MaryRoseOConnell

37 videos found
reference photo of pink roses
32:12
MRO-Rose Garden
4views
Watch as Mary Rose demonstrates how to start a painting of a rose.
pet portrait by Mary Rose O'Connell
45:47
MRO-Portrait of Terry (part 1)
3views
Watch as Mary Rose takes a portrait of Terry, part boxer and part basset hound, from start to completion.
Oil portrait of a basset hound
36:17
MRO-Portrait of Terry (part 2)
3views
Watch as Mary Rose takes a portrait of Terry, part boxer and part basset hound, from start to completion.
MRO-How I Build a Painting
34:27
MRO-How I Build a Painting
4views
From planning the design through addressing value, color, and edge relationships this video will describe the process from beginning to completion.,
MRO-Magnolia Color and Edges (part 1)
22:55
MRO-Magnolia Color and Edges (part 1)
6views
How to mix and compare color and value relationships in a painting. Squinting down and naming edges as the colors meet.
MRO-Along the Iron Fence (part 1)
30:18
MRO-Along the Iron Fence (part 1)
3views
Initially, three oily colors are applied to the canvas. With a paper towel move aroung the paint and pull out the lights. Add more darks as needed. Continue to develop the composition and pay attention to the big value shapes.
MRO-Along the Iron Fence (part 2)
23:11
MRO-Along the Iron Fence (part 2)
4views
Continue to wipe out and add paint to keep the value relationships, edge quality and design heading toward a pleasing result. Keep the shapes interesting and avoid sameness. Take frequent breaks, use a mirror, and keep your objectivity. Stop before ...
MRO-Along the Iron Fence (part 3)
28:04
MRO-Along the Iron Fence (part 3)
4views
Finishing the painting. Continue to wipe out and add paint to keep the value relationships, edge quality and design heading toward a pleasing result. Keep the shapes interesting and avoid sameness. Take frequent breaks, use a mirror, and keep your ...
MRO-A Basic Introduction to Designer Gouache
11:11
MRO-A Basic Introduction to Designer Gouache
7views
An intro to sketching with gouache.
MRO-Magnolia Color and Edges (part 2)
9:06
MRO-Magnolia Color and Edges (part 2)
4views
How to mix and compare color and value relationships in a painting. Squinting down and naming edges as the colors meet.
MRO-Bass Rocks (part 1)
36:47
MRO-Bass Rocks (part 1)
5views
Today we are going to paint a plein air scene at Bass Rocks. Underpainting with Transparent red oxide and Gamsol (Odorless Mineral Spirits). This creates a blueprint for design, values, edge relationships. One bristle brush and Viva paper towels. The ...
MRO-Bass Rocks (part 2)
38:40
MRO-Bass Rocks (part 2)
5views
Today we are going to paint a plein air scene at Bass Rocks. Underpainting with Transparent red oxide and Gamsol (Odorless Mineral Spirits). This creates a blueprint for design, values, edge relationships. One bristle brush and Viva paper towels. The ...
MRO-Bass Rocks (part 3)
27:51
MRO-Bass Rocks (part 3)
4views
After taking a break form a painting that you have been working on it becomes clear what the nest step is. In this painting adding more color and opaque paint contributes to the overall effect. Using more paint and allowing it to fall gently off your ...
Oil painting by Mary Rose O'Connell
30:13
MRO-Breaking Surf (part 1)
5views
Part one: Block in and layout
Oil painting by Mary Rose O'Connell
38:45
MRO-Breaking Surf (part 2)
3views
Part two: As the painting develops care is taken to compare the value shapes, color temperature, drawing and edges.
Oil painting by Mary Rose O'Connell
28:18
MRO-Breaking Surf (part 3)
3views
Part three: Finishing the painting.
MRO-Color Charts and New Discoveries
7:46
MRO-Color Charts and New Discoveries
4views
How and why color charts are vital to your painting practice.
Seascape painting by Mary Rose O'Connell
23:17
MRO-Front Beach (part 1)
4views
Part one: We begin by creating an abstract design of value and color shapes, as well as edges. While keeping the design in the lead.
Seascape painting by Mary Rose O'Connell
26:02
MRO-Front Beach (part 2)
3views
Part two: As the painting develops care is taken to compare the value shapes, color temperature, drawing and edges.
