Join me as I paint Forest Light on a 9x12 hardboard, working through a tricky reference with glowing foliage and a tree that needed rethinking.
Today's session explores how to bring light into dark foliage, how a little mixing red can tame cool greens, and why a strokey, daubby approach can keep a painting feeling alive.
Join me as I paint a coastal scene where incoming tide reveals fresh perspectives on rocks and formations.
Today's session explores the power of reference editing, opening up shadows to reveal hidden greens, widening landmasses to improve composition, and why passion is the defining thing in your work.
Today's session explores why you can never paint exactly like you painted before, how to optimize your reference using selective dodging, and the critical difference between drawing in lines versus drawing in silhouettes and masses.
Join me as I paint Sunset Serenade, a 5x10 piece that revisits a scene I painted four years ago, this time flipped and reimagined.
Today's session explores the philosophy of repainting without comparison, why warm and cool pairings are the structural bones of color harmony, and how modulating color creates atmospheric depth instead of flat blocks of hue.
Join me as I paint a scene inspired by Isaac Levitan that I've significantly modified through a collaborative reference-building process.
Today's session explores why Prussian blue mixed with black prevents oil delamination in underpainting, how to deviate from reference when variables demand it, and the critical importance of knowing when to leave a passage alone.
Join me as I paint After the Rain, a revisited scene from England I originally painted nine years ago.
Today's session explores why smaller paintings keep momentum alive, how to pre-mix strategically without overdoing it, and knowing when to avoid things you don't want to paint.
Join me as I paint Quiet Waters—a river scene from a low-resolution reference I've had for ages.
Today's session explores how improved composition sensibility unlocks old references, why raw umber is critical for natural feeling, and recognizing when the universe tells you your painting's done.
Join me as I paint Where Light Lingers, a riff on George Inness's "Early Autumn Montclair."
Today's session explores my expanded grid system for precise placement, why glazing is essential for some tonalist work, and the importance of a corrective second pass to fix painting issues.
Michael Francis McCarthy - Oil Painter
Join me as I paint Forest Light on a 9x12 hardboard, working through a tricky reference with glowing foliage and a tree that needed rethinking.
Today's session explores how to bring light into dark foliage, how a little mixing red can tame cool greens, and why a strokey, daubby approach can keep a painting feeling alive.
1 day ago | [YT] | 0
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Michael Francis McCarthy - Oil Painter
Join me as I paint a coastal scene where incoming tide reveals fresh perspectives on rocks and formations.
Today's session explores the power of reference editing, opening up shadows to reveal hidden greens, widening landmasses to improve composition, and why passion is the defining thing in your work.
2 weeks ago | [YT] | 0
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Michael Francis McCarthy - Oil Painter
Join me as I paint Woodland Stream, a forested creek scene dominated by broken light filtering through heavy foliage.
This is a revisit of a subject I painted long ago and gave away - now reimagined with fresh eyes.
3 weeks ago | [YT] | 0
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Michael Francis McCarthy - Oil Painter
Join me as I paint Hole in the Rock, a 7x14.
Today's session explores why you can never paint exactly like you painted before, how to optimize your reference using selective dodging, and the critical difference between drawing in lines versus drawing in silhouettes and masses.
4 weeks ago | [YT] | 0
View 0 replies
Michael Francis McCarthy - Oil Painter
Join me as I paint Sunset Serenade, a 5x10 piece that revisits a scene I painted four years ago, this time flipped and reimagined.
Today's session explores the philosophy of repainting without comparison, why warm and cool pairings are the structural bones of color harmony, and how modulating color creates atmospheric depth instead of flat blocks of hue.
1 month ago | [YT] | 0
View 0 replies
Michael Francis McCarthy - Oil Painter
Join me as I paint a scene inspired by Isaac Levitan that I've significantly modified through a collaborative reference-building process.
Today's session explores why Prussian blue mixed with black prevents oil delamination in underpainting, how to deviate from reference when variables demand it, and the critical importance of knowing when to leave a passage alone.
1 month ago | [YT] | 0
View 0 replies
Michael Francis McCarthy - Oil Painter
Join me as I paint After the Rain, a revisited scene from England I originally painted nine years ago.
Today's session explores why smaller paintings keep momentum alive, how to pre-mix strategically without overdoing it, and knowing when to avoid things you don't want to paint.
1 month ago | [YT] | 0
View 0 replies
Michael Francis McCarthy - Oil Painter
Join me as I paint Quiet Waters—a river scene from a low-resolution reference I've had for ages.
Today's session explores how improved composition sensibility unlocks old references, why raw umber is critical for natural feeling, and recognizing when the universe tells you your painting's done.
1 month ago | [YT] | 0
View 0 replies
Michael Francis McCarthy - Oil Painter
Join me as I paint Where Light Lingers, a riff on George Inness's "Early Autumn Montclair."
Today's session explores my expanded grid system for precise placement, why glazing is essential for some tonalist work, and the importance of a corrective second pass to fix painting issues.
2 months ago | [YT] | 0
View 0 replies
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