Standard Edition: Direct Painting Pt. 3
Added 2020-04-06 12:23:31 +0000 UTCIn this video I have taken all of the portions of the tutorial where I am only drawing, not talking, and sped them up 5500x. This means that the entire video is about 30 minutes rather than 3.5 hours. In this way I hope to make the information in these tutorials more accessible.
Comments
Thank you for this great lesson ! There's a particular aspect I'm not sure I understand, when I try to work wet on wet I end up getting muddy colors so I always try to apply brushtrokes next to each other than work just on the edges if necessary. But if I understood what you're saying, I should do a first blocking than work on top of it in order to work wet on wet, my question is how to not get muddy colors ? Thanks a lot in advance !
Nada Bouzid
2024-02-24 15:10:47 +0000 UTCThank you!
Max Koch
2022-12-23 21:39:22 +0000 UTCI would never sand- especially with lead white. A little more oil is okay but too much will make the drying time go on forever. I think the answer to your last question is to simply follow the colors on your palette.
Stephen Bauman Artwork
2022-12-23 21:37:16 +0000 UTCGreat tutorial! But i have some Questions: Do i have to put more medium in my paint in stage 3, when painting over the dried layer because of the fat over lean rule? And i heard a lot about sanding it between the layers, would you recommend that? And last but not least, how do i put a good background in and still have color harmony?
Max Koch
2022-12-23 20:36:52 +0000 UTCIn that particular case I was keying the value at the side plane of the jaw to the value of the highlight on the forehead. By that comparison you get a much darker read than in the photograph.
Stephen Bauman Artwork
2020-10-26 10:34:26 +0000 UTCThere are a lot of things in painting that I thought I knew and have established as "formulae" in my work. Now that I learn (again) about hierarchy of values and edges I become more skeptical about everything I thought I have learned in oil painting. In a sense, it is like wiping the slate clean to start all over again... I am grateful for this new learning but wonder if "that is all she wrote" or there is more of this light at the end. And, speaking of light, Stephen, when I look at the reference photo I see a light(er) value near the edge of the model's jaw which makes that portion almost a "light shape" within a shadow shape. My interpretation is that you chose not to lighten up the value too much in your demonstration and let that part of the face kind of looking like a disappearing edge, if you could please clarify to me?
gilberto mello
2020-10-25 16:47:09 +0000 UTCI feel I have been waiting for this information for months. When I was an acrylic painter, I always did the repainting of the whole surface because acrylic values change on drying so you have to repaint or you don't know what you had. And I had been doing the same as an oil painter, to refine shapes and establish unity. But that part about re-establishing shape edges with a shadow value, now that's something I had not considered. I had strengthened my core shadow but never considered using the shadow value at a contour where I did not see that value. This raises all kinds of abstract and compositional issues and is exciting in the way that any artistic decision that interprets rather than just reproduces is exciting. Also the information about bumping up the chroma: I knew the earlier layers were lower chroma but I did not know how the decisions were made for bumping it up. Sticking to the heuristic that what matters most is value totally simplifies things. You could add to this that warm advances and cool recedes and devise a strategy accordingly, or you could exaggerate what you see; you could come up with any strategy you want if what really matters is the value. And the idea that light shape edges must be soft: I did not know. Thank you. Took copious notes.
Shelah Horvitz
2020-04-07 15:15:38 +0000 UTC
