You are a national treasure! I bought your book, Finding Freedom to Create. I love it and recommend it to EVERYONE. I also just tried your Gamsol/Poppyseed oil method and boy did that make a difference! In addition to watching all of your RU-vid videos, I am looking at the DVDs to buy some of those. My only wish? You made a T-shirt that said "Just a liiitle bit....". I'd buy that in a heartbeat!
Thanks for the info.. I’ve been trying very similar approaches to my watercolors and gouache pieces .. the underpaintings are very helpful to get better contrasts of lights and darks , and helps me to stay focused on values ,as well . Thanks again ..
I have done it like this, it really does work and give the illusion of detail right of the hop and quickly gives a landscape sketch takes ,care of the little shadows .
I love your videos. Your artwork has a beautiful dreamy quality. Even your little background painting is just so pretty. Thankyou for the quick tip. :)
Such a good tip. I am going to try working this way on my next project. It feels right to me because I really kinda don't like drawing on a canvas with anything. This seems a great way to get a feel for the desired composition in an organic way. It's interesting how each person has a preferred method and I think this method might be right up my alley. Thanks Dianne :-)
Thanks Dianne. I often use an under painting and find that when I do, the outcome is usually better than if I had not. This also gives you less struggles along the way.
It would be helpful to see the step after the underpainting is finished. So. If we could see how you then add color, and see how the final painting looks completed, would be great.
I am fascinated with how this is an extension about the under-painting that I was just commenting on another lesson (about painting grasses). Again the worth of this lesson is going to make a big difference in the next painting I attempt.I LOVE this lesson; it forces me to be aware of the need for planning what I want to paint...forcing me to work up my sort of "rough draft".
You made this so clear to me in a way I can understand the importance of the underpainting I love art and what I have learned is from artist like yourself . Thank you for sharing.
Thanks, but what's the difference between blocking and underprinting (except monochrome and colorful)? Seems basically the same or very close methods to me, could you explain this for me? Thanks.
Any part of the painting that lives under the finished layer is underpainting, whether called block-in or something else. The painter should become too concerned about terms, though.
I find the solution of all painting related questions in your lessons. Thank you very much. I recently used burnt sienna in the same way as shown in this lesson, but it's not drying up even after 4-5 days. Please advise.
Manju, that is unusual. But not knowing the brand you are working with, I can't really suggest why it is not drying. Were you using it for lift out, and were you using a solvent with it? If you were using an oil, was it walnut oil? When using a refined solvent such as mineral spirits for lift out, the solvent evaporates within minutes, but a slow drying oil such as walnut oil, my method in this Tip won't work because of the lag in drying time.
Thank you for this concise video. How would an additive underpainting verses a wipe out or subtractive underpainting effect the final painting? Or does it?
Nan, if you begin with a toned canvas, areas not in shadow will come out to be that tone. But the notan is not a part of the painting, only the pattern of light and shadow. It is a guide, so the final painting may or may not include influence from the underpainting. As a usual practice, those paintings who begin with the notan don't tone the canvas first, although it's fine to do so. Also, for some the underpainting notan serves also as the canvas tone.
My guess is that you do not suck. Brain chatter is our worst enemy. Change that attitude to finding a way to make things work and you'll discover that they key is learning the skill to do. See Quick Tips 251, 252 and 253.
Souzane, that depends upon the local color within the reference as well as what the light is doing to it. This Tip, Underpainting Lift Out, is about finding and plotting the light/shadow pattern which, in my experience, is extremely helpful in determining what the light source is doing. The colors we use to create this step are relatively insignificant. Some painters prefer a complement to the local color, others prefer a neutral, while others prefer a color analogous to the local color. I personally prefer a more neutral color.
Linseed oil is the binder that is used in most oil paints. Tarpeen oil is used as a topical medical for soothing pain so I don't think it wise to use it with oil paints. Turpentine and tarpeen oil are different in that turpentine is a solvent. Gamsol is a solvent, too. Gamsol is a refined mineral spirits, so any refined mineral spirits or refined turpentime would work for this underpainting liftout.
