Outstanding demonstration! You are fast becoming my favorite oil painting instructor on RU-vid. Your methods are solid and your generosity in sharing knowledge is over the top! Thank you.
Great way of demonstrating control, simplification and rich vibration of warm and cool, lights and shadow color in this charming small oil painting - very beautifull and inspiring. 🧡💚🙏
Your approach on color is praiseworthy! In structural visual theories there is not enough emphasis on isoluminance or the use of tone in same-value conditions. We find it in simultaneous contrast problem, but we don’t deepen it enough on tonal contrasts (complementary and caloric). The Bauhaus models of color, like the sphere or the circle of color, give us the false impression that the tones are ell arranged on same equatorial plane, at same median level. Actually, not only the neutral greys, but also the saturated tones have a value hierarchy corresponding as isoluminant level to a certain neutral grey. So, in practice, the isoluminant relation is established via complementary mixture of broken tones and colored greys in order to maintain a high level of saturation..
This is a very good demonstration. The technical information is precise and perfectly balanced with the time it takes to deliver the study. I feel that I have learnt a valuable lesson in colour movement/ broken colour. Thank you.
Wooooonderful demo and pure gold lesson for who we love to paint realistic and with loose brush work. I’ve been working reviewing some of your demos. Thank you so much for sharing knowledge Alex! Greetings from Mexico
This is a great lesson on color. I've been using white way too much for my high lites. White makes it look too pasty. There no richness with white. Having a great time experimenting with cool and warm tones in the back round. Thanks.
After years of painting I have finally found someone who articulates color & values in an easy straight forward manner for the complex subject of color mixing & broken color. Thank you!!!!
I was thinking of doing a landscape to talk about broken colour, because it definitely applies to landscape painting. But this seemed an easier way to demonstrate it, that people could practice at home. Maybe I should do a further video on broken colour with a landscape?
@@SIMPLIFYDrawingandPainting Definitely interested to see how you deal with some scenery with clouds and air perspective! Landscape paintings proposes quite a different set of problems I think, especially plain air ones. The change in light conditions and stuff like vegetation requires different response. Broken colour ideas apply there greatly too.
Beautiful work! Do you have any tips on keeping the mixed colors (in different hue) in the same value? I find it hard to keep the colors stay in the same value every time I add a different hue, or sometimes I can’t even tell if they are in the same value, cause it’s so subtle, would you make a tutorial on this? Thank you again for the amazing demo!
Thanks Ivy. This is actually supposed to be my tutorial on mixing different colours and keeping them the same value. I think the key is learning to recognise and simplify the values. If you can mix a colour for each of your main values, highlights, main light, mid-tone for the transitions in between the shadow and the light, the shadows and the cast shadows, you then mix new colours with each value by adjusting your original value colour. I hope that makes sense? Have you seen my video on simplifying tonal values? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OpDLyGzi9Tk.html It's one of my earlier videos, but one of my best I reckon. This thing of simplifying the values is the foundation of my whole approach. You might be interested in checking out the courses on my Patreon channel. Where I go into this in much greater depth with full length tutorials.
That's a great question and really the subject for a video. Yes, that definitely happens. Not so much with painting in general more specifically with projects that I'm working, like commissions. It can be a bit of a roller coaster, feeling something is going well and then getting frustrated with it on another day. Then there is all the other self doubt and frustration when you feel that you aren't making enough progress. That never goes away, as painting never gets any easier. The thing to remember, is all of that is mind games. The most important thing is just to keep painting through it. Bring your focus back to the problems at had, shapes, values colour. If you're really stuck, by all means take a break for a week or two and try to work on something else. Coming back to something with a fresh eye can make all the difference. Sometimes, if I'm really stuck with something I just stop there and then and come back to it the next day, it's amazing what one nights sleep can do. I often can't decide what it is I want to paint, or I have an idea and as work through the studies I get stuck or I loose interest in it. In situations like these I find it always helps to keep going to art classes or doing a course with another another artist in order just to keep practicing.
Give up painting when you get bored with it. Then as you grow older , the urge will return. OR start selling your paintings for thousands of dollars . Urge will return quickly.
