Thanks Hailey!

@@chamberlainpaintings 😊

Thanks Dennis!

Thanks Michelle!

Thanks Andrew!

Thanks Kay!

Thanks Olda!

@@chamberlainpaintings Cheers!

Thanks Miriam!

Thank you!

yes

Thanks Greg!

Thanks! I'm so glad you're enjoying my videos :)

Yes, it looks like Queen Anne's Lace! It could be Yarrow though. I'm not sure. They look very similar. It would be fun to discuss creativity on Emma's podcast. I don't think I could fully engage and paint at the same time 😅

@@chamberlainpaintingsSame. As the years roll by it definitely does not get easier to multitask.

Thanks Charm!

Thanks, I need to read that book!

@@chamberlainpaintings I have followed you for a few years now - Covid lockdowns were made bearable by watching you paint! I discovered Ian Roberts at the same time and I have been on his courses this year. Two done and one to come and these have been very effective. We are in a fallow break over summer and one activity is a book club. The Carlson book was his first recommendation, and he was a considerable teacher and painter in his time. It is a cheap Dover reprint, text is from 1929 but it has b/w illustrations in what is a 1970s edition. He died in the 1950s but his close observation of landscapes is a life long distillation. The chapters on trees and clouds are especially good. I think the pages I cited tackle the important fore-ground spaces where nothing seems to be happening, hence his colonies of interest. The book was worth it for his quoting Whistler! “Nature is very rarely right, to such an extent even, that it might almost be said that nature is usually wrong...” I have checked the ART UK webs site and as far as I know there are no Carlson paintings in the UK, which is a huge shame. He was obviously a famous name years ago and his work is well represented in the US. His New England landscapes were his home turf and he did visit the desert states. Images I have found on line are fine painting and he does not hesitate to take control of a scene and remove distractions. Much of what he states, I have seen you do instinctively - you have worked it out yourself. Where he may be useful is identifying those little things which you might see but not notice. These can make all the difference! Am looking forward to the next post!

@@ianbrowne8871 Thanks for all the information! It's much appreciated!

Thanks Suz!! 💛

Thanks for your observations! None of the things that you mention bother me. I make my decisions in real life from about 8 feet away. I've leaned to leave paintings alone unless there's something that really jumps out at me. Walk through a museum and look at all the imperfection. It takes years to learn paint and leave it!

@@chamberlainpaintings Just wanted to thank you for the reply. I am glad that you share thoughts as you paint. And I really enjoy your work.

Thanks Maura!

Thanks!

Thanks Andrew! I'm always looking to explore new ideas. I'd like to paint more trees.

Thanks Mike! Setting a painting in a frame really helps in deciding if a painting is finished or not.

@@ronschlorff7089 Do you see the double hearts, most fortunate that the brush is touching the lower one, or perhaps you see a different image ?

@@ronschlorff7089 hey Ron, there is a lot of imagery in this painting, I see many different images in many different things , always have, it does vary , sometimes many, few, or nearly to none at all, it could in tree bark, or a handful of small stones cast on the ground or pavement, wood grains , in doors, old gnarly trees, a cliff face of rocks, some things don’t have “any “ creative imagery in them, it Varys

@@ronschlorff7089 Hey Ron , you are a painter, congrats on your creativity, I will look for bunnies and duckies 😝😜🤣😂😅

Thanks Stephen!

Thanks!

Good morning Mark!

@@chamberlainpaintings fun painting too, ( you nervous no way ) thank you Michael

@@markparkey1218 Haha, true, I wasn't really that nervous. By the way there are repeating hearts (one light, one dark) somewhere in the painting. Do you see them? Nobody else has noticed

@@chamberlainpaintingsYES, bottom center path , one above the other , then notice , as if they proceed from a 💋, then look just left of the path ‘’ see ‘’ a pretty girl, bangs , brown hair, maybe Carmel, upon her forehead and cheeks , image an outstretched arm , Poms Poms in hand , dawns an outfit , most will see , now look , up , to the right in the trees , ‘ a blue angel, she appears, again many will see 😎 ( left of the brush tip, before it touch’s the palette and it’s own shadow, gazing up to the right see a wind swept haired beauty ) Michael hinted hearts in the tree line ( often I think it’s just me ) thank you Michael , do you see her left of the path , and the hearts upon the kiss , center foreground path ? ❤

I'm doing well thanks! Glad you enjoyed :)

I do need a haircut 😂

L O V E the hair!! #10 Michael brush. Life and art integrated. ❤ And gorgeous paint, as usual. Thank you.

Oh how nice! Love that. What flavor were the pop tarts?!

@@chamberlainpaintingsmaybe strawberry 😂

Thanks! Yes, I mostly paint in California.

Liquin by Winsor & Newton. Other mediums may work as well.

Yes, I use larger amounts of titanium white. And ultramarine 😊

I agree, it's the approach

Thanks Ralph! How have I never come across this word?!

@@chamberlainpaintings Discovered it in David Curtis's book: "Capturing the moment in oils". Probably a word that is more ccommon in British English.

@@ralphhancock7449 I was thinking it may be British. Useful!