Thanks Dianne, the best demo of what glazes do, the best description of what they are useful for. I've had teachers, graduates from the NY academy, who weren't able to explain this process nearly as clearly as you demonstrate in this by now 'longer' tip. In fact, theirs was confusing intellectual mumbojumbo. You've got the pedagogy, the skill to present complexity as cohesive. Wish I could hit 10 thumbs up !! 💃👍👍👍🙌high 10 !
I learned nothing at university from any teachers. I have learned more from Dianne in a short time than all the years I spent there. I learned from other colleagues than from anyone. She is so nice to give these lessons.
Diane: Thank you so very much for sharing your knowledge/experience with us all. I have so much to learn and you are the best source of information I have found. Please know how much I appreciate what you do. How very kind of you.
Thank you so much for this Quick Tip on Glazing. I am enjoying several of your Quick Tip videos while this corona virus has us so confined. Good time to learn new techniques!
Thank you for generously sharing your knowledge, it is just as important to me to know how to apply paint as it is to know why different paints, brushes and mediums respond the way that they do.
Thank you for your quick tips, Dianne. Yours is my go-to channel when I need a refresher or have to explain something I can’t quite remember. I love your phonetic spelling of ‘grisaille’ , but how many would have the slightest idea what that means or how to pronounce it? Must be a generational thing! Anyway, thank you.
Thank you so much . You explain things so well. I have learnt more from you in the two videos I have watched than from many art teachers. Can’t wait to get my paints out again. Bless you. 🌺
Wow! This was great information in a nutshell and for an artist that does not paint with glazing you are pretty good at showing and talking about it.Thank you.
Excellent teaching skills. This is the best explanation of glazing and options I have heard on youtube. Thank you for sharing your knowledge with us! Subscribed for sure:-)
Hi Dianne - I don't know if you will see this, as this is an old Q.T. But I wanted to say two things: 1) THANK YOU for your generous sharing of your time and immense expertise here! 2) What say you to the (seemingly many) "serious" painters out there who loudly scorn the use of acrylic grounds under oils as "non-archival" and thus a 100% NO-GO?? I understand the wish and the use of so-called “best practices” to allow our paintings to "survive" as long as possible. But I personally find such high-brow contempt for the common practice of painting with oils over gesso + acrylics unfair and overly “precious". In my book, to insist that my paintings must be pristinely preserved for many centuries is unrealistic & egotistical. No painting lasts forever and the so-called Masters generally had no idea that they would become famous centuries later either…. That’s just my two-cents’ worth. What are your thoughts on the matter?
To begin with, those who claim that acrylic grounds will not survive time are dead wrong. Historically, painters have experimented with all sorts of grounds. Many have survived over centuries, others (such as some Leonardo experimented with) started falling apart immediately. Science has brought painting materials a long way. I object to any kind of dogma for the sake of itself. I do believe that we should use materials in such a way that our work holds together because we don't want it to fall apart once sold. But there's enough scientific information available to us today that informs us of what works and what doesn't work. For example, we know that acrylic painted over oil will not adhere so that's not a good practice.
I didn't know! Thank you, Dianne! Very clear and useful. I stand beside Montreal Artllive (8 month ago message) who said what I couldn't quite put it into own words. :)
Thanks Dianne, wonderful as always! I am wondering how, why and where to use glazing process at the of a finished oil painting in order to enhance the various aspects of the piece. Would you please comment on that topic.
Seniz, glazing is not always necessary, mostly if you're using the layering method like Bougeureau used is it a primary technique. Here is a link to an article that explains that: www.virtualartacademy.com/glazing-techniques-in-oil-painting/#When_are_glazing_techniques_in_oil_painting_used
Hi, Dianne. I'm so glad I found your channel for all the great information. In this tip you talk about Gamsol and linseed oil as a glazing medium. In looking at linseed oils - which one should I use??? The one that is mixable with water, or does it matter? Thanks.
Rosee, since I don't paint with acrylics, I'm not sure I'm qualified to answer this with authority, but I do know that acrylic glazing mediums are available.
@@IntheStudioArtInstruction thank you Dianne. I'll still be watching and learning as I understand some oil and acrylic techniques are universal. I use water for glazing as I never like the mediums. Thank you and enjoy your day.
