Thank you for this, and I want to encourage you to continue posting videos. I choose, by the way, to use turps or Gamsol, and no linseed oil, when I lay in the imprimatura. That way, the imprimatura is very lean.
Hi Stephen, thanks for the feedback! I'm glad you liked the video. Yes, turps on it's own is a perfect way to make an even leaner layer for the start of the painting. We're going to keep making videos - any requests? :)
@@theclassicalartschoolonlinethank you for this video was very helpful. I always assumed when people sketch and block in their lights and darks with different tones of one colour like burnt sienna for example was just to add a warmth to the colours you paint over it. But now I can see it’s also kind of for the same reason you do your imprimatur coating, to help see your lights and darks better.
Hi from Argentina! Thanks for the video, very helpful👍 Question, is there any difference if using other colors for the imprimatura? I've seen people also using very bright and saturated colors in it and it always keep me wondering if affects in any way the finished painting. Thanks again!
Hi Cristian! In the above video we are using the imprimatura to help us understand our light and shadow values when we begin a painting. It is a neutral brown/grey colour because it is easier to judge our colour saturation and values when we start with a colour/value in the middle of the value scale. From there we can mix a full range of dark and light colours with different saturation levels and use our imprimatura as the median to judge our mixes. It's the same reason we use wooden palettes and not brightly coloured palettes. If we use a bright coloured palette, we are going to mix our colours in relation to the bright colour which could be a very cold colour or a very warm colour, making it difficult to gage the real colour. - everything we mix is relational. If instead, our imprimatura colour is close to our palette colour and also close (in saturation and value) to our subject - it's much easier to mix the right colours. This is for realistic, classical painting. However, you can also experiment with different imprimatura colours and see how it affects your painting; if you paint thinly, the colour of the imprimatura will come through a little bit - this can be used in combination with a glazing technique. Alternatively, you can leave some of the colour of the imprimatura showing and incorporate it into the finished painting. Hope that helps!
Hi ! In several videos, painters suggest painting the canvas, primed and covered with imprimatur, and lightly cover it with linseed oil before painting so that the brush glides smoothly. Is this appropriate with the fat-to-lean principle? Greetings from Poland and thank you for the video.
Hi there! Firstly, it's perfectly acceptable to use some linseed oil in your imprimatura itself, but if you are going to work on the painting for a long time I would suggest using turpentine or another thinner instead - or use 50/50 linseed oil and turpentine to help adhere to the fat over lean rule. Secondly, if you are painting with oil paint, you will be dipping your brush in linseed oil to help the paint loosen up and glide smoothly on the canvas, so it's not necessary to put linseed oil directly on your canvas prior to painting. This will create too much movement for your brush and paint on the canvas, making it difficult to paint. You want to paint on a dry canvas to have control of the paint, adding linseed oil to the paint (on your palette) as and when needed - adding it with your brush to loosen it up in a controlled manner. I hope that helps, thanks for the question :)
It shouldn't take too long to dry - it's best to do it the day/night before so the canvas is dry the next day and ready for paint. The odourless thinner/solvent will speed up the drying process so you can use this by itself (without linseed oil) if you want the canvas to dry more quickly. You can start painting directly onto the wet canvas, though if you do this I would recommend using just one colour (for example, raw umber) and use it to draw with rather than to paint as the wet imprimatura will muddy the colours. Let me know if you have any further questions :)
I saw a few artist that after imprimatura is applied, draw with charcoal and then fix it with spray. Is that correctly? I mean, Does not spray damage imprimatura? Nice video and thanks a lot.
You could mix the turpentine and linseed oil in a bottle if you wished, though you only need a little bit so it might not be worth mixing it in a bottle. The oil paints are quite thick so wouldn't mix very well in a bottle. Hope that helps!
Throw some stainless steel nuts* in a jar with your medium of choice and paint. Then you put the lid on and shake it like it's a can of spray paint. The pigment disperses evenly. FWIW, I use a combo of galkyd and gamsol 'cause it's ready to be painted on next day. And I tone several canvases at once, some quite large, so it actually is worth mixing that much. * I go with stainless, 'cause I also do this with acrylics and non-stainless nuts will rust in waterborne paint.
Hi Vicky, you can use acrylic paint for the imprimatura if you're going to make an acrylic painting. Just put a wash of thin acrylic paint onto your canvas, using acrylic and water, instead of oil paint and oil :) Hope that helps!
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Very simple and well explained. Thank you!
Glad you liked it!
Great one Please publish more such videos based on fundamentals of Oil Painting Like Base layer, Glazing , Mixing Basic Technique, Tips etc
Thank you for this, and I want to encourage you to continue posting videos. I choose, by the way, to use turps or Gamsol, and no linseed oil, when I lay in the imprimatura. That way, the imprimatura is very lean.
