Very impressive and very thoroughly explained. The scumbling fase seems to me like the most crucial, delicate (and scary) part. Well done and thank you for sharing these videos.
Hey man! Great demonstration so far, I really hope you will take this work to the end so we can apreciate more of its development! Subscribing right now!
SO pleased to see the bg go in dark - don't think I could have left it that long before I could see the overall balance of the picture. Great series this - looking forward to the next stage.
really incredible videos, thanks you. i'm from brazil and i dont have to much income tom expend in a course because of the US dollar price. Those videos were what i was searching for. Thank you. I would love to see how u paint some of your landscapes too, they are beautiful.
A very impressive demo series, very helpful. I remember reading Eastlake's book many moons ago which more or less covered this technique as you have laid it out. Great to see it performed so skillfully. .....And what a beautiful self portrait, I have to say.
Hi Daniel, I’ve only just discovered your tutorials, and they are great -thank you so much. I can see they were all posted a year ago, and I was wondering if you finished the painting as I’d love to see it please. You’ve left all your followers on a cliff hanger!
Hi Daniel, I am not great with words so please excuse the bad grammar. I would just like to let you know that I have been learning to Paint from RU-vid for a year now, and I am currently binging your episodes. They are the most helpful and informative videos I have seen and I do hope you find some time in the future to continue adding content to this channel, I know you haven't been active in the last few years but I will be Subscribing just in case. ;)
I am pinting a similar portrait with light from the side and was facing difficulties in identifying the cool shades. Your demo will help me a lot. Thanks!
@@danielkrobbins6644 I enjoyed watching you work whilst you explained the different techniques, use of colour and brush strokes.You also gave a lot of good tips too. I understand grissaille a lot more now.
I’m so glad, Ingrid. I originally made these videos to replace in person instruction for my college students during the pandemic. I’m glad other people are finding them useful, too.
seems pretty illustrative for being venetian, i wish you wouldve kept more light in the background, and had your body centered more in the page. The realism is fantastic, and it reminds me of tintoretto's self portrait as a young man.
Another great video! Scumbling and glazing look similar- it the difference just the transparency ? It's hard to see, but it appears you painted over the entire painting, over all the glazing, yet when I look at the finished work I can see the layers.
You are very organized and detailed artist which is a great gift. You are not working on a canvas are you? I ask because on your first video you mentioned sanding the surface a little? Thank you, I am not sure if you would answer my question for it seems that this video was shown a year ago?
is it possible to do the underpainting, and then go straight into glazing without doing a grisaille? say i did an underpainting in burnt sienna, and the white of the canvas showing through some 'pockets' would be my white, then let it dry, would that allow me to go straight to glazing? or is grisaille very necessary? thanks for these tutorials
Yes, but the burnt sienna underpainting you’re talking about is a type of grisaille. Just make sure you let it dry before glazing on top. Glazing has to be done on a dry painting.
@@danielkrobbins6644 thanks! one last question if thats ok. Should glazing be done using transparent/semi transparent paints only? like, can you have a glazing palette? that consists of indian yellow, alizarin, pthalo and say zinc white? is that optimal?
Glazing is the most luminous when you use transparent or semi transparent paint, though opaque paints can still make beautiful - but less luminous - glazes. For the purposes of archivability, you would want to use the same pigments in each layer of your painting. Therefore, you would not want to use completely different colors in your glaze layers than the colors in your scumble layers. If you are using the glaze colors in your scumble layers as well, you probably don’t have much to worry about. Also, you shouldn’t use zinc white or any titanium pigment that has zinc white in it. Zink white has many problems in creating archival paintings. A quick Google search will show you tons of scientific information on the topic.
@@danielkrobbins6644 ohhh wicked! thats very useful to know, thanks a lot for taking the time to let me know man! Ill look into a good glazing 'palette' of colours. cheers
Gamblin has a page on their site related to the archival qualities of zinc white based on research by the Smithsonian -- worth a read. Tl;dr summary: Don't use as a mixing white, too low tinting strength so you'll use too much. Don't want over 15% zinc white. Don't use on your first layer over acrylic gesso. Do paint on a panel or rigid support when possible instead of canvas. Do use as glazes and scumbling to increase luminosity, particularly when combined with an alkyd medium.
Can you give a run down of the brushes you have/buy so that we can purchase which includes the sizes. I use a lot of the angular ones. I have bought a lot of brushes from Rosemary Brushes, but hate having to have them shipped from the UK.
at around 7 minutes you added gamsol to your scumbling mixture... wouldn’t that break the fat over lean rule? because you’re putting that on the previous layers that have more oil (the glazing layer)... just wondering! i’m a beginner with oil paint so i’m just trying to understand these concepts and how they work together (fat over lean and glazing and scumbling).... also another question if you don’t mind: you said that with fat over lean there should be successive layers with more oil in them... but can you do successive layers with the same amount of oil? meaning you just let layers dry before you go in with the next layer which will have the same amount of medium/oil? or do they HAVE to have MORE oil necessarily? I hope i explained myself clearly hahaha :) great videos by the way! i’ve been binge watching the whole process, very detailed :)
vickrdable Just adding solvent would break the fat over lean rule, but a few seconds before I reach for the solvent I actually add a little bit of oil to the mixture. Unfortunately I didn’t mention this in the video.
vickrdable to be safe, successive layers should have at least a slight increase in the oil content. This ensures slower drying and increased flexibility. You could also use slower drying, more oily pigments on top of less oily pigments. That would be a way of getting around adding oil to the paint if that is the issue you are trying to solve.
@@danielkrobbins6644 thank you so much for answering! also, do the final layers of a painting have to have lots of oil? say, can i start with just solvent and then end up with a final layer of something like 80% solvent and 20% if I wanted to? and as long as I varnish to maybe get rid of the matte look if I didn’t like it? I just feel like I like the feel of more solvent but that could be just from me being a beginner and not really having a good sense of paint flow. Basically I’m wondering if the final layers HAVE to be very oily or if a painting can have a couple layers that follow the fat over lean rule but at the same time don’t get very far into using a mostly-oil medium. For example: layer 1) 100-0 layer 2) 90-10 layer 3) 80-20 (solvent - oil)
Hey Lynn, the middle tones I am referring to are the darkest parts of the light areas. They are the points right before the light turns to shadow. The middle tones are part of the half tones, but they are a more specific area.
That’s entirely possible but leads to different results. The Venetian method incorporates light into the paint layers and make for a more complex surface texture than what you are describing (direct painting).
No because the impasto layer has a greater proportion of oil than the glaze layer. Large amounts of oil should not be added to the glaze to thin the paint.
Can’t see the results of application. Need a good close up. Please descibe your color ratio and choices rather than effect. Right now i can’t see or learn anything. Sorry. Maybe you’re purpose is not to teach only paint for your own enjoyment.??
