You're a great teacher. Too many artists demonstrate by having you watch what they paint and then narrate as a 'stream of consciousness' while doing so. You start with an important principle and then paint with that very principle in mind. Thoroughly enjoyed it!
It is interesting to observe how a great artist tries to paint badly yet he can`t help unconsciously still painting better than most! Love your incredibly conscientious teaching method; am extremely grateful for your generous sharing of expertise, thank you, Scott. Since I am living with a disability and am as a result, impecunious, I can not yet afford to pay for lessons from you, so double thanks and appreciation for giving as you do.
I've been taught to limit the number of values in my painting. By doing this, we create a more powerful statement. Scott's tonal compression including value, hue, and chroma takes this principle to it's natural conclusion. In practice, tonal compression is actually difficult to do. There is a lot of "pushing and pulling", as Scott mentions. It takes years of practice and, in the end, all artists spend their entire lives studying and learning and growing.
I watched this three times; I have never heard anyone talk about compression but it makes so much sense. UGH. I feel like I learn all this important stuff at a snails pace without school: thank you for keeping me out of the dark… again.😅
Great tutorial, and great teacher and love your humor. I'm borrowing "Payne's Grey of the brains" and "window shading". Twenty years ago I attempted to paint by tonal compression which I wasn't aware it was what I was doing and painting one area at a time. I was accused by a painting teacher of "painting by numbers". Dropped out of that class and unfortunately stopped painting all together. So happy I found you on TH-cam and will start painting again and planning on purchasing your videos.
As I said last week, I have just found you.....why didn't TH-cam give me these over the last years of searching!!!!!!....... Anyway I am now binge watching all your videos. They are marvelous. Excellent content, excellent teaching. Thanks, from Australia.
I am so grateful to have found your channel. The beauty of your work combined with your sense of humor is such an entertaining thing to witness. Thank you for being you and sharing your work with us
Scott you are a genius in the true sense of the word.. i love your videos, love your painting and love your style of delivery. You give extremely valuable lessons in such a delightful , humorous way. Love your style of teaching.
I'm sitting in my studio painting a portrait as I watch this, and I immediately recognized the areas where I need to apply tonal compression. When I was in college, high contrast was strongly encouraged, so I never really grasped this concept. That inverted Vitruvian ratio mucus has worked its magic! Genuinely though, Thanks for teaching and demonstrating this. I am excited to implement this on my own oil paintings. I'm not so sure about Alan as the new mascot. I'm pretty sure the surprise cat that scaled up your shoulder a while back is vying for the mascot role. :D
This particular video is gold, applying what you've demonstrated in this video has taking my oil paintings to the next level, I'm able to paint portraits more accurate, efficiently and faster. Thank you for the great advice, you really have a gift for explaining things clearly and consice.
Coming technically from the worlds of audio and photography I understand your 'tonal compression' is really 'dynamic range' and tonal compression is the means by which you fit the information into a given range. I love to see the connections between different systems of understanding and that they almost explain one another is fascinating. Logarithms, thats how we perceive the world, light in sight, volume in hearing, even taste, and smell are perceived logarithmically - I have yet to find proof for touch but I suspect it's similar.
Your video's are the best. I was a patreon but then went off exploring watercolour, pastels Acrylic Argh .. charcoal, graphite, but after working in them all i am back to oils . I will be rejoining your Patreon on Feb 1st Thanks for making me smile in these grim times
Thanks. This was really helpful. Especially the tip about mixing a base colour and then mixing everything else from that and adjusting it as you go to keep it unified.
I'm so glad I found your videos, they are just what I need right now. I know it might be lame to say, but honestly your paintings floor me every time, just amazing.
You are a fabulous teacher and your videos are pure gold! Question: would you suggest beginners, or those that are really trying to dial into this idea of tonal compression to start by placing the “too light” one tone areas as you have demonstrated and then working down into the compression, or start attempting to compress as we go, and fix as needed? 15:21
Brilliant as usual. Couple of suggestions for future lessons: 1. Emotions. In portrait of my 4 kids discovered the tiniest lilt to anything can change thru disinterested, amused, vacant, thoughtful, disgusted... eyes, mouth etc. We all recognise subtle expressions but WHY we are reading this is not always apparent. The de Niro factor of not doing much with face can say everything. 2. Taking photos for portraits.
Me resulta fascinante tu pintura...no sé inglés y solo sigo visualmente tus explicaciones....me gustaría que estuvieran subtitulados para aprender más... enhorabuena por tu trabajo!!!