@@SIMPLIFYDrawingandPainting Hi. I wanna thank you first for YOU answering. While people are busy and time seems shrinking. I actually got holydays and realized I always been losing my mind on others even if I have time for me. What blocks me is "why for". I ve no reason to paint anymore. And i actually got something that lately that makes sense : understand who i am. I lost the reason why. The core. Well, I m a painter but not one as they use to see. This is why i ve been wandering until i got stuck and tired until I stop. I realised few days ago I go naturally outside under the rain to paint and watch the colors moving. Being with nature and work with Life itself as a partner. I m a bit frustrated saying it's concept art but let's say THIS is the arti I am doing and the eyes of others don't matter. All this to say. My thing is that i had to stop and Remember who I am. It took time, days, weeks of actually doing nothing and willing nothing. At this point Nothing begins to be something. People are into action all the time and stoping is not well seen by our society i guess. I broke this point and centered myself. Now I don't paint like I mostly see 95% of the time (seriously) but who cares! :) Now the last but not least. When the charge of energy is here. Never use it for someone else. That has been my worsts action ever. Today i use this load of energy just for me. Not unlocked yet but i m on the way to it. Hoping This makes sense for anyone who read me. Peace
hello. Your video is very helpful in studying oil painting. I have questions. This is about highlight color. As a highlight color, I use a mixture of ocher + cadmium yellow + titanium white. But each artist is different. This is confusing to me. I searched but couldn't find any theory or explanation for this.
Man❤your painting impressed me a lot.... I really loved your painting technique. It remember me sargent, sorolla and other old artists. Can you pls show a portrait art in pencil. Because i am suffering to start with light and dark instead of drawing edges. In you tube, everyone shows loomis method, grid line method etc... I know thats not natural. so i want to study to start with dark and light in pencil drawing too... My english is bad 😅so pls adjust... 😊 ❤from india..
I don't use pencil. But I do have a couple of charcoal drawing demos. My technique is quite messy compared to pencil, as I use the charcoal a lot like paint, starting with large masses instead of hatching: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wCzzV8V1t-8.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-l-tI9wNeloc.html
Absolutely love this video, I think I shall screenshot your reference photo and try painting along with this, the way you build your paintings is magical.
@@SIMPLIFYDrawingandPainting I have tried some still life's in the past, and will certainly do so again. Unfortunately my painting area is my bedroom, and because of the layout and where my easel has to go, and where the window is, it's actually quite tricky to get it with good lighting, and I end up having to keep looking over my shoulder at the subject! I could use getting some bright LED lights really. My desk lamp is OK but very hot, and gives very harsh shadows.
Here is one of my older videos on drawing. Hope this explains things a little more: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-l-tI9wNeloc.html You also might be interested in my Introduction to Mass Drawing course over on my Patreon Channel?
Nice work, make! You really included a lot of the specifics that many teachers glaze over (no pun intended), which, for someone at my intermediate level (pretty beginner at oil painting, but better with acrylics & watercolor) are really extremely important & beneficial to have you go into in such detail.
2:49pm please talk about your frequent use of transparent red as opposed to another red. Transparent colors is not a addition I have learned to use. Tks
Do you mean transparent red oxide? This is a warm brown like Burnt Sienna but more transparent. I tend to use it for mixing transparent darks along with ultramarine and Alizarin crimson. I made a video on the difference between transparent and opaque colours here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JkI1yTF6DFY.html
Thank you very much! This painting was done in oils, there's a list of the colours at the start of the video. I used a little solvent for the wash at the start, but other than that just the paint out of the tube. I was working on oil primed linen that I prepared myself and I used a range of different brushes, mainly hog bristles by cornelissen and sons and some softer synthetic brushes by Rosemary and Co. I particularly like Rosemary's eclipse combers. I've made a whole series on materials, brushes, canvases, mediums etc.. here is the playlist: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hDNinFaPA30.html
@@SIMPLIFYDrawingandPainting Thank you for the quick and clear answer. I also use the synthetic brushes by Rosemary and Co. They are really good. I'm going to watch your video on mediums.
I see in Alex - the Spirit of Sargent & a great Teacher transcending every master & masterly strokes. This painting technique is parallel to wine making passed on to generations. We the present generation are enjoying the fruits. I am also tempted to say that Alex is gifted to be top notch painter & all are not gifted & there is nothing wrong in acknowledging it. That is how God made all of us different
i like mercedes s klass 300 280 from the 80 90 s and volvo french car like citroen its artist car thanks for your answer and you have right its must chep to fix i hope i can show you a portrait i have done of you some later on
Actually there aren't many Art schools these days who still teach these kind of things. Certainly here in the UK. 100 years ago it was a different matter and hopefully things appear to be changing and this kind of knowledge is becoming more widely available.
Alex could you please do a tutorial on how to paint a portrait with someone wearing glasses! There are many tutorials on how to paint tumblers in still life ( as in glassware ) but not so much as glasses on a persons face. This would be extremely helpful- thank you so much x
Here is are two portraits I did of people wearing glasses. The glasses aren't the subject of the video, but it might give some idea. The thing to do, is look for the value difference between the skin visible through the glass and the rest of the skin. Also, look for refraction and shadows cast by the class. Then try not to paint in all of the rims, just indicate them in a few places where they are most prominent: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-W2ZZXauy-kU.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GSSVlNz5Y94.html
You can set Russian subtitles. Click on the captions button in the bottom right of the screen. Then in settings, click on auto translate, it will give you a list of languages, where you will find Russian. Thank You Можно установить русские субтитры. Нажмите на кнопку субтитров в правом нижнем углу экрана. Затем в настройках нажмите на автоперевод, он выдаст вам список языков, где вы найдете русский. Спасибо
I always clean the colours that I mix off my palette after painting. If there is any pure colour left around the sides of the palette, I usually leave it, as it's usually still wet the next day. But after it dries I scrape that off too.
Excellent explanation of how art is made. You are an artist and you have an exceptionally good ability to understand colour. One of the best tutorial videos I've ever seen. Thank you.
Alex, I'm interested in signing up to the patreon, but I'd like to ask (to clarify), do I get access to all the patreon tutorials instantly when I subscribe, or just the most recent one? I would like to be able to follow the course from the beginning
Yes you do. The videos appear on the feed in the order they were made, with the most recent first. It would be better if Patreon had a menu page like RU-vid where you could see all the videos at once, rather than scrolling down to find the earlier ones. But you can also navigate using the tags, which are visible at the top of the home page. I've given all my courses tags, the one to start with is "intro to mass drawing".
Happy to see your new vid . Couple of stupid tangerines turned into a classic ,reminds me about Repin (apples and leaves ) .. You are rare treasure , to give us this knowlidge of a dying fine art in these days ! Respect and big thank you ...
Can i draw the full edges of objects or is it important to study like your drawing?because it's really hard to draw like you but i still practicing to draw only light and dark.
Ideally yes. If you want to learn to use oil paint properly, you need to learn to draw what you actually see, light and dark shapes. So if you can't see the edges of things don't draw them.
I usually only use turpentine to tome the canvas at the start, but yes it's ok to use a few drops of turpentine for the block-in i.e. the bottom layers of paint. But after that it isn't a good idea to use any as it thins the paint too much.
Yes Indeed. Ideally you want a clean brush for each new colour. So you need to keep cleaning your brushes in solvent as you go. Or, do what I do and keep using fresh brushes. But you end up using loads of brushes and it's quite tedious having to clean them all afterwards. Here is a video I made on brushes where I talk about some of this stuff: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hDNinFaPA30.html
0:47 what are you adding to thin the colour . I dont know anything about oil .recently i am working with acrylics.pls also do a video about‘how to paint loose in acrylic ’if you can..thankyou
@@hhhjhffghbn In this demo the only time I thinned the paint was at the beginning when a toned the canvas. I used orderless mineral spirits. But after that I just used paint out of the tube. If you were using acrylics, water would behave the same way as mineral spirits.
I use a bi-colour dimmable LED lamp, which is adjustable for temperature. The one I use is a Pixapro VNIX LED 1000B. I paid about £200 for it. But there are much cheaper bi-colour LED lamps available. You can also get daylight LED lightbulbs from the hardware store for £5 which are ok. I'm planning to do a video on lighting sometime soon.
Alex, I attempt to apply the mass drawing technique, it's really good! However, I find it hard to incorporate negative space into this technique. I tried to paint a boquet of flowers using the mass drawing technique, and drew a triangle to represent the portion of the boquet where the flowers emerge, and another triangle-ish shape to represent where the stalks and leaves were going (it was resting on a table). I then massed in rough tones and carved out shapes. Later on in the process I realised that I needed to introduce negative space into the boquet in order to match the shape of the outline of the boquet. I tried using a piece of paper towel, with a small amount of solvent on the end, in order to erase it how I wanted. But in the process of doing this, I erased the ground of raw umber I had placed down earlier. It was a tonal study, so I was working in raw umber and white. How can this kind of thing be managed?
Thank you very much! Glad you find my videos helpful. Solvent will tend to wipe everything away underneath it. However, you should be able to just re apply the dark after the ground has been wiped away? Also, depending on how transparent your negative space is, you don't necessarily need to wipe away the lighter mass in order to paint over it. I made another video on painting darker colours over light. I'm not sure if its entirely specific to your question, but maybe it will help? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JkI1yTF6DFY.html
