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Nikita Coulombe
United States
เข้าร่วมเมื่อ 7 ม.ค. 2013
Tune in for painting demos and take a behind-the-scenes look at my creative process.
Feel free to subscribe if the content resonates and check out my related links below.
#artsupplies
#colormixing
#natureartist
#oilpainting
#oilpaintingtutorial
#paintingdemo
#paintingtutorial
#wildlifeart
#wildlifeartist
Feel free to subscribe if the content resonates and check out my related links below.
#artsupplies
#colormixing
#natureartist
#oilpainting
#oilpaintingtutorial
#paintingdemo
#paintingtutorial
#wildlifeart
#wildlifeartist
Step-By-Step Realistic Oil Painting Tutorial - Deer Skull #realisticpaintingtutorial
In this step-by-step oil painting tutorial, I’ll guide you through painting a white-tailed deer skull. No drawing skills are necessary and no solvents are used. You can choose from 4 different background colors. Use the links below to view and download the reference images and supply list of your choice. Comment under the video if you have any questions.
- Dropbox folder: www.dropbox.com/scl/fo/sedhesgxz59w3kzy2a8ap/h?rlkey=ngauyp4aliktdjv719hwh0zyb&st=wwv7ptpv&dl=0
- Carbon transfer paper (optional): amzn.to/40tEre6
If Dropbox is being weird or asks you to sign in, I’ve also uploaded all of these files to my website. Visit: www.nikitacoulombe.com/files and select the Deer Skull Tutorial folder.
Note: I own the copyright for all of the images used in this tutorial. You are welcome to use any of them for your own personal use but you may not distribute them or use them for commercial purposes.
Want to see more? Check out...
My site: www.nikitacoulombe.com
List of essential studio supplies: www.nikitacoulombe.com/artsupplies
Preferred paints: www.dropbox.com/scl/fi/eg3k4e431c9rzrqxvmmas/Preferred-Oil-Paints-and-Pigments.pdf?rlkey=9cr2i22lrjr93fxvhuwusp5co&dl=0
Instagram: nikitacoulombe
Prints and merchandise: nikita-coulombe.pixels.com
#deerpainting
#fullpaintingdemo
#fullpaintingtutorial
#mementomori
#oilpaintingdemo
#oilpaintingtutorial
#realismpaintingtutorial
#skullpainting
#solventfreeoilpainting
#starttofinishpaintingtutorial
#stepbysteppaintingtutorial
#traditionalpaintingtutorial
#wildlifepainting
- Dropbox folder: www.dropbox.com/scl/fo/sedhesgxz59w3kzy2a8ap/h?rlkey=ngauyp4aliktdjv719hwh0zyb&st=wwv7ptpv&dl=0
- Carbon transfer paper (optional): amzn.to/40tEre6
If Dropbox is being weird or asks you to sign in, I’ve also uploaded all of these files to my website. Visit: www.nikitacoulombe.com/files and select the Deer Skull Tutorial folder.
Note: I own the copyright for all of the images used in this tutorial. You are welcome to use any of them for your own personal use but you may not distribute them or use them for commercial purposes.
Want to see more? Check out...
My site: www.nikitacoulombe.com
List of essential studio supplies: www.nikitacoulombe.com/artsupplies
Preferred paints: www.dropbox.com/scl/fi/eg3k4e431c9rzrqxvmmas/Preferred-Oil-Paints-and-Pigments.pdf?rlkey=9cr2i22lrjr93fxvhuwusp5co&dl=0
Instagram: nikitacoulombe
Prints and merchandise: nikita-coulombe.pixels.com
#deerpainting
#fullpaintingdemo
#fullpaintingtutorial
#mementomori
#oilpaintingdemo
#oilpaintingtutorial
#realismpaintingtutorial
#skullpainting
#solventfreeoilpainting
#starttofinishpaintingtutorial
#stepbysteppaintingtutorial
#traditionalpaintingtutorial
#wildlifepainting
มุมมอง: 176
วีดีโอ
What Kind of Artist Are You? | Purists vs Entrepreneurs #artistlife #artbusiness
มุมมอง 170หลายเดือนก่อน
I think artists have different temperaments that exist along a spectrum between purist and entrepreneur, and these differences cause tension in the art community. Are both ends of the spectrum valid? What can we learn from each type? Want to see more? Check out... My site: www.nikitacoulombe.com List of essential studio supplies: www.nikitacoulombe.com/artsupplies Preferred pigments: www.dropbo...