I usually use W&N Burnt Sienna (PR101) in pleinair underpaintings. I'm thinking I need to use something cooler like Raw Umber though or mix ultramarine into the B Sienna in order to capture icy skies in Irish winter. Do we have much knowledge about how an underpainting colour affects the result? I've seen zero youtube videos on this. Edit: thanks for all your great videos!
Do we use Notan and under painting simultaneosly in a painting or both are two seperate ways of starting a painting.if both are part of a single process then which one comes first.Notan or under painting
Faisal, the notan is only a pattern showing the difference of what's in light and what's in shadow. Not all artists use it, but in my work, it goes on the canvas as a part of the preliminary drawing. On top of the notan, I start blocking in the shadow shapes and the light shapes.
@@IntheStudioArtInstruction I ask cuz I recently seen in done on Bob Ross by his guest John thamm ..doing a portrait but said can be done doing anytype of painting just with acrylic is harder cause it's not absorbent.. check out the video if can it's on YT.... It's only time ive here of the shellac technique..and can't find any other examples...
Great tip In "mural painting" some of us call it "toning the canvas" and/or "blocking it in" However it is all relative to like you said to basic "Color Harmony" and setting the light and dark values. Very nice work, Very clean. I love landscape painting. Actually I like it all
I love your quick tips. I have been a watercolourist and acrylic painter so far but would like to get into oils. Are there any drawbacks to water mixable oils? I'd rather avoid traditional linseed oils (and turps).
The only experience I've had with water mixable oils is what I've seen my students do with them. My opinion is that they are too new for a real test of time, but I've not heard of any drawbacks. There are water mixable mediums to mix with them, even a linseed oil.
Acrylic dries so fast, lifting out like this is difficult, however you can use watercolor for this approach, then acrylic on top. Even the cheap pan watercolors will work, like those made by Prang.
I love watching your tutorials. I learn so much. I have noticed you have A LOT of paint on your palette, is there a way you are just using it over and over? I would be afraid to waste paint, but maybe you have advice on how to keep it out of the tube without it drying up?
Thank you for that great lesson, Dianne! I have a question about Gamsol, though. I have Rosemary brushes, and I think you have some, too. On their web site, they say some people find that Gamsol makes their Ivory and Classic Bristle brushes splay and curl up at the ends. They add that, apparently, not everyone experiences this problem. Have you? I'm curious because I own a bottle of Gamsol and now I'm afraid to use it! Thank you! :)
I've have not had any such experience with my Rosemary brushes. Gamsol is just refined mineral spirits, so I suspect something other than Gamsol is the culprit for these folks.
Hi Dianne, thank you so much for your tips. A lot of great information. I was wondering have you used water miscible oils? Can you talk about them? Is the technique same as using regular oil? I am using solvent specifically for the WMO , is it like using gamsol? I only use water to clean brushes. Am i using this solvent correctly? Or do I have to use water. The colors are very flat. Can you help? Thank you very much
I don't have experience with water soluble oils, but they were made water soluble so that water could be used rather than solvents, so yes water rather than Gamsol. I suggest for thinning paints you use water soluble mediums. Other than that, painting with them is the same as painting with regular oils so far as I know.
Interesting that you use so much gamsol, Does the pigment stick enough on the canvas? I always scrub in raw umber straight from the tube and wipe away the exces to get a middle value ( or lighter). The layer is lean, but not as slippery as I find the case with gamsol. Thanks for your wonderful instruction video's, they/you are the best!
Hi Dianne ...just wanted say I love your teachings.. You remind me sooooooo much of my dear mother. You look almost exactly alike ....even your accent and mannerisms.... Its so amazing to me .... Your instructions are clear and precise ....easily understood . thank you for your immense sacrifice of making your videos. They truly help a new painter like me. 😇
Thank you. Answered lifting out 😲 makes sense. Wish I could do oil but restricted due to allergies. I follow you for your tips and 😁 finally figured out comments. Thank you for the the videos clearly helpful 😁
Thanks a million again Diane! I’m about starting a nocturne painting but using this tip as underpainting. All the best to you master. Greetings from Mexico!