Seascape painting by Mary Rose O'Connell
27:06
MRO-Front Beach (part 3)
3views
Part three: Continuing the development of the painting
Seascape painting by Mary Rose O'Connell
22:00
MRO-Front Beach (part 4)
3views
Part four: finishing the painting
MRO-Gouache Sketch: A Winter Landscape (part 3)
17:39
MRO-Gouache Sketch: A Winter Landscape (part 3)
3views
Block in to plan the design for a large scale oil painting
MRO-Gouache Sketch: Painting Snow (part 4)
42:40
MRO-Gouache Sketch: Painting Snow (part 4)
4views
The opaque quality of this medium allows for easy adjustments to improve the design plan
MRO-Gouache Sketch: Seascape 1 (part 1)
32:13
MRO-Gouache Sketch: Seascape 1 (part 1)
2views
Block in big color shapes for a pleasing design.
MRO-Gouache Sketch: Seascape 2 (part 2)
27:59
MRO-Gouache Sketch: Seascape 2 (part 2)
3views
Block in a dynamic design creating drama.
MRO-Pemiquid Rocks (part 1)
42:14
MRO-Pemiquid Rocks (part 1)
4views
Today we are going to paint a plein air scene at Pemiquid rocks. A small pencil sketch is advisable to determine your design. I used structure lines without any details. The lines are an integral part of this dramatic composition. Start to sdd color ...
MRO-Pemiquid Rocks (part 2)
16:35
MRO-Pemiquid Rocks (part 2)
5views
Today we are going to paint a plein air scene at Pemiquid rocks. A small pencil sketch is advisable to determine your design. I used structure lines without any details. The lines are an integral part of this dramatic composition. Start to sdd color ...
MRO-Pemiquid Rocks (part 3)
39:45
MRO-Pemiquid Rocks (part 3)
5views
Today we are going to paint a plein air scene at Pemiquid rocks. A small pencil sketch is advisable to determine your design. I used structure lines without any details. The lines are an integral part of this dramatic composition. Start to sdd color ...
MRO-Magnolia Color and Edges (part 3)
26:53
MRO-Magnolia Color and Edges (part 3)
2views
How to mix and compare color and value relationships in a painting. Squinting down and naming edges as the colors meet.
MRO-Pumpkin (part 1)
26:10
MRO-Pumpkin (part 1)
4views
In this video I will show from start to finish how to paint a pumpkin in a still life. Use a slight neural green mixture with Gamsol (OMS) to quiet the white of the canvas. Using a darker color make structure lines to determine where the shapes are ...
MRO-Pumpkin (part 2)
28:43
MRO-Pumpkin (part 2)
3views
In this video I will show from start to finish how to paint a pumpkin in a still life. Use a slight neural green mixture with Gamsol (OMS) to quiet the white of the canvas. Using a darker color make structure lines to determine where the shapes are ...
MRO-Values Do All the Work While Color Gets All the Credit
4:43
MRO-Values Do All the Work While Color Gets All the Credit
3views
Value charts, squinting down, and learning to see the relationships within the painting.
MRO-Pumpkin (part 3)
45:29
MRO-Pumpkin (part 3)
4views
In this video I will show from start to finish how to paint a pumpkin in a still life. Use a slight neural green mixture with Gamsol (OMS) to quiet the white of the canvas. Using a darker color make structure lines to determine where the shapes are ...
MRO-Varnishing: Bring Back the Rich Darks
8:31
MRO-Varnishing: Bring Back the Rich Darks
3views
Types of varnish, when to varnish and why.
Mary Rose O'Connell seascape demo reference picture
1:53:11
MRO-Live Demo: Seascape Composition, Design, and Underpainting
5views
Please join Mary Rose for part 1 of this live oil painting seascape presentation as she demonstrates how to build a solid foundation for her composition, leading to a dynamic design. Attention is given to the relationship of design, drawing, value, ...
MRO-Snow Drifts (part 1)
37:28
MRO-Snow Drifts (part 1)
5views
Determine the horizon line and add a few structure lines to begin establishing the design. Add color noted to compare the value and color relationships within the painting. Be aware of the lightest light and darkest dark. What are the leading edges ...
MRO-Snow Drifts (part 2)
1:03:00
MRO-Snow Drifts (part 2)
4views
As the painting develops and the colors meet you should paint the edges as they are. Hard, soft or somewhere in between. Keep the most beautiful color and design in the area of the focal point.