Oil Painting: Create Surreal Landscapes
Mixing Medium and First Brush Strokes
A course by Paul Neberra , Artist
About the video: Mixing Medium and First Brush Strokes
Overview
“You will learn to get comfortable with different types of brushes and understand with little exercises how and when to use them.”
In this video lesson Paul Neberra addresses the topic: Mixing Medium and First Brush Strokes, which is part of the Domestika online course: Oil Painting: Create Surreal Landscapes. Learn to use oil paints to create a unique landscape, combining both realism and symbolism..
Partial transcription of the video
“Mixing Medium and First Brush Strokes In this lesson, we're going to talk about brushes, how to use them, and then, I'm going to show you how to mix colors. I will begin by showing you a natural bristle brush. This is hog hair. Brushes for oils always have a big handle so you can maintain a certain distance from the canvas. This type of brush is great for starting and building up the body of your painting. I will show you some oil paint coming directly out of the tube. You can see it's really thick, it has a lot of body. This type of brush is going to leave some brush strokes. You will see ...”
This transcript is automatically generated, so it may contain mistakes.
Course summary for: Oil Painting: Create Surreal Landscapes
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Category
Illustration -
Areas
Fine Arts, Oil Painting, Painting
Paul Neberra
A course by Paul Neberra
Paul Neberra is a self-taught artist from Portugal. After graduating with a degree in graphic design he began his career working as an illustrator, designer and then as a teacher of graphics-related software.
Surrealism has been a passion of Paul’s since he was a child and once he discovered Pop Surrealism everything fell into place. In 2013 he began pursuing his artistic career. Since then his work has been used on products such as beer cans for French brewery La Débauche, and featured in several magazines including on the cover of Heavy Metal magazine, in Catapult, and Beautiful Bizarre.
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