The "Bas-relief" effect - the mistake makes it look like a portrait on a coin. The other way that I was taught to think about it... is that the brightest part of the shaded area is darker than the darkest part of the lit area.
Great lesson! Seems like it should be obvious, but we often don't think about this concept of controlling our pallet through compression and then wonder why our colors and lighting look so chaotic. This one demands repeat watching.
Well, at least I got my 73% worth. Now if I just didn't spend so much time watching French Bulldogs Farting on TH-cam, I might actually complete a painting.
A lot of contemporary painters seem not only to over-model form a little bit, but actively exaggerate, putting in solid blocks of value which are extreme and distracting.
I have painted and drawn for many years but I never actually learned anything like this. I just found your videos and loved it. Is there some videos for a super beginner to try to teach myself actual techniques?
always great content ... funny the 'compression' word choice. I've always considered 'subtlety' the essence of mastery in any craft, and that also includes the essence of mastery for those perceiving and judging arts and craft. so the principle applies to drawing itself as well, no? (facial expression of, let's say, tizian portraits, etc :) in terms of technique I also wanted to share some thoughts: it probably is the case that bougereau was approaching the canvas in the way you do. have seen an old photograph of his wife in front of an unfinished canvas of hers and the lay-in looks similar to yours. and obviously, the end result of the skin tonal values of your work is eerily similar to the great french master, as well as the even 'enamel finish' that he was so proud about. but there's also the approach of glazing, as you know, and that makes the 'subtlety of true mastership' (compression) a much more 'natural' issue. I believe the approach shared by osamu obi (another tutor and master here on yt) to be a legitimate re-creation of dutch painting around the time of rembrandt. using white dragged above layers of underpants to bring the grisaille core to more-and-more refinement and body seems truly deserving the title 'grand maniera' (as the renaissance italians were apparently calling it according to luis borrero, another excellent teacher here on yt). this isn't easy at all to master. and that's why mr. obi always shows alla-prima exercises in-between in order to get one's head around the rather conceptual layering in a rather ancient tempera tradition (the bach fugue approach to fine art?). haha, I've seen him glazing primary colours (starting with yellow) to obtain perfect colour grades of old masters in the end. (which, from a modern art point of view i find really remarkable as it brings chuck close's hyper-realism, one-teaspoon-of-paint to spraypaint a large photographic-illusion-rendering canvas to another level ...). anyway. just saying hello. you're doing an amazing job, also when it comes to teaching. teaching has suffered greatly during the course of nwo tavistock machination. your humourous, open and sincere delivery to convey well-thought-through, practice honed art skills, probably re-defines the whole profession. best regards 🕊️
You're a great teacher. Too many artists demonstrate by having you watch what they paint and then narrate as a 'stream of consciousness' while doing so. You start with an important principle and then paint with that very principle in mind. Thoroughly enjoyed it!
I absolutely Hate those channels. Just flexing, with no actual insight.
It is interesting to observe how a great artist tries to paint badly yet he can`t help unconsciously still painting better than most! Love your incredibly conscientious teaching method; am extremely grateful for your generous sharing of expertise, thank you, Scott. Since I am living with a disability and am as a result, impecunious, I can not yet afford to pay for lessons from you, so double thanks and appreciation for giving as you do.
I've been taught to limit the number of values in my painting. By doing this, we create a more powerful statement. Scott's tonal compression including value, hue, and chroma takes this principle to it's natural conclusion. In practice, tonal compression is actually difficult to do. There is a lot of "pushing and pulling", as Scott mentions. It takes years of practice and, in the end, all artists spend their entire lives studying and learning and growing.
I watched this three times; I have never heard anyone talk about compression but it makes so much sense. UGH. I feel like I learn all this important stuff at a snails pace without school: thank you for keeping me out of the dark… again.😅
Great tutorial, and great teacher and love your humor. I'm borrowing "Payne's Grey of the brains" and "window shading". Twenty years ago I attempted to paint by tonal compression which I wasn't aware it was what I was doing and painting one area at a time. I was accused by a painting teacher of "painting by numbers". Dropped out of that class and unfortunately stopped painting all together. So happy I found you on TH-cam and will start painting again and planning on purchasing your videos.
As I said last week, I have just found you.....why didn't TH-cam give me these over the last years of searching!!!!!!....... Anyway I am now binge watching all your videos. They are marvelous. Excellent content, excellent teaching. Thanks, from Australia.
I am so grateful to have found your channel. The beauty of your work combined with your sense of humor is such an entertaining thing to witness. Thank you for being you and sharing your work with us
Scott you are a genius in the true sense of the word.. i love your videos, love your painting and love your style of delivery. You
give extremely valuable lessons in such a delightful , humorous way. Love your style of teaching.
I'm sitting in my studio painting a portrait as I watch this, and I immediately recognized the areas where I need to apply tonal compression. When I was in college, high contrast was strongly encouraged, so I never really grasped this concept. That inverted Vitruvian ratio mucus has worked its magic!
Genuinely though, Thanks for teaching and demonstrating this. I am excited to implement this on my own oil paintings.
I'm not so sure about Alan as the new mascot. I'm pretty sure the surprise cat that scaled up your shoulder a while back is vying for the mascot role. :D
This particular video is gold, applying what you've demonstrated in this video has taking my oil paintings to the next level, I'm able to paint portraits more accurate, efficiently and faster. Thank you for the great advice, you really have a gift for explaining things clearly and consice.
Exactly right,this video is gold.thank you SIR &GOD BLESS
Coming technically from the worlds of audio and photography I understand your 'tonal compression' is really 'dynamic range' and tonal compression is the means by which you fit the information into a given range. I love to see the connections between different systems of understanding and that they almost explain one another is fascinating. Logarithms, thats how we perceive the world, light in sight, volume in hearing, even taste, and smell are perceived logarithmically - I have yet to find proof for touch but I suspect it's similar.
Your video's are the best. I was a patreon but then went off exploring watercolour, pastels Acrylic Argh .. charcoal, graphite, but after working in them all i am back to oils . I will be rejoining your Patreon on Feb 1st Thanks for making me smile in these grim times
Thanks. This was really helpful. Especially the tip about mixing a base colour and then mixing everything else from that and adjusting it as you go to keep it unified.
Alan.
Allan?
...Allen?
I DONT KNOW ANYMORE!!!!
(Great video as always Scott!) ☺
Just love your tutorials and humor. Now that's tonel compression for you. a "Payne's Grey of the brain" classic.
I love those soft skin tones you create. I am learning a lot. Thank you
This lesson was exactly what i needed to hear to improve my own work. Thank you most sincerely.
I'm so glad I found your videos, they are just what I need right now. I know it might be lame to say, but honestly your paintings floor me every time, just amazing.
Live you humor. Great lesson.
Sort of doubt that you will read this, but love your videos Scott.
I now have a new favourite start to a video ever! Achoo!
Thanks for all you share . ❤
Fantastic tutorial 🙏
This video is just what I needed! Thank you so much
Great video! Excited to apply this in my next painting. Thank you!
You are a fabulous teacher and your videos are pure gold! Question: would you suggest beginners, or those that are really trying to dial into this idea of tonal compression to start by placing the “too light” one tone areas as you have demonstrated and then working down into the compression, or start attempting to compress as we go, and fix as needed? 15:21
Brilliant as usual. Couple of suggestions for future lessons: 1. Emotions. In portrait of my 4 kids discovered the tiniest lilt to anything can change thru disinterested, amused, vacant, thoughtful, disgusted... eyes, mouth etc. We all recognise subtle expressions but WHY we are reading this is not always apparent. The de Niro factor of not doing much with face can say everything. 2. Taking photos for portraits.
I went on TH-cam and listened to actors and body language folk to become conscious of what I was looking at to fix it.
Love all your videos. I even bought some. Guess I’m a fan!
you are an amzing artist oh how i would love to paint realism like you ,thank you
Gracias por sus videos y compartir sus conocimientos
Wow! Great video!
Wonderful, insightful instruction. Thank you!
Excellent video content 😊
Me resulta fascinante tu pintura...no sé inglés y solo sigo visualmente tus explicaciones....me gustaría que estuvieran subtitulados para aprender más... enhorabuena por tu trabajo!!!
Happy New Year and thankyou.
Merci bravo pour cette leçon !
Che bella lezione…
Grazie
How are you spelling Alan?
Great video. Very helpful, thank you.
great information *************** gold stars for you stud
Awesome video, thanks Scott!
Alan all day
I am hooked
🤣🤣🤣🤣🤣 Scott you are just from a different planet.
The "Bas-relief" effect - the mistake makes it look like a portrait on a coin. The other way that I was taught to think about it... is that the brightest part of the shaded area is darker than the darkest part of the lit area.
Great lesson! Seems like it should be obvious, but we often don't think about this concept of controlling our pallet through compression and then wonder why our colors and lighting look so chaotic. This one demands repeat watching.
I never understood color. I thought I did. Now I realize that I am color. Than you sir.
Alan 😍
Just like the Velociraptor in Jurassic Park III. ALAN!
great video
Very good explanation!
This video is an eyeopener! Do you do critiques?
Master❤
Ooh! Now I see (one of the many things) what I've been doing wrong! Ta!
Legend
Thank you Scott, Great video and information _)
Alan❤
Brilliant, great advice, great content as always.
Boom! You've been looking over my shoulder! Guilty as. charged!
Hey Steve, thanks for video. Do you think it would be possible to achieve same result with acrylic?
You are so funny. Luv yr tutorials
Is it Allen or Alan? 😂 Really enjoyed this video. Love how you present information.
I'm down with Alan! 🙂
Alan!
You are the best evet
You are so wonderful
I really like that unique style. I just wonder if the lack of texture is deliberate. they all look like beautiful porcelain people.
Thank You so much
...I am just painting a portrait of Imagination .. good luck ..
for me .
I WISH YOU ALL an amazing painting journey through Life
Demais❤❤❤❤
well said
alan!!!
8:41pm
Golly, Scott, would you consider showing us your technique for painting hands, please? I know I could sure use your help!
Saya sang suka lukisan anda..
Smoga sukses selalu..
Salam persahabatan slalu..
When the moment of truth spills out...."because I'm not saving enough money...for retirement." Lmao.
This is fantastic 🤌🏼
How do you not have 200,000. Subscribers??
Thanks, this is a mistake I have made. My mantra will be tonal compression going forward.
That’s my name, don’t wear it out ! quote from , Pee-wee Herman ! 😂
❤❤❤❤
I like Allen
Legendas indisponível
Hallo . Kann mir jemand sagen, von welchem Firma benutzt der Artist ihre lineöl ?
Well, at least I got my 73% worth. Now if I just didn't spend so much time watching French Bulldogs Farting on TH-cam, I might actually complete a painting.
Sir you are a great artist and genius man love you sir
A lot of contemporary painters seem not only to over-model form a little bit, but actively exaggerate, putting in solid blocks of value which are extreme and distracting.
Legendas
👍🏻👍🏻
Legendas em português please
Tradução aos seus vídeos por favor...
dommage sous titres non disponibles. Donc je n'ai pas pu apprécié !!
lütfen altyazıyı otomatik açabilir misiniz? değerli bilgilerinizi ben de anlamak istiyorum, sevgiler
Not nasal compresion👌😂🙏
I have painted and drawn for many years but I never actually learned anything like this. I just found your videos and loved it. Is there some videos for a super beginner to try to teach myself actual techniques?
Allen
Alan…😂
You are the God of beginners portrait artists
Scott, is his name spelled Allen, Alan, Allyn, Alin, Alyn or some other variation?
There's a silent "q" at the end.
always great content ...
funny the 'compression' word choice. I've always considered 'subtlety' the essence of mastery in any craft, and that also includes the essence of mastery for those perceiving and judging arts and craft.
so the principle applies to drawing itself as well, no? (facial expression of, let's say, tizian portraits, etc :)
in terms of technique I also wanted to share some thoughts:
it probably is the case that bougereau was approaching the canvas in the way you do. have seen an old photograph of his wife in front of an unfinished canvas of hers and the lay-in looks similar to yours. and obviously, the end result of the skin tonal values of your work is eerily similar to the great french master, as well as the even 'enamel finish' that he was so proud about.
but there's also the approach of glazing, as you know, and that makes the 'subtlety of true mastership' (compression) a much more 'natural' issue. I believe the approach shared by osamu obi (another tutor and master here on yt) to be a legitimate re-creation of dutch painting around the time of rembrandt. using white dragged above layers of underpants to bring the grisaille core to more-and-more refinement and body seems truly deserving the title 'grand maniera' (as the renaissance italians were apparently calling it according to luis borrero, another excellent teacher here on yt).
this isn't easy at all to master. and that's why mr. obi always shows alla-prima exercises in-between in order to get one's head around the rather conceptual layering in a rather ancient tempera tradition (the bach fugue approach to fine art?). haha, I've seen him glazing primary colours (starting with yellow) to obtain perfect colour grades of old masters in the end. (which, from a modern art point of view i find really remarkable as it brings chuck close's hyper-realism, one-teaspoon-of-paint to spraypaint a large photographic-illusion-rendering canvas to another level ...).
anyway. just saying hello. you're doing an amazing job, also when it comes to teaching. teaching has suffered greatly during the course of nwo tavistock machination. your humourous, open and sincere delivery to convey well-thought-through, practice honed art skills, probably re-defines the whole profession.
best regards 🕊️
Maybe Jeremy, not Alan. Oh no, wait. Hugh.. see what I did?
Alan