Thank you to anyone who considers giving a Super Thanks! The Super Thanks will help me afford a new tripod to keep filming these painting adventures! (my old one broke!) 🙏❤️
This is great to see and emphasise, the focus on the palette and so much back and forth to get the right shade. Often in demos online, the cameras’ focus is on the painting and the right shades/ hues magically appear - no such luck in real life!
Thank you so much Fiona. I can really appreciate how hard it is to convey on video. I recognized making this video the many insufficiencies of my reference photo as it lacked much of the dynamic lighting and color changes I was seeing in the moment. I think that’s why some of the colors and tones seem off from the photo. (We all know the failures of photo reference) that said I was hoping seeing the process unfold like this could maybe help some folks out. I know when I was starting out color mixing was and is still sometimes quite an enigma!
this is so helpful, thank you. I have a question about values en plein air. If you hold up your titanium white on your palette knife it should colour match with a pure white object in the scene (because it's in the same lighting conditions), but often the lightest thing in a scene is specular highlight say from the reflection of the sun, or even a really bright artificial light source (e.g. headlamps). So you don't have anywhere to go, as your canvas values may be matching the live scene well everywhere except these highlights. Do you deliberately shift the values down for your canvas to give you this headroom? Or am I overthinking this?
You’re not overthinking it. I think about this all the time! Different artists handle it differently. Some artists will use impasto as the extra zing for super hot highlights. You can also use straight white for this. But truth be told, even oil pain cannot fully account for the dynamic range of reality. So we have to compress values to some degree. One strategy is to downshift the values as you suggested. Another is to equate say the top three highest values as all the same. Another strategy is to put in your highest and lowest values early and work outward from there. Each strategy has pros and cons and you have to take it on a case by case basis. It also depends on what is most important. I will adjust values to make the hugest contrast near my focal point. Usually those values are exaggerated from reality. But that might not be your aesthetic so you have to experiment and choose for each painting and on the basis of what’s important to you. But I agree. In a painting like this you can only achieve so much. My goal is to get as close to reality as possible, but I will openly admit I still haven’t gotten as close as I’d like. I hope this helps!
I like gamblin quite a lot but there are many other good brands out there. It’s good to try different ones if you get the chance. I like using Windsor and Newton as well and lately I’ve been trying Utrecht. They all have slight differences in consistency but in terms of coverage and pigment quality are really nice.
Thank you to anyone who considers giving a Super Thanks! The Super Thanks will help me afford a new tripod to keep filming these painting adventures! (my old one broke!) 🙏❤️
This is great to see and emphasise, the focus on the palette and so much back and forth to get the right shade. Often in demos online, the cameras’ focus is on the painting and the right shades/ hues magically appear - no such luck in real life!
Thank you so much Fiona. I can really appreciate how hard it is to convey on video. I recognized making this video the many insufficiencies of my reference photo as it lacked much of the dynamic lighting and color changes I was seeing in the moment. I think that’s why some of the colors and tones seem off from the photo. (We all know the failures of photo reference) that said I was hoping seeing the process unfold like this could maybe help some folks out. I know when I was starting out color mixing was and is still sometimes quite an enigma!
What a wonderful video. So much explanation. I love watching artists mix colors. Thanks
Thank you so much! So glad it was helpful!
Thank you for your patient explanations & generosity. Wonderful tutorial!
Thank you, Vicki!
Superb video, thanks! Especially good to see how you vector in to the correct color while you're mixing. Gotta be persistent!
@@raindog2262 thank you! Glad you found it helpful! I’ll try to do some more of these soon!
Great video, lots to learn with the colour mixing, thankyou!
Thanks so much Linda! Glad it was helpful!
this is so helpful, thank you. I have a question about values en plein air.
If you hold up your titanium white on your palette knife it should colour match with a pure white object in the scene (because it's in the same lighting conditions), but often the lightest thing in a scene is specular highlight say from the reflection of the sun, or even a really bright artificial light source (e.g. headlamps). So you don't have anywhere to go, as your canvas values may be matching the live scene well everywhere except these highlights. Do you deliberately shift the values down for your canvas to give you this headroom? Or am I overthinking this?
You’re not overthinking it. I think about this all the time! Different artists handle it differently. Some artists will use impasto as the extra zing for super hot highlights. You can also use straight white for this. But truth be told, even oil pain cannot fully account for the dynamic range of reality. So we have to compress values to some degree. One strategy is to downshift the values as you suggested. Another is to equate say the top three highest values as all the same. Another strategy is to put in your highest and lowest values early and work outward from there. Each strategy has pros and cons and you have to take it on a case by case basis. It also depends on what is most important. I will adjust values to make the hugest contrast near my focal point. Usually those values are exaggerated from reality. But that might not be your aesthetic so you have to experiment and choose for each painting and on the basis of what’s important to you. But I agree. In a painting like this you can only achieve so much. My goal is to get as close to reality as possible, but I will openly admit I still haven’t gotten as close as I’d like. I hope this helps!
@@DannySabraArt thanks so much for the advice. I will try some of those approaches out next time I get up the confidence to try outside again.
@stukennedy195 absolutely Stu! Go for it! 👍
Does Gamblin is it good for oil painting
I like gamblin quite a lot but there are many other good brands out there. It’s good to try different ones if you get the chance. I like using Windsor and Newton as well and lately I’ve been trying Utrecht. They all have slight differences in consistency but in terms of coverage and pigment quality are really nice.