Orange Molybdate vs Cadmium Orange and Cadmium Red Oil Paint #oilpaintcolors #orangeoilpaint
มุมมอง 1732 หลายเดือนก่อน
Rublev Orange Molybdate (PR104) is an opaque lead-based deep orange/bright red hue that is half the price of Cadmium Orange (PO20) but takes twice as long to dry. In this video, I compare it to Cadmium Orange and Cadmium Scarlet (PR108). While Orange Molybdate has not been rated for lightfastness by the ASTM, Natural Pigments (the maker of Rublev paints) states that “independent studies have sh...
Color Ideas for Painting Sunsets #paintingsunsets #colormixing
มุมมอง 1103 หลายเดือนก่อน
Cobalt Teal Cadmium Red Deep makes a magical purple-grey color that creates an interesting contrast next to Cadmium Orange. Venetian Red is a Mars Red that leans towards orange, which adds a subtle vibrancy next to Cobalt Teal. These colors lend themselves to painting sunsets where the sun is starting to dip below the horizon. These are the paints that I'm using: - Michael Harding Cobalt Teal (...
Artefex Panels - Best Rigid Supports for Oil Painting #oilpaintingsurfaces #artefex
มุมมอง 2723 หลายเดือนก่อน
Artefex produces high-quality rigid supports for oil painting. In this video, I compare their oil primed linen on aluminum composite panels (ACM panels), oil primed aluminum Oleopanels, and copper panels. ACM panels are a relatively new support in the history of painting but show promise as a stable support for paintings because they are unlikely to warp and don’t react to relative humidity (RH...
Gloss Varnish vs Satin Varnish vs Matte Varnish #varnish #varnishing #oilpainting
มุมมอง 3.8K3 หลายเดือนก่อน
This video compares Gamvar Gloss, Satin, and Matte varnishes. Gloss varnish is often preferred for dark-color paintings because it saturates them. The downside of gloss varnish is that it is shiny and reflected light can obscure details depending on the angle that a painting is being viewed. Satin varnish is semi-glossy and saturates color, but not as well as gloss varnish. Satin varnish reflec...
Color Mixing - How to Make Vibrant Purples #purpleoilpaint #colormixing
มุมมอง 1134 หลายเดือนก่อน
In this video, I demonstrate how to mix a variety of purples using the 5 paints listed below. You can access all of my color studies as PDFs here: www.dropbox.com/scl/fo/j82foq9qxzhg5xb73z4kv/h?rlkey=b4s4earhmp3202z7m26i2jj1v&st=z6ivxw85&dl=0 Individual paints: - Michael Harding Foundation White (PW1, PW6): bit.ly/mh-foundation-white - Michael Harding Phthalo Blue Lake (PB15:3): bit.ly/mh-phtha...
Frame Options for Artists #pictureframes
มุมมอง 1444 หลายเดือนก่อน
This video outlines several frame options from affordable to expensive for painters who use canvases and panels. See links below for the most updated frame sources Foam tape: bit.ly/lineco-foam-tape American Frame: www.americanframe.com Florida Frames (higher end version of American Frame): floridaframes.com Michaels: www.michaelscustomframing.com Jerry’s Artarama: www.jerrysartarama.com/framin...
Making a Huge Commissioned Painting… Sink or Swim!!! #artistlife
มุมมอง 8814 หลายเดือนก่อน
I’m trying out a different style for this commissioned painting and am completely out of my comfort zone! Wait till the end to see my friends' reaction… This is my color palette, if you’re interested: www.dropbox.com/scl/fi/jhmy5mtl9s1w10knzrnks/Example-Palette-No-2.pdf? Want to see more? Check out... My site: www.nikitacoulombe.com List of essential art supplies: www.nikitacoulombe.com/artsupp...
Oil Painting Tutorial - Create Soft Focus with “Couching” #oilpaintingtechniques
มุมมอง 6534 หลายเดือนก่อน
Oil Painting Tutorial - Create Soft Focus with “Couching” #oilpaintingtechniques
How to Paint Nubby Feathers #paintingbirds #birdpainting
มุมมอง 6565 หลายเดือนก่อน
How to Paint Nubby Feathers #paintingbirds #birdpainting
My Nature Color Palette #colorpalette #wildlifeartist
มุมมอง 2775 หลายเดือนก่อน
My Nature Color Palette #colorpalette #wildlifeartist
The Artist's Dilemma #artistlife #artistmindset
มุมมอง 3615 หลายเดือนก่อน
The Artist's Dilemma #artistlife #artistmindset
Oil Paint Colors - Is Green Necessary? #colormixing #greenoilpaint
มุมมอง 5328 หลายเดือนก่อน
Oil Paint Colors - Is Green Necessary? #colormixing #greenoilpaint
Re-Creating Naples Yellow #naplesyellow #colormixing
มุมมอง 1.5K8 หลายเดือนก่อน
Re-Creating Naples Yellow #naplesyellow #colormixing
Spotlight on Cobalt Teal #cobaltteal #paintcolors
มุมมอง 7778 หลายเดือนก่อน
Spotlight on Cobalt Teal #cobaltteal #paintcolors
Black and Yellow Make Olive Green #oilpaintcolors #colormixing
มุมมอง 4488 หลายเดือนก่อน
Black and Yellow Make Olive Green #oilpaintcolors #colormixing
Lead White vs Titanium White Oil Paint #oilpaintreview
มุมมอง 2.1K8 หลายเดือนก่อน
Lead White vs Titanium White Oil Paint #oilpaintreview
Burnt Umber - Color Mixing Alternatives to Avoid “Sinking In” #colormixing
มุมมอง 1.9K9 หลายเดือนก่อน
Burnt Umber - Color Mixing Alternatives to Avoid “Sinking In” #colormixing
Painting a Skull with Semi-Transparent Layers #oilpaintingtechniques
มุมมอง 1.6K9 หลายเดือนก่อน
Painting a Skull with Semi-Transparent Layers #oilpaintingtechniques
Painting Feathers - Paint Towards the Center to Get a More Natural Look #featherpainting
มุมมอง 8Kปีที่แล้ว
Painting Feathers - Paint Towards the Center to Get a More Natural Look #featherpainting
Canvas and Panel Quality Comparison #artsupplies #canvaspainting
มุมมอง 1.8Kปีที่แล้ว
Canvas and Panel Quality Comparison #artsupplies #canvaspainting
12 Strategies to Sell More Art #sellart #sellingart
มุมมอง 470ปีที่แล้ว
12 Strategies to Sell More Art #sellart #sellingart
Oiling Out - How to Fix Dull and Shiny Patches in Oil Paintings #oilpainting #oilingout
มุมมอง 8Kปีที่แล้ว
Oiling Out - How to Fix Dull and Shiny Patches in Oil Paintings #oilpainting #oilingout
Finding Your Artist Voice #artist #artistlife
มุมมอง 350ปีที่แล้ว
Finding Your Artist Voice #artist #artistlife
Art and People Pleasing Don't Mix #artist #artistlife
มุมมอง 1.1Kปีที่แล้ว
Art and People Pleasing Don't Mix #artist #artistlife
Oil Paint - Gold Ochre vs Raw Sienna #oilpainting #artsupplies
มุมมอง 1.4Kปีที่แล้ว
Oil Paint - Gold Ochre vs Raw Sienna #oilpainting #artsupplies
Oil Painting - Vulture Study Details #oilpainting
มุมมอง 283ปีที่แล้ว
Oil Painting - Vulture Study Details #oilpainting
Timestamps: 0:00 - Intro: PW1 vs PW6 0:08 - Gamblin Titanium White 0:36 - Michael Harding Titanium White 1:14 - Rublev Lead-Titanium White 1:47 - Michael Harding Foundation White 2:21 - Michael Harding Cremnitz White 3:10 - Overview of all paints
You are a world class artist my friend!!! One of my inspirations to change from Gouache to Oils. I’ve found it challenging at first but am slowly getting the hang of it. I’m enjoying it too and realised I can still achieve those fine details like yourself that I thought May be sacrificed, but it’s all great!! Thanks so much for inspiring me, your world class work is up there with the very best girl 🏆🏆🏆
Wow, thank you for sharing that, David! It's hard not to fall in love with oils and the learning is endless. I've painted with gouache before and it's amazing for dry brushing leaves and flowers, but it dries so fast. I bet you'll find that you can get even finer details with oil paint due to its unique layering capabilities and slow drying time.