Thank you so much, Dianne! Your instruction is so clear and straightforward - just what I have been searching for. I am so happy to have found your videos, and look forward to exploring your site.
Hello Dianne, The Quick Tip 178 brings me to a Question: Do you have any rules or tips for mixing colors with the same or with different properties (opaque, semi-transparent or transparent)? E. g. Opaque color 1 + Opaque color 2, or Opaque color 1 + Transparent color 2, … Are there any recommendation or rules in relation to mixing colors with the properties opaque, semi-transparent or transparent?
First, the fewer rules we have, the better we paint. There are no rules for mixing opaque colors with transparent ones. The primary reason to know the difference between the two characteristics is for use in glazing. Then the only standard to remember Is that when you mix a transparent into an opaque, it loses its transparency.
I love this. What a great lesson. But I think that it’s VERY important to start with a good Grisaille! One that shows all the shadows, not in shadow, cast shadow, etc. Right?
Wow. Learned so much. Questions: 1 My great great grandfather was a Hudson valley painter. All his paintings have turned dark and the colours have dimmed. Can I use the techniques here to clean them up? I know my grandmother had some restored at some point. so would should try to remove varnish first? 2. I am looking at paintings I did several years ago...before cataract surgery, now the colors look dull and I want to brighten as well as put a glaze on the back ground to have it recede. There was a note not to use neutral color suggestions?
1.Usually, old paintings turn dark because of their varnish, but some are due to chemistry in inferior or incompatible paints. For removing the varnish safely, follow these instructions: th-cam.com/video/eePZXTCzPXw/w-d-xo.html . Any artist grade mineral spirits will work. Then for applying fresh varnish, follow this guide: th-cam.com/video/IigHWFv-C_w/w-d-xo.html OR this one: vimeo.com/434803650 2. Clean your paintings first with mineral spirits, then rubbing alcohol. Once dry, varnish it. For
Thank you very much for your instructional videos which give a deep rooted knowledge enabling to attempt any painting. Could you please tell if we can use different mediums in one oil painting, like linseed oil plus turpentine in lower layers and then liquin for glazing in top layers?
Did the old masters use linseed oil to dilute their paint for glazing? Excellent demo btw - I've been looking for this info for a while now. Much appreciated!
I assume you're referring to the Italian Renaissance masters such as Titian. His glazing technique is the one that is usually studied these days, although the same limited materials were available to all of them. A good glaze requires that it be thin enough for multiple layers, that it dry as quickly as possible and that it hold its integrity so that one layer will go over another without rewetting it, so the old Masters used forumlas made of an oil, a dryer and a solvent. Linseed oil alone is not thin enough and dries too slowly for glazing. There are multiple forumlas used by the old masters, but one that continued to be used for centuries was varying proportions of Stand oil, damar varish, gum turpentine and cobalt drier.
Kathy, you might find it fun to do some experiments where you mix a bit of black into every tube color you work with just to observe the change it makes. The experiment is even richer when you create a value scale from each mixture.
Very good portrayal of a complex subject! Was just wondering about the use of Liquin, or other drying agents, with layers and layers of glazes. The Masters didn't have these products, and the methods they used were archival. Has there been any evidence, as of yet, about the use of modern drying agents, vs. the old methods? Is there any possibility that the drying agents used now, as glazes, may cause flaking or cracking over time? I don't know if enough time has evolved for anyone to determine the result of using the products, or if they have ways of simulating the ravages of time and atmosphere over years and years. What's your take on this?
You make a good point, Laverne. Manufacturers of the new products do have a way of testing that supposedly simulates time but I, myself, don't altogether trust it. Only time will tell. I tend to stay pretty close to traditional materials with the exception of using Liquin. There is this: in our modern world we are able to control environmental factors that, in the past, have contributed to flaking and cracking. That considered, to a certain extent we can trust most new materials, but I stay away from anything made by companies who produce cheap materials.
Thank you very much for this and every tutorial. I glazed a painting with several coats of liquin original and ivory black and the surface ended up very glossy - is there anything I can do to remedy this? I did this before I saw this awesome tutorial...thank you again Ms. Mize...
Thank you Dianne, your wonderful. If learned so much from all your videos and full lessons. Can I ask, I've heard an artist say to use only linseed oil for glazing, is this advisable? Can you Please tell me what is( the brush you used at 9:10) thanks
Dear Dianne, Thank you for addressing my question on transparent, semi transparent, and opaque oil paint. I understand what you taught. I learn from a structured instruction. However, semi opaque was not addressed, please show how that fits into the glazing process. Again, thank you rachael
Rachael, some artists will use semi-transparent (or semi-opaque) oils for glazing, but just like opaque paints, when thinned out, the semi-transparent are likely to reveal small particles of pigment. Most artists who rely on glazes stick to the truly transparent colors.
Just what I needed thank you so much. I am trying to match colors in photo. A hill of evergreens at high noon. The photo shows blue green the some yellow Blue . You gave much help any thoughts would help. Thanks
Great. The best way to match the colors you are seeing is to first identify the hue, then the value, then the intensity. This sharpens you visual perception as well as makes color mixing fun rather than a struggle.
Wonderful lesson! Can I please ask you, I have used walnut alkyd medium in my painting and I’d like to slightly shade with a glaze, would I use the paint with walnut alkyd to thin it to that transparency? Or liquin.. or a slow dry medium to be safer ?!
I have not used Walnut alkyd so am not familiar with it. I do know it was developed by the M.Graham company to be a solvent-free medium, but I'd need to do more research about it before I could answer your question with any authority.
Thanks Dianne, for your clear explanation. I've got a question though. I've learned to use a opaque colour first and then paint the glazing over it. What difference does this make in the end? And if you add more layers, what effect do different colours have then, or is it ment to be done with just one colour (so repeating the one colour several times)?
This is just one approach to painting. The technique I show here is, as far as we know, the one originally used by artists when oil paint was first discovered. When painting in layers, there is a technical need caused by the speed of drying. Opaque colors, for the most part, drying slower than transparent ones so that should be taken into consideration. Painting in transparent layers gives a depth to the color because of the physics of how light either bounces back or is absorbed by the color. So whether one glazes, paints in layers or alla prima depends upon personal choice of what the artist's wants from the color.
Thanks Dianne ! This is precious ! My question : how do I clean a painting between two layers if the waiting time got very long and the paint in the new layer dosn´t stick. I did paint over an "old" painting (after 1 year) and at first it looked ok, but when completely dry the new layer started crumbling and fall of.I hope this makes sense. Thank you so much for all your videos !!!
Thank you for your demos. I want to know what or when do you see or find motivation for your references??? What are they? How do you apply those to your canvas? Motivation...
Motivation comes from desire. Any subject that gets your attention, that makes you want to look at it for a second time, is worth exploring with paint. If nothing gets your attention, then perhaps listening to music that you enjoy or taking a walk or any activity that makes you curious will get your creative juices going. If you really want to paint, then that's your motivation. The subject matter comes from the joy of living.
Thank you for yet another clearly explained tip. I have a question for which I haven’t been able to find a satisfactory answer. I use water mixable oils. (I know you don’t use them but hope you might have the answer.) My question: can I use Liquin for these oils in the same ways you use them with regular oils, especially for glazing?
Pat, you can, but you also have to switch to aa petroleum solvent for keeping the brush clean because Liquin is not water mixable. Holbein has water mixable mediums called Duo Aqua Oil Mediums. A couple of these also enhance the drying time similar to Liquin.
@@IntheStudioArtInstruction Diane, thank you so much. I knew if anyone could give me a clear and accurate explanation it would be you. I truly appreciate your help!!
Question: I have done a couple of painting starting with a thin layer of oil ove modeling paste, for a background, let it dry, and then used acrylics in glazes and non glazes on top. I have been told this is a Nono, but I have not had problems so far, could you give your opinion on this. Also I have many acrylic colors but just a few oils, could you give your opinion on a basic oil palette and the minimum mediums you use, and the type of hair or synthetic in your glazing brush? It would be very helpful, thank you!
Linda, I explain my palette in Quick Tip 115 - th-cam.com/video/RORenwUXMDI/w-d-xo.html . The only mediums I use are linseed oil and either Liquin or Galkyd Lite. ( I have just recently begun to work with Galkyd Lite.) The only time I use linseed oil is to loosen up paint that is stiffer than I like it to be, and I use Liquin (or GL) in small amounts only when I want the paint to dry rapidly or for glazing and signing my work. The brