Hello, welcome to “Margie’s Atelier”. I will be painting this picture today. I am pleased that you want to watch it. I moisten and prime the canvas with acrylic
binder, because it should not be absorbent. Ok, my canvas is dry and I want to tell you
what inspired me. These are two photos. This is one – and the other one. For both I have drawn large shapes. I would like to lay it down here and the other
fish I’ll show up here in the corner. Then a baby koi. I have two more. I put the largest of them all down here and
I let them swim like this. I sketch the shapes on the canvas so I know
roughly where everything is. Then I will put the primer. First in yellow tones. I take such a middle yellow here for the bright
parts of the heads. And then something darker Indian yellow next
to it. Then I will weave orange for the lower body
parts of the fish. Also for the background burnt Sienna. I’ve put my colors on the palette and some
binder for it. Now I will first spray a little water, so
that its very thin. The brush is moistened and I start with the
yellow where the fish heads are and the little ones. A bit of the Indian yellow and continue. Then Orange. Now my first coat of paint is dried and I
would like to conserve it, which means I want to seal it. For this I take such a transparent varnish
in silky matt. This seal is done because I want to put a
dark glaze over it. This should not connect with the background,
but make the surface visible again by drops of alcohol. I also want to be able to wash off the dark
glaze, if necessary. Then it starts. A little water always helps. So my primer is fixed by a varnish layer. It’s dried out now. I’m giving it a slightly darker glaze that
matches the color of the water. For this I mix these two colors together. Medium blue and burnt Sienna. I mix these two colors approximately equally. That’s how I wanted it. Now it’s about applying this glaze. It needs to be translucent and no puddles
anywhere, so I can use the alcohol drip technique. It shines everywhere, that is, it is still
wet but there are no puddles. That’s the time for the alcohol. I have it in a small bottle that has such
a drop valve. Now a few small drops, so that something really
happens. Now I’m using a trick. I roll a kitchen roll over it to take some
color away again. Here it is too dark now. I’m dabbing again, because that’s the fish
head, I’d like to have it bright. My canvas is dry now. The wild-moving water here is now further
processed. I bring the fish outlines to the canvas. For this I use my glaze color. I take a bit in the brush and draw the environment
of the fish darker. A baby is still there. As the picture is now, it is sealed again
and then processed. So I put water on it again and seal everything
with a transparent varnish. The seal is dried again. This is followed by another dark glaze for
the deep dark moor pond areas. In addition, I make a mixture of blue and
sienna again. This time not with the bright blue but I take
the darker ultramarine blue. I mix these two colors and add them to the
rest of my dark glaze from the first time. So I get a darker glaze. I hope that gives an interesting effect. This might get a bit more blue to make it
darker. I’ll add that to the first glaze. That’s exactly what my moor water looks like. A little thinner and then we start with the
glaze. Because I want to keep the fish forms exactly,
I do it step by step. I start with this upper corner. Now it got a bit more depth. Maybe there will be another one. We’ll see. The glaze must dry. So, now I want to work out this fish. I can show you an aid now. I have a photo of a nice fish on my tablet. I’ve enlarged it so much that it’s the same
size. Then I put a transparent cover over it to
mark the drawing of the head with a marking pencil. Then I can lay the transparent cover here
on my fish and paint in the bright spots with the help of white. I saw this beautiful Koi family in a youtube
video at “Carl the Landscape Guy”. He keeps these fish in a natural pond, such
a smal l moor lake, and it’s just wonderful to see that! For those interested, I give the link at the
end. Now I glaze with bright yellow, then it is
a radiant light-yellow. Now I want to work out the head of this great
Koi. He is quite visible. The eyes and the details are big. In that sense, I want to paint it very precisely. That’s fun too. I enlarged my image so much that it fits in
size, too. Nevertheless, I’m unsure where the eye is
now exactly. That’s why I’m using this slide again. I put it on here and draw with such a permanent
marking pencil very easily. Then the picture does not slip down. Now I have the exact size and shape and also
the exact position for the eye. Then I am completely relaxed and can start. For the pupil and the iris I take Paynes-Gray. For the light shadows I use the rest of my
last dark glaze. The upper part of the head should look even
brighter, so I glaze with white. The section from the eye to the fins gets
a thin white layer. So, I would also like to make the scales more
visible here, by painting them white. The other big koi needs such a white glaze,
too. I have already done that. The whole picture was then conserved with
the help of this vanish, so that it’s protected for the next glaze. And if I want to change something, I can wash
the glaze back as well, if I want. Anyway, this layer, you see the reflection,
is now protected. I still have more of the glaze. I use it for dark things, which show that
he is under water. So, now I have painted all this water reflection
on his head. Because I want to put him under a layer of
water, he needs a seal again. So, the seal is dry again and now comes the
sinking under the water. The white fish gets a water glaze over it. I still have some of that. Excellent! But it will be very thin. Let’s see if it works. This fish should look yellow so it now gets
a yellow glaze. So I have a yellow and a white afterwards. A Yamabuki Ogon and a Yamabuki Platinum. Interesting! Now I take Indian yellow and put it all over
this fish. Because there’s white under it, the yellow
shines really nice. Now I can wipe it down a bit where the lights
are. That looks very soft. It can be wiped off so well, because the white
underneath is well sealed. So it gets more plasticity. The fins get that too, because they should
look yellow. And it will be sealed again. Maybe the last time, because then a dark blue
glaze should follow. So again I fix everything that exists. Now there is the final glaze and I have considered
using this blue. With these many shades of orange and brown,
blue is an excellent complementary color and supports the effect. This is a transparent color. You can see it in this empty square. And now there will be alcohol droplets again,
in the deep areas. I will spare the bright fish. I spray lightly with water and put the final
blue glaze on it. That gives it a nice depth. I would like to thank you for your interest
and of course I am happy about a Like, about new loyal subscribers and I’m glad, if you
visit me again in “Margie’s Atelier.” Till then. Bye.


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