@@NikitaCoulombe yeah to be fair I used gouache to its maximum potential with the airbrush to achieve the blending, but what let it down for me was when my Bateleur Eagle painting was a finalist for David Shepherd Wildlife Artist of the Year 2023, I was very confident it would do well until I got to the event at the prestigious Mall Galleries in London. Whilst very confident in the quality of the work, hung on the wall in the gallery behind even the most expensive museum glass to prevent reflection only then did I realise how dull it looked behind the glass compared to works varnished completed in oils in particular but also to some extent acrylics!!! That’s when I started considering oils and sure enough got watching your videos!! The vibrancy of the colours in oils is breathtaking!!!
@@davidprior1196 that’s a very good point, gouache is quite matte. Oil paints are so wonderfully vibrant, plus, oils stay the same color that you put down vs dry darker like gouache. Congratulations on being a finalist by the way, that’s awesome!
Which one is best one for Black and white acrylic portrait?
@@tanyagupta9830 any of the varnishes mentioned would be fine over acrylic, it really depends on which sheen (matte, semi-glossy, or glossy) you prefer. If you like a glossy look you can also try Golden Waterborne Varnish, which is a removable acrylic polymer varnish with UV protection that is made specifically for acrylic paintings.
I have spent my life being both depending on the moment. Every artist will find their place and as long as you are creating, you’re good. It’s very simple, artists make art.
The brush hack is a life saver!!!! thank you so much!!
@@literallymiyohu glad it’s helpful!
It's easy to see why people fall in love with your paintings. The quality from start to finish - the curious details, the glazing, moodiness , depth... there's so much. Terrific insightful and instructional video. Congrats!
@@pennyd8504 thank you!
So cool!
Thank you!
Timestamps: 0:00 - Intro 0:11 - Supplies 2:27 - Composition tips 2:49 - How to transfer the image with carbon paper 3:30 - Focus on shapes first 3:59 - Mixing colors 4:46 - Painting start 6:50 - Initial shapes complete 7:05 - Value check: black and white comparison 7:34 - Refined linseed oil increases transparency 7:45 - Semi-transparent layers start 8:22 - Paper towels absorb paint and create texture 8:38 - Transparent Oxide Yellow requires less dilution 10:15 - Foundation White adds opacity 10:58 - Paint around the lightest areas 12:00 - Add details while the paint is still wet 13:20 - Speedpainting top skull section 13:30 - Creating depth with layers 14:29 - Right eye details 16:02 - Speedpainting middle skull section 21:24 - Speedpainting lower skull section 24:37 - Antlers overview 25:52 - Pearling texture 26:19 - Antler color palette 26:50 - Antler time lapse 27:39 - Background main color mixing 28:24 - Background painting start 29:18 - How to create seamless texture against the antlers 30:37 - Background shadow color mixing 31:12 - Speedpainting background 33:56 - First layer of background complete 34:35 - Second layer of background start 35:39 - Soften edges with the round brushes 37:01 - Brightening the left side 38:27 - Memento mori 39:46 - Eyes final details 40:44 - Skull time lapse 41:28 - Finished painting
It's so gorgeous
@@jasonstreet_art thank you, Jason!
I struggle with my art because I don't like to use references.. so I started photography. My clients like my prints and I try to always be original. I try to paint from my heart...I love to learn from anyone that is willing to teach me. Long weird answer.. but that's the best way I can answer this video. I love all your work. Such patience is a skill I still need to task.
I clicked on your channel and saw that you paint birds. I feel like all of us animal and wildlife artists rely on photography to some degree because animals, especially animals in motion or birds in flight, are nearly impossible to paint from life. It sounds like taking up photography is helping your work feel more authentic and that's awesome. Wishing you much success with your prints and cards!
@NikitaCoulombe very sweet. Thank you
Are there DIY caps or covers I can make in case all paint caps are broken? Pls help
@@stntrschr Gamblin sells paint tube cap replacements for their 37 paint tubes, I can’t post a link but you can visit their site. You can also google “paint tube caps” to see what else is available that could work with other brands.
Totally agree, Nikita! Artists are mostly introverts who live in their own world, this is where they get their inspiration and ideas. Sadly, in today's world, it's the person with great marketing skills who steals the show!
An artist has to protect and develop their inner world in this world of noise but I don't know if it's a sad thing that having great marketing skills can help an artist succeed. For the first time artists have the opportunity to promote themselves exactly how they want instead of always having to go through gatekeepers. An especially creative person can create their own brand based on their values and find their audience rather than having to mold themselves to "what sells."
@@NikitaCoulombe I think nowadays most artist are persuaded to mold their art & ideas as per the market. Some even have to present a different personality which leads to inner conflict & lack of original ideas. Just my opinion. I might be wrong here...after all you are an artist!
@@irfanfarooq99 that is a really fair point. A few years ago, a gallerist friend mentioned the sudden popularity of square paintings - no doubt related to the square format of Instagram! Some artists definitely struggle with how to present themselves or get burnt out trying to ride the algorithm wave.
Or just use zinc white, they work the same
@@user-rf9or4vu4c research suggests Zinc White (pigment PW4) is prone to delamination and cracking over time. Further information on Zinc White's issues can be found here: www.naturalpigments.com/artist-materials/zinc-white-oil-paint-color
no
If one is to paint full-time, an artist has NO CHOICE but to be an entrepreneur. With no rent for a studio, no lights, and no food, there will be no artist. The word amateur, by definition, defines the purest. They paint "just because" as the artist/entrepeneur, paints to survive. An artist in the real world has to sell their work to survive, if not their work they will teach, or make money with social media.
I feel like more artists and art schools need to recognize this.
@@NikitaCoulombe Hi Nikita, I agree so very much. There needs to be career training of some sort. There are ways to make money and build a side hustle to begin while they are at school. Those side hustles can blossom into real incomes; however they must start early in their careers. The purest mentality can not sustain itself unless.
@@TimothyJohnLukeSmithPSA maybe the solution is recruiting more entrepreneurs to be teachers. At least in art schools, it seems like the romantic vision of the artist persists.
@@NikitaCoulombe That is an amazing idea! Also to give a wake up call to the students that if they wanted to go the "Purest" route, they best know that they will need to do something else to keep the heat on in the winter. Most people need to support themselves and art school does not prepare the student for that at all.
I worked as a commercial artist for most of my career and burned out doing work for other people. By the time I was in my 40's I couldn't take it any longer and needed to do work that was meaningful to me. Doing my best to navigate how to make that financially feasible for me. It was like a switch went off though and I physically/emotionally/spiritually could not ignore the desire to create from a place of authenticity any longer. But technology has changed so much since I started out as a scrappy 19 year old kid making comics and working any old job just to follow my dreams. It has been difficult to keep up and I could see how a team would make all the difference. I would love for that to happen.
It's always good to hear your thoughts, Will. Finding balance is key. I hear more and more artists who've been at their craft a long time say that they are accepting fewer commissions because they can only make art that they want to make, and some are pivoting to teaching to make up the difference in income. How would you delegate if you had a team?
@@NikitaCoulombe Someone that speaks websites as a fluent language and understands and values the mission of the art I want to help bring into the world. My intention is to teach through play, creation and community using my cartoons. I am fairly good at it in person, but translating that to an online community has been challenging because of my own limitations with web design. I had a website for a long time that did pretty well, but it borked out about 6 years ago and I am slowly crafting a new one. Its a challenge I would have just thrown money at before but financially things are pretty rough right now. Been in survival mode since I stopped working in animation a couple years back. Its a miracle I am still housed at the moment. I am thankful for that.
@@WillTerrell hope your mission and vision come to life. Great web designers can make a big impact. SEO is always evolving too.
@@NikitaCoulombe Are you able to provide for yourself with your art career? Or is it a hobby and you have a side gig, or something in between? What side of your question do you feel you fall into?
@@WillTerrell I am a bit of both, but always leaned more to the entrepreneurial side. I used to feel more inner tension and insecurity, thinking I should be more of a purist. But that feeling has faded. The ups and downs of being an artist are rough mentally, so I'm pursuing entrepreneurial options that feel authentic.
Picasso was both a purist and an entrepreneur! His work is loved by many and he had innate skills that he had the courage to develop his unique style, from. I admire his courage in exploring his world but I’m not a fan of his work.
@@janetgoldstein7597 indeed, you can be both in different ways! I’m with you, not a huge fan of his work but he was very successful, carved his own unique path, and caused people to ask questions.
My brother sent me a piece with cardboard backing. It has an inscription. Any advice on how I can preserve the inscription on the cardboard, which was written with a Sharpie-type pen?
@@francfrog2650 You could ask someone who specializes in art preservation. Personally, I’d take a high resolution scan or photo of the inscription. I’m not sure how much varnishing would help. Cardboard is not archival.
Wonderful video!!
Thank you, Kate!
Have you used genuine Naples yellow before? The mass tone of genuine is fairly easy to imitate, the magic of it is in mixtures. When mixed with black, your mixture doesn’t turn into an acidic green as you may expect. There’s a warmth to it when mixed with ‘cool’ colors. It’s very hard to explain. I think it’s from the lead content in it…it has a glowy warm quality to it that doesn’t go acidic nor flat, and its opacity doesn’t overwhelm either. It truly is unique and incredibly difficult to mimic. Vasari’s is the best.
This is a great distinction - the lead-based colors do look different than lookalike hues when mixed with other colors. Thank you for pointing this out. I haven't tried Vasari's yet.
Very unique!
This is so helpful and it will solve many painting issues for me. Thank you so much!
That's great! Glad the video was helpful.
That's an antler
What does it smell like
Awesome!
@@pennyd8504 thank you!
One of the things I love about cremnitz white is how it doesn't overpower colors but makes colors look so vibrant and beautifully saturated.
@@jimi5037 yes! And thank you for saying this. I’ve heard portrait artists make similar remarks. I tested it in landscape painting and found it didn’t reduce the vibrancy of other colors the same way titanium white does.
Hey! I was curious what your recommendation for my situation is.. my husband works with wood and planed me out a beautiful piece with raw edges to paint. I wanted to paint a bird with no background just leaving it plain so the bird stands out.. how would you suggest doing this since the gesso is colored and that’s how everyone primed their wood? Surely this can’t be impossible!
@@mrswray Great question! If you want the wood grain to be visible, Winsor and Newton makes a clear acrylic gesso: bit.ly/ws-clear-acrylic-gesso (that’s an affiliate link, so I’ll get a kickback if you decide to buy, there’s no extra cost to you).
Thank you so much for your reply! I had no idea they made clear gesso!
@@mrswray you’re welcome, hope your painting turns out well!
Can i use matte medium instead of gloss medium for sealing the wood
Hi Yuvika, I reached out to Golden and they said it's fine to use "PVA size or a matte acrylic like our Pastel Ground (diluted with a little water), Pumice Gel or Matte Medium" to seal wood panels.
@@NikitaCoulombe Thank you so much Nikita. Really appreciate it❤️
@@rainbowchaser-v2j you’re welcome!
what does 3 stars lightfastness mean?
@@jap_m a lightfastness rating of III indicates fair lightfastness. For example, Alizarin Crimson has a lightfastness rating of III (or IV, which is poor lightfastness). Having fair or poor lightfastness means the color changes from exposure to light over time. Alizarin crimson will fade from deep red to pale pink.
I varnished a painting in gloss but I don’t love it. It could be challenging to remove because the painting also has oil pastel and I’m worried removing the gloss could smudge the oil pastel that’s on the oil painting. Can I add matte over the painting to dull down the gloss finish or will it just be glossy even if I do that?
Hi Tiffany, varnishing oil pastels is tricky, I think most people recommend putting it behind glass vs varnishing. That said, you could try applying a very thin layer of matte varnish over the gloss - it might be worth it to create a sample piece on a scrap that looks similar to your painting, varnish it with gloss then varnish it in matte to see how glossy it'll still be. Another option would be to take Q-tips and use Gamsol to carefully remove the gloss varnish.
I've been thinking about whether I need to buy cobalt green since I don't have pure cold green on my palette but your video showed me that my existing colors will do just fine. Thank you!
Thanks for sharing, I'm glad the video was helpful!
Tried the gloss varnish, and it is amazing, so easy to use. It looks perfect, but need to see how the painting looks after it is dry. Does this product have UV protection? I do not have Gamsol, so I wiped it really well, and then, used soap and water. I was surprised at how little varnish was needed. Curious to know what happens if you use 2 or 3 coats. Would it look more like resin? Thanks again.
@@susanweidman3525 nice! I posted a photo comparing one layer of varnish to two layers of varnish in this article: www.nikitacoulombe.com/varnishing-oil-paintings - as you can see, two layers of varnish is always shinier than one layer, regardless of the sheen being used (matte, satin, gloss). Gamvar does not protect against UV light exposure and does not contain Ultraviolet Light Filters and Stabilizers (UVLS). Gamblin states, “If one paints with lightfast colors, UV light should be of no concern. Colors with an ASTM Lightfastness rating of I or II do not require further protection from UV light. A highly lightfast color does not fade with age, even when exposed to constant sunlight.”
@@NikitaCoulombe Wow! I am impressed with your knowledge! I have been using Golden Archival spray varnish, and it works well with no brush marks, and it drys pretty fast .Grumbacher Final Varnish gloss does not keep its shine. It is cheaper, but I will not use again. Since I am an acrylic abstract artist, I do like mostly a gloss finish. I am interested to see how Gamvar’s shine compares to Golden’s shine. Also want to see if Gamvar leaves brush marks. I have it covered until it dries. 48 hours I am assuming. Have a great weekend!
@@susanweidman3525 that’s great to know re: golden archival spray varnish and grumbacher final varnish. Have a great weekend as well!
Thank you. A few questions: Can you use this varnish over an older previously varnished painting using a different brand of varnish? Also, how should I clean the brush? Thanks.
@@susanweidman3525 Hi Susan, I think it depends on how long ago the other varnish was applied. If it was years ago, you probably want to remove the other varnish first before applying a new layer. Depending on the resin that was used in the other varnish you’ll need a different solvent to remove it. You may want to reach out to Gamblin to get an exact answer: gamblincolors.com/contact/. For cleaning the brush, the best way I’ve found is to put a small amount of Gamsol (odorless mineral spirit) in the same dish that I used for the Gamvar, let the brush soak for a minute, and then press the brush into a paper towel. I’ll let it soak again for another minute and then let the paper towel absorb any remaining liquid. If the brush dries a little tacky, this process can be repeated and then washed with soap and water.
@@NikitaCoulombe Thank you so much!
@@susanweidman3525 You're welcome!
You're an excellent communicator with so much useful insight. 😊
Thank you!
Timestamps: 0:00 - Intro - Pigment PR104 0:21 - Tints with Foundation White 1:21 - Colors mixed with Phthalo Blue 2:16 - Shades with Ivory Black 3:06 - Color charts 3:22 - Cadmium Orange + Cadmium Red Deep can also create a Scarlet color
Amazing Colors 😍 thx Nikita 😊
Glad you like them, Carl!
More tips: close the window to reduce dust. Use a isolation coat between the varnish & painting. Have tried both putting varnish into a container & dripping straight on. Makes no difference with an isolation coat of medium.
Beautiful 😍 ❤
Thank you!
Timestamps: 0:00 - Intro 0:11 - Cobalt Teal + Cadmium Red Deep 0:27 - Color mixing - 3:1 ratio of Cobalt Teal to Cadmium Red Deep 0:34 - Warmer version 0:46 - Use the cooler version closer to the horizon line 0:58 - Cadmium Orange 1:27 - Venetian Red 2:00 - Sunset progress so far
Ok grazie
Hi nikita, congratulations for the videos, could you tell me which brands of Naples Yellow are the most opaque if I were to buy these colors
Hi Stefan, I'm not using Genuine Naples Yellow (PY41) in this video. I'm re-creating it with different colors. The most opaque combination is Titanium White (PW6) + Cadmium Yellow Light (PY35) + Gold Ochre (PY42). Foundation White (PW1, PW6) will give you a slightly warmer version than the Titanium White (PW6) and be pretty opaque as well. See the video notes for links.
Timestamps: 0:00 - intro 0:29 - ACM panels (Allinpanels) 1:17 - zoom in on ACM panel textures 2:03 - side view on Allinpanels 2:29 - what to do if your panel has a yellow tint 2:47 - Oleopanels 3:11 - copper panels 3:36 - National Gallery weighs in on copper panels 4:07 - copper composite structure 4:20 - lead alkyd ground is recommended if priming 4:31 - sanding copper panels 4:42 - copper panel prep (sanded, primed, plain) 5:28 - copper panel painting test 7:28 - zoom in on copper panel paint results 8:13 - ordering panels 8:51 - custom panel example 9:11 - Artefex contact info
I would love to see how the copper panels will enhance your wildlife paintings. Especially the Koi, eyes, and water. You're an amazing artist.
Thank you!
Excellent information,
Thank you, Armando!
Excellent demo just what I was looking for with the exact pigments I would´ve mixed thanks!
Awesome, glad it's helpful!
Hi there, I love your content! I typically work with oil paint on unstretched canvas. Is it safe to varnish it and then stretch it?
Hi Cassandra, thank you! I just reached out to Gamblin to double check and found out that their product expert is on sabbatical. My initial thought is to wait till after you have stretched your canvas to varnish. Definitely check in with them later this summer, they usually get back with answers within a couple of days: gamblincolors.com/contact/
@@NikitaCoulombe thank you so much for taking the time to do that! Wishing you great success with your channel 😊
@@CassandraRichards thank you!
Hi Cassandra, Mary from Gamblin is back from sabbatical and just replied back on your question: "It’s fine to use Gamvar on both stretched and unstretched artwork. The application is the same, the choice to apply stretched vs. unstretched would be a matter of personal preference that should not change the result of the varnish appearance." Hope this helps!
That’s so helpful Nikita. I had no idea you could mix the varnishes. I use Gamvar Gloss as it really makes colours pop, but the shine can be annoying if the light hits it a certain way.
Thank you, Enzo! I agree with you about the gloss being a little too shiny sometimes.
Excellent overview and a very clear-cut demo of Gamblin’s varnishes. Thanks for posting
Thank you, Kurtis!
Hi Nikita, that is so great, thank you so much for the video. I have been using Gamvar gloss on my oil painting and acrylic paintings and I love it.I will definitely try the gloss satin combination on my next painting.
I'm glad this was helpful, Timothy! I like the gloss/satin combo too.
Timestamps: 0:00 - Intro 0:10 - Varnish brush 0:20 - Gloss varnish 0:39 - Gloss + Satin varnish 0:55 - Satin varnish 1:36 - Satin + Matte varnish 1:51 - Matte varnish 2:14 - 2 hours later 2:30 - 48 hours later with second layer 2:54 - Bird’s eye view