during the trip to Grandma’s. During my visit, grandma started flipping through the book and grandma decided she needed another painting.

She knew the colors she wanted and decided to flip through my book until she found what she wanted. I knew what was coming and tried to dissuade her and gently stop her from flipping through the book and take it away. But, I was too late.

She had found it.

The perfect painting that matched the image she had in her mind.

And this is the painting you see here.

She had no idea that it is a famous painting, painted by one of the worlds greatest painters. She liked the subject matter and the colors.

“Look how beautiful. A little girl with a pretty pink dress. Can you paint this for me?” She asked.

I think I replied with a snort, not wanting to do it.

Then the persuading tactics began…”It’ll be easy for you. You can do it fast. You’re so good it won’t be hard.”

It was interesting that she was appealing to my ego. After all, all my life I was called an “idiot or a schmuck” by my grandparents. Again, think George Costanza’s parents.

Now, all of a sudden, I was so talented I could replicate a Velasquez painting “no problem”

Well, after protesting, who do you think won out? Remember, back then it was “What grandma wants, grandma gets”

So I went home, and did NOT get to work on the painting.

I put it off and put it off, and my grandmother would call me and ask me on the phone…”Are you working on my painting?”

“Not yet” I would reply.

This would go on for about a week and then a new tactic entered the picture…

…Guilt!

It’s true…jewish women know how to give guilt like no other.

The phone calls would now be…

“Are you working on the painting?”

my reply: “not yet”

But now, I had to contend with this followup…

“You know, you said you were going to do it. It’s not right. You promised me and you’re not doing it. After everything I do for you, you can’t do this one small thing for me. I thought you cared about me more than that…”

“Ok ok I’ll paint it” I replied. Anything so she would leave me alone with that nonsense.

So I set about starting to paint this painting.

I didn’t even want to look at the image. I was so disgusted that I was forced into painting this. I would squeeze the paint onto my palette grumbling to myself…

…”Everything I do for you…like what? Call me an idiot my entire life? Make some matzoh balls during passover?”

Anyway, I started to paint this picture against my will, but something happened while I was painting it.

The painting just kind of took off.. Every stroke I made was the right one. There was no erasing parts, and correcting parts…everything just worked right from the start.

It was almost as if a point was being made that grandma was right. It would in fact be easy for me.

The painting was painted without much medium at all so it has not yellowed. It is around 20 years old and looks as fresh as when I finished painting it.

Here are some more detail images from the painting…

I must say, I have always had a very special place in my heart for this painting because of how it came to be.

What started out as the painting I didn’t want to make, became a little jewel that holds a special place for me.

When it was finished, my grandmother loved it. It was better than she had hoped. She had it framed and placed it in her “forbidden” living room.

You know, the room where nobody was allowed to go in.

For some reason, the living room was off limits. If anyone ventured in there, she would follow them in and chase them out shouting ” Get outta here, you’ll make the room dirty”.

So, when I would visit, even I had a hard time seeing my own painting without being chased out of the forbidden living room where it hung for years.

My Grandmother died a few years ago so I now have all the paintings I did for her, except for the couple that have sold.

Now, you can learn the exact procedures I used to create this and my other paintings. Including how to begin, how to layer paint with an underpainting, all about choosing the best medium for you and more.

And you can do it all right from your own home with my home study course, The Insider Guide to the Secrets of Oil Painting.

Questions About My Oil Painting Instruction

Ethan — Thu, 26 Mar 2009 14:59:44 +0000

In this post I want to go over a couple of points that people seem confused about when it comes to my oil painting instructional products.

1) A gentleman from Australia told me that he can’t learn from me because he is in Australia and I am in the United States.

This is not right at all. I ship to just about every country that the United States post office will deliver to. I have shipped to well over 20 countries. That is one of the main benefits of the internet – you can learn from me wherever you are. You can communicate with me wherever you are.

I still think people think I am promoting a class I am going to teach in person. That’s not what my products are about at all. They are about learning in your own home, at your own pace, with the instruction you would like to receive from a top oil painting class. The problem is many of you can’t afford a top oil painting class, can’t get to the oil painting class when it meets, or just are not getting the lessons you so desperately want. As far as that last one…I refer to when class is more like an art class for a 3 year old rather than a true place where you learn a principle of oil painting for every class you attend.

2) Many people write to me and tell me what they want to learn from me. They tell me of their overwhelming desire to paint better. They tell me they want me to help them.

The answer – go buy The Insider Guide to the Secrets of Oil Painting.

I’m not sure if you don’t know I have a course for sale, or you are hoping I will teach you through email for free. But, I do have help for you, it’s my course so go get yourself a copy and download it immediately after you order.

3) What is the best way to start to learn how to oil paint?

Learn Your Supplies.

That’s always my advice. Learn what you have to work with. Your support (canvas, wood, paper, etc) to start with. There is a huge difference between the canvas you can buy in a hobby shop, rip off the plastic and start painting and a real good quality canvas.

SIDENOTE: Did you even know that your canvas, wood panel, etc was called the support? There is a very simple, yet huge lesson to learn if you truly understand that term. If you truly understand why they call it a support will improve your oil painting immediately.

What do you think is prepared better? Grandma’s homemade chicken soup that takes a day to make or the stuff in a can from campbells?

Also, you must learn about the paint itself. I suggest making some paint from scratch at least once, just so you can understand what it is that you are using. And before you roll your eyes and say “make paint? that’s so hard.”…No it’s not.

All you need is a jar of pigment, a palette knife and some oil. If you want to mix it more thoroughly you will need a muller and slab. But, many times I just use a palette knife and my palette.