Hi Stephen, thanks for the feedback! I'm glad you liked the video. Yes, turps on it's own is a perfect way to make an even leaner layer for the start of the painting. We're going to keep making videos - any requests? :)
@@theclassicalartschoolonlinethank you for this video was very helpful. I always assumed when people sketch and block in their lights and darks with different tones of one colour like burnt sienna for example was just to add a warmth to the colours you paint over it. But now I can see it’s also kind of for the same reason you do your imprimatur coating, to help see your lights and darks better.
Very good explanation! 👏👏👏
Thank you my dear you are amazing!
Thank you from São Paulo Brazil!
Thank you!
You’re welcome!
Very good idia Thank you very
Much
Hi from Argentina! Thanks for the video, very helpful👍
Question, is there any difference if using other colors for the imprimatura? I've seen people also using very bright and saturated colors in it and it always keep me wondering if affects in any way the finished painting.
Thanks again!
Hi Cristian! In the above video we are using the imprimatura to help us understand our light and shadow values when we begin a painting. It is a neutral brown/grey colour because it is easier to judge our colour saturation and values when we start with a colour/value in the middle of the value scale. From there we can mix a full range of dark and light colours with different saturation levels and use our imprimatura as the median to judge our mixes. It's the same reason we use wooden palettes and not brightly coloured palettes. If we use a bright coloured palette, we are going to mix our colours in relation to the bright colour which could be a very cold colour or a very warm colour, making it difficult to gage the real colour. - everything we mix is relational. If instead, our imprimatura colour is close to our palette colour and also close (in saturation and value) to our subject - it's much easier to mix the right colours. This is for realistic, classical painting. However, you can also experiment with different imprimatura colours and see how it affects your painting; if you paint thinly, the colour of the imprimatura will come through a little bit - this can be used in combination with a glazing technique. Alternatively, you can leave some of the colour of the imprimatura showing and incorporate it into the finished painting. Hope that helps!
Hi ! In several videos, painters suggest painting the canvas, primed and covered with imprimatur, and lightly cover it with linseed oil before painting so that the brush glides smoothly. Is this appropriate with the fat-to-lean principle? Greetings from Poland and thank you for the video.
Hi there! Firstly, it's perfectly acceptable to use some linseed oil in your imprimatura itself, but if you are going to work on the painting for a long time I would suggest using turpentine or another thinner instead - or use 50/50 linseed oil and turpentine to help adhere to the fat over lean rule. Secondly, if you are painting with oil paint, you will be dipping your brush in linseed oil to help the paint loosen up and glide smoothly on the canvas, so it's not necessary to put linseed oil directly on your canvas prior to painting. This will create too much movement for your brush and paint on the canvas, making it difficult to paint. You want to paint on a dry canvas to have control of the paint, adding linseed oil to the paint (on your palette) as and when needed - adding it with your brush to loosen it up in a controlled manner. I hope that helps, thanks for the question :)
Thank you
How long will it take to dry? After painting a layer do we need to wait until it dries completly, before starting painting the next layer?
It shouldn't take too long to dry - it's best to do it the day/night before so the canvas is dry the next day and ready for paint. The odourless thinner/solvent will speed up the drying process so you can use this by itself (without linseed oil) if you want the canvas to dry more quickly. You can start painting directly onto the wet canvas, though if you do this I would recommend using just one colour (for example, raw umber) and use it to draw with rather than to paint as the wet imprimatura will muddy the colours. Let me know if you have any further questions :)
Thank you so much.
I saw a few artist that after imprimatura is applied, draw with charcoal and then fix it with spray. Is that correctly? I mean, Does not spray damage imprimatura? Nice video and thanks a lot.
Thank you.
You're welcome! :)
Thanks, egypt
Gratitude
Why don't you mix them all in a bottle first ?
You could mix the turpentine and linseed oil in a bottle if you wished, though you only need a little bit so it might not be worth mixing it in a bottle. The oil paints are quite thick so wouldn't mix very well in a bottle. Hope that helps!
Throw some stainless steel nuts* in a jar with your medium of choice and paint. Then you put the lid on and shake it like it's a can of spray paint. The pigment disperses evenly. FWIW, I use a combo of galkyd and gamsol 'cause it's ready to be painted on next day. And I tone several canvases at once, some quite large, so it actually is worth mixing that much. * I go with stainless, 'cause I also do this with acrylics and non-stainless nuts will rust in waterborne paint.
Can you use acrilics on top of this
Most people will say it’s fine but it is not. There are long term problems including the use of acrylic gesso.
Hi Vicky, you can use acrylic paint for the imprimatura if you're going to make an acrylic painting. Just put a wash of thin acrylic paint onto your canvas, using acrylic and water, instead of oil paint and oil :) Hope that helps!
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