I return to this video again and again, so educational. Love how you mix the tech topic with interesting remarks regarding different painters and art in general. Thank you!
Really interesting and informative, I love Cezannes style and the mixing tutorial will help a lot for my future pieces. I may well have a go at this one.
Hi Ian! Very enjoyable video! I am actually looking at Cezanne at the moment and will try to incorporate using black in my painting, which I am not used to, having attended your class for a few years, where you taught and instilled in us not to use black, but to use complimentaries! I also like the idea of putting movement in the background and will try to do some of that.
Hi Liz, thanks for your encouraging comment. Black is ok to use to darken something that is not dark enough but I prefer to use the complemetary pairs. Obviously you have to decide for yourself, but it is nice to have a choice.
It is a pleasure. It is not just my perspective. I gotta lot of my ideas from reading the information provided by the English National Gallery Technical Bulletin Team who have restored paintings by Cezanne.
Great video, so much information, especially about holding the picture together by putting bits of same colour around the canvas and losing the edges of the shapes and how to apply the brush strokes. Thank-you so much.
Ah another great tutorial. It's really enjoyable to watch and always inspiring. You mentioned David Hockney I don't know if you've seen any of his TH-cam videos they are really good. I remember doing art classes years ago in another class and overhearing you talk about Cezanne you're a very good tutor. Very good to listen to.
I really enjoyed this video. And I subscribed to your channel. Based in your research, i will follow your path to obtain this info on Cezanne's technique. Cheers!
Thank you , Very beautiful blues! its always fascinating to see these mixings. Cézanne was not an impressionist painter he has used Black before his 2 years impressionist training and after. He was using Peach Black. With this transparent Black and Light Cadmium yellow he could obtain a nice bluish green.
Thank you, have never used oil before, so I am chasing around after it, please can you tell me what brush you used for this, maybe I have to get the mix right with linseed oil, it all seems a bit flat, scratchy and dry, not really what I want, really enjoyed your tutorial....
Hi Sally I used a cheap size 6 round acrylic brush which has finer hairs which helps to avoid the scratchy look. Make sure you clean it well and it should last. Good luck
Also used 5 parts linseed oil mixed with one part Zest-it If I had used turpentine it would be 3 to 1 in favour of the oil. Just wet the brush slightly. The paint has to be semi- transparent when applied so the ground colour is just seen coming through the paint. This helps to create the glow of a Cezanne
I really enjoy your tutorials Ian, i’m a big cezanne fan and find copying his works/style requires time and multilayers , they look spontaneous but in reality require drying time in oil, then you can add etc, I find monet the same .., Van Gogh was just ridiculously good to knock a painting out in one go with such bright colours ...thx keep up the excellent work looking forward to the Freud flesh tutorial ..😁
Thanks for your comments Mixing colour is like playing music. After years of practice you tend to know what happens when you mix a combination of colours. Colour theory helps to speed up learning. Have a look at my colour theory videos if you want to improve your skills.
Great video. I’m just back from a trip up to Paris, braving the pass sanitaire routine specifically to get closer looks at Cezanne and a few others. Am trying a few things out and fortunately discovered your video. People on here seem to know you; do you teach? I certainly could use some direction! Best to you.
@@GreatArtistsSteal I'm in the south of France. Unfortunate, because you seem to "speak my language", although I'm a novice. Know anyone who teaches around Uzes? Thanks so much for the videos.
Cezanne is my favorite, and I really loved your presentation! I LOVE colour, and learned so much from watching you mix paints. I wonder, do you use Payne's Grey or Mars Black? Cheers from US!
hi Janine, thanks for you positive comment. The black I uesd was ivory black because it has a bluish hue which is softer on the eye than Mars black. I dont use paynes grey as I prefer to mix my own. Vermilion + prussian blue with a bit of white.
I should trust myself more. When I was analysing Cezanne I've seen those black paints in hi work that looked really dark. But I've been thinking, can't be black, he was mixing it to get it. It's what we've been told it's no, no. I've also noticed lots of hard thin black lines in some of his work, like he was using black or dark blue ink for underdrawing. Does anyone knows anything about that? Thanks for the video, by the way.