How about your brushes? Do you know the differences in all the brushes you can use? How about mediums? Do you know what will happen if you add cold pressed linseed oil to your already mixed paint? How about if you add sun thickened oil? How about stand oil? How about damar varnish, how about venetian turpentine?

If you answered “no” this is one reason you aren’t painting the way you want to.

If you see an effect in a painting by Renoir, or Rembrandt and you want to duplicate that effect, it will be much easier if you understand your oil painting supplies.

When you have my home study course, start with the manual The Secrets Of Oil Painting Supplies Made-Easy. Read it over and over if you have to and you will have a thorough understanding of your supplies. Enough so that you will know how to use your supplies to help you, not hinder you.

It’s something you won’t find in oil painting classes. Many times you will just be told to bring a list of certain supplies to the class, but never given lessons as to what they are, how to use them or why you use them.

The Hardest 2 weeks of my life

Ethan — Thu, 26 Mar 2009 12:29:47 +0000

Many of you already know that my mother died on Sunday night, March 17. My mother was instrumental in helping me start this business and she also worked for me for a long time to make this a true family business. She did a lot of the printing and shipping of products.

With her death, a page is turned on oilpaintingtechniques.com

I am currently a 1 man business, so as you know, I have gotten behind in shipping of products while mourning. I am getting back into the swing of things and if you are waiting for your product, it is being packed and shipped as we speak and will be sent within the next 3 business days

This event will change me, although I am not sure how. The business will change in some way, I can asure you. I might sound different in my emails, videos, and overall teachings. It is something that can’t be helped. Everything that we experience in life affects what we do from now on.

I send a huge Thank You to all of you who wrote me personally to send condolences. They are much appreciated and serve to remind me that there is a human face at the end of all these email addresses.

I will be imparting the lessons I learned dealing with my mother and her illness into much of what I do. I will try to influence others so they don’t repeat her mistakes.

The first thing I want to influence you about is:

Don’t let your pre-conceived ideas hold you back from doing things. My mother was full of pre-conceived ideas that had no basis in fact.

Let me give you an example when it comes to oil painting of how a pre-conceived idea can hold you back from improving.

I know many of you have heard about complentary colors. Some of you may have read somewhere that you use the complent of a color to darken a color. So, if you are painting a red apple, you automatically think that to darken this red apple you use green.

If I don’t do this in my lessons, you think my lessons are wrong or criticize them. By the way I am using a real life example as somebody on the mailing list did actually tell me criticize me on this point.

I wrote back to them that they have a pre-conceived idea about using complementary colors. In their mind, that is the way it is done. To darken red you must use green. Well, if it was this easy, why are they searching for instruction in the first place?

This is not how I teach darkening a color so because my teaching did not meet their pre-conceived idea, my teachings must be wrong.

Now, I forgot if the person eventually understood what I was trying to teach them, but if they simply went a different direction because they dismissed my teachings, they missed out on all I have to offer. Simply because they had a pre-conceived idea in their head.

I will go more into this concept later as I feel it is very important.

Also – IMPORTANT NOTE: There were actually a couple of people who thought I made up the whole story of my mother’s death. They thought it was some type of marketing ploy because I sent an email where I told people I was going to give some proceeds of sales to charity. Of course they never mentioned that I gave the URL of the charity itself and let you make donations on your own.

There are always a few bad apples in the bunch.

Overdoing an Oil Painting Instruction Formula

Ethan — Thu, 12 Mar 2009 19:30:26 +0000

I am a big advocate of understanding your oil painting supplies inside and out. Of learning a repeatable procedure so that, in a way, making oil paintings becomes as much a procedure as carpentry.

The flip side of this is when people take it too far and think there is magic in something such as choosing which exact brush I am using to paint a certain area. This leads to the thinking that such and such a brush is my “leaf” brush and other ridiculous habits.

I have had some people complain that in some lessons I don’t explain things like what exact brush I am using and when or why I am using it.

When you get a basic education on the principles of oil painting, as much as I emphasize the “why?” aspect of teaching, there are just some things you are going to have to judge for yourself based on what you are comfortable with.

For instance, when you use a screwdriver, do you not judge the size you need by the size of the screw?

If 10 people were given a choice of 5 screwdrivers to screw in 3 screws, would all 10 people choose the exact same screwdrivers to screw in the 3 screws? I don’t think so.

Some people go overboard with learning to paint and want to be told a formula for just about everything, even something as individual as choosing which brush to use to paint a certain object. And when they are not told this, they write off the lessons as incomplete or not for them.

I think this is from people who have gotten so used to the TV painters who use about 4 brushes to make all their paintings. So for example, when they paint a sky, they are always taught to use a 2 inch brush. If they have traditional materials, like 4 hogs hair flat brushes of sizes 2, 4, 6, and 8 and don’t have a 2 inch brush they become lost because they have learned that the 2 inch brush is their “sky brush”.

They are not learning principles of oil painting. They are being conditioned to depend on certain tools to almost make the picture for them.

If you took away a 2 inch brush and fan brush, you should still be able to paint. If you are lost, this is a clear indication you have not learned the principles of oil painting. You have only learned to become dependent on a few brush tricks to paint one type of picture.

Once you learn the principle of oil painting, you will become more comfortable with some brushes more than others. It’s just human nature. Maybe you will prefer brushes slightly bigger and a different shape than I would use. But, if you understand the principles of oil painting you can still create your pictures with them.

I didn’t know anything

Ethan — Fri, 17 Oct 2008 17:55:03 +0000

I made a podcast for you that gives my story. How I went from not knowing anything about painting and was a total beginner to actually knowing how to oil paint.

Make sure, your sound is on, click the Play Button (right facing arrow) take a listen, and then shoot a comment to me below, after filling out the survey of course.