Thanks. Yes he’s the best isn’t he Cézanne. It’s like football. Messi is the best. I like what you described about the flat and the spatial in the picture. And how he added dabs of a unifying colour to unify the picture. It’s the same with the blues in his woman with the coffee pot. There are bits of blue all over the painting and all over her, which sounds weird, but it looks right in the picture. You mix the colours like magic. You obviously know in advance what the mix will turn out like.
Cezanne drained some of the oil out of the tube paint by putting the paint on paper . The paper absorbed the oil . Monet did this too, and so did I . The paint becomes quite stiff after this , so he used turps to thin it down . He did not blend . Strokes side by side . It took him over 170 ( ? ) sittings for a particular portrait. His earlier work was not done in this fashion. Because his paint did not contain much oil , it did not crack , or not as much. Oil in paint yellows the pictures, less oil , less yellowing. I don’t think he painted like you at all. No he did not .
Thank you Dietman for your comments which are very helpful I do the same too if I want dry paint. But this depends on the colour I am using as some colours are opaque and others are transparent. . Orange for instance is opaque and loses it's quality quickly when white is added. So it needs to be glazed and oil is better for doing this as the quality of the colour does not fade when it dries. If you look at Cezanne's works he appears to be doing the same. Cracking is nothing to do with medium used but tends to happen more when the turps or oil is not consistent throughout the painting as some areas will dry before others.
This whole "no-black is better" myth is disarming a lot of people of ton of possibilities, as well the black is so expressive. Of course some people treat shadow=black and if badly executed the effect is off putting, hence it's helpful to take this pigment off the palette.
It depends, I think on the type of painting you want to. Half mixes, for example, can not be done if you use black to darken a colour. Unless you want black to show.
@@GreatArtistsSteal Black is hardly black in mixes, mixed with yellow/ish colors it will turn subtle green, with white - it have cold hue and in context will look like blue, not grey. In glazes thin layers of black actually will warm the colors (while white glaze will make them look cold) Overall, Apelles (Zorn) palette can be all you need, and can easily be modified with additional color or two.
I am a painter first and foremost which why I have a lot of knowledge and content. And yes you are right again to observe that I am quite a nervous individual. So 2 out 3 for me but top marks for you.
When ideas are confused then speech is too; your stuttering prove this and your painting jesture is nervous as well. Watch how Ettore Maiotti demonstrate Cezanne's watercolor technique.
Cezanne was a nervous painter. Painting can work for all kinds of personal flaws. It is the personal flaws that make us all human. Without them painting is boring.
I try to get the balance right between how much I talk and how much I paint but I see both painting and trying to articulate what an artists is doing in words as work. We can only steal if we develop our understanding of what an artist has done or is doing. If we dont understand we are just copying. Thanks for your comment because it is important for me to explain clearly for all viewrs why I think is is important to try to talk about painting.
I return to this video again and again, so educational. Love how you mix the tech topic with interesting remarks regarding different painters and art in general. Thank you!
love the emerald green and UM blue mix
Superb, rare insight and understandable detail. And there
s so much more to discover for the of us who are new to your site.
Thanks Diane for such an encouraging comment
Loved this! Inspired me to make the palette! Ever finished this one? Really curious how you would go on about and finish a painting lime this
Stood in front of a Cezanne in London Mt saint Victoire and the affect of summer atmosphere vibrated before me, such a great painter Cezanne
yes his sense of light is part of our experience but a lot of joy we get is to donwith his unique sense of space.
Thank you!
Really interesting and informative, I love Cezannes style and the mixing tutorial will help a lot for my future pieces. I may well have a go at this one.
thanks for your supportive comment ECR
Thank you so much. Im from Brazil and impossible to find such a good content here, greetings.
Thanks Andre
Wonderful detailed information about the palette. Just exactly what is needed to explore Cézanne’s style. Really great. Thanks so much.
It is a pleasure. Thanks for your positive comment
Hi Ian! Very enjoyable video! I am actually looking at Cezanne at the moment and will try to incorporate using black in my painting, which I am not used to, having attended your class for a few years, where you taught and instilled in us not to use black, but to use complimentaries! I also like the idea of putting movement in the background and will try to do some of that.
Hi Liz,
thanks for your encouraging comment. Black is ok to use to darken something that is not dark enough but I prefer to use the complemetary pairs. Obviously you have to decide for yourself, but it is nice to have a choice.
Thanks for sharing your perspective.
It is a pleasure. It is not just my perspective. I gotta lot of my ideas from reading the information provided by the English National Gallery Technical Bulletin Team who have restored paintings by Cezanne.
PARABÉNS PROF. GOSTEI MUITO DE SUA EXPLANAÇÃO.
It's a pleasure
Great video, so much information, especially about holding the picture together by putting bits of same colour around the canvas and losing the edges of the shapes and how to apply the brush strokes. Thank-you so much.
Hi Wj It is great to hear from you again. Thanks for the encouraging comment once again. See you next term.
Love the colours and colour mixing. I followed along painting with you and hope to finish this copy of Cezanne !
Thanks Terri. Good luck with Cezanne copy.
Excellent angle for us.
Ah another great tutorial. It's really enjoyable to watch and always inspiring. You mentioned David Hockney I don't know if you've seen any of his TH-cam videos they are really good. I remember doing art classes years ago in another class and overhearing you talk about Cezanne you're a very good tutor. Very good to listen to.
Thanks Sam. I will check the Hockney videos you mention.
Hi! Ian. Great to have another one of your very helpful videos. Love Cezanne and the use of black.
Stay safe all the best to you and family.xjo
Hi Jo, good to here from you again. Thanks for your encouraging comment. I look forward to seeing you and the rest soon.
I really enjoyed this video. And I subscribed to your channel. Based in your research, i will follow your path to obtain this info on Cezanne's technique. Cheers!
thanks for your really positive comment.
Great video, man. I love Cezanne and your mixing was on point. 👍
Thanks Daniek
Thanks Daniel
Thank you for sharing! very interesting work (:
It is a pleasure. Thank you too for your positive comment
Thank you , Very beautiful blues! its always fascinating to see these mixings. Cézanne was not an impressionist painter he has used Black before his 2 years impressionist training and after.
He was using Peach Black. With this transparent Black and Light Cadmium yellow he could obtain a nice bluish green.
Thanks for your positive comments and for your information about the black he used.
Thank you, have never used oil before, so I am chasing around after it, please can you tell me what brush you used for this, maybe I have to get the mix right with linseed oil, it all seems a bit flat, scratchy and dry, not really what I want, really enjoyed your tutorial....
Hi Sally
I used a cheap size 6 round acrylic brush which has finer hairs which helps to avoid the scratchy look. Make sure you clean it well and it should last.
Good luck
Also used 5 parts linseed oil mixed with one part Zest-it
If I had used turpentine it would be 3 to 1 in favour of the oil. Just wet the brush slightly. The paint has to be semi- transparent when applied so the ground colour is just seen coming through the paint. This helps to create the glow of a Cezanne
I really enjoy your tutorials Ian, i’m a big cezanne fan and find copying his works/style requires time and multilayers , they look spontaneous but in reality require drying time in oil, then you can add etc, I find monet the same .., Van Gogh was just ridiculously good to knock a painting out in one go with such bright colours ...thx keep up the excellent work looking forward to the Freud flesh tutorial ..😁
thanks for that Mike
Thanks for your comments
Mixing colour is like playing music. After years of practice you tend to know what happens when you mix a combination of colours. Colour theory helps to speed up learning. Have a look at my colour theory videos if you want to improve your skills.
Great video. I’m just back from a trip up to Paris, braving the pass sanitaire routine specifically to get closer looks at Cezanne and a few others. Am trying a few things out and fortunately discovered your video. People on here seem to know you; do you teach? I certainly could use some direction! Best to you.
Thanks for the comment Gregory.
I do teach in South West London. Is this near to you?
@@GreatArtistsSteal I'm in the south of France. Unfortunate, because you seem to "speak my language", although I'm a novice. Know anyone who teaches around Uzes? Thanks so much for the videos.
Cezanne is my favorite, and I really loved your presentation! I LOVE colour, and learned so much from watching you mix paints. I wonder, do you use Payne's Grey or Mars Black? Cheers from US!
hi Janine, thanks for you positive comment. The black I uesd was ivory black because it has a bluish hue which is softer on the eye than Mars black. I dont use paynes grey as I prefer to mix my own. Vermilion + prussian blue with a bit of white.
@@GreatArtistsSteal Thank you, Ian. I appreciate your response. I am not a fan of Mars black, either. I look forward to trying your mix.
hi, what is the brush used to create those brush marks?
I was using a cheap acrylic round brush size 6.
I should trust myself more.
When I was analysing Cezanne I've seen those black paints in hi work that looked really dark. But I've been thinking, can't be black, he was mixing it to get it.
It's what we've been told it's no, no.
I've also noticed lots of hard thin black lines in some of his work, like he was using black or dark blue ink for underdrawing.
Does anyone knows anything about that?
Thanks for the video, by the way.
Thanks for your interesting observations. I was shocked too as Cezanne is known as the father of modern art.
Never mind about all that: are those underpants on your radiator?
Yes
Thanks. Yes he’s the best isn’t he Cézanne. It’s like football. Messi is the best.
I like what you described about the flat and the spatial in the picture.
And how he added dabs of a unifying colour to unify the picture. It’s the same with the blues in his woman with the coffee pot. There are bits of blue all over the painting and all over her, which sounds weird, but it looks right in the picture.
You mix the colours like magic. You obviously know in advance what the mix will turn out like.
didn't Cezanne's old friend Pissarro tell him to take black out of his palette?
Maybe but according to the information passed on to us by resorers it seems he continued to use black.
Cezanne drained some of the oil out of the tube paint by putting the paint on paper . The paper absorbed the oil . Monet did this too, and so did I . The paint becomes quite stiff after this , so he used turps to thin it down . He did not blend . Strokes side by side . It took him over 170 ( ? ) sittings for a particular portrait. His earlier work was not done in this fashion. Because his paint did not contain much oil , it did not crack , or not as much. Oil in paint yellows the pictures, less oil , less yellowing. I don’t think he painted like you at all. No he did not .
Thank you Dietman for your comments which are very helpful
I do the same too if I want dry paint. But this depends on the colour I am using as some colours are opaque and others are transparent. . Orange for instance is opaque and loses it's quality quickly when white is added. So it needs to be glazed and oil is better for doing this as the quality of the colour does not fade when it dries.
If you look at Cezanne's works he appears to be doing the same. Cracking is nothing to do with medium used but tends to happen more when the turps or oil is not consistent throughout the painting as some areas will dry before others.
This whole "no-black is better" myth is disarming a lot of people of ton of possibilities, as well the black is so expressive. Of course some people treat shadow=black and if badly executed the effect is off putting, hence it's helpful to take this pigment off the palette.
It depends, I think on the type of painting you want to. Half mixes, for example, can not be done if you use black to darken a colour. Unless you want black to show.
Want to do (correction)
@@GreatArtistsSteal Black is hardly black in mixes, mixed with yellow/ish colors it will turn subtle green, with white - it have cold hue and in context will look like blue, not grey. In glazes thin layers of black actually will warm the colors (while white glaze will make them look cold) Overall, Apelles (Zorn) palette can be all you need, and can easily be modified with additional color or two.
Tissot and Manet used black...
Yes they did
Great content and knowledge but very nervous delivery
I am a painter first and foremost which why I have a lot of knowledge and content. And yes you are right again to observe that I am quite a nervous individual.
So 2 out 3 for me but top marks for you.
When ideas are confused then speech is too; your stuttering prove this and your painting jesture is nervous as well. Watch how Ettore Maiotti demonstrate Cezanne's watercolor technique.
Cezanne was a nervous painter. Painting can work for all kinds of personal flaws. It is the personal flaws that make us all human. Without them painting is boring.
Exactly. Your video is great. Thx for creating it 😊
Your talking more than working:))))
I try to get the balance right between how much I talk and how much I paint but I see both painting and trying to articulate what an artists is doing in words as work. We can only steal if we develop our understanding of what an artist has done or is doing. If we dont understand we are just copying.
Thanks for your comment because it is important for me to explain clearly for all viewrs why I think is is important to try to talk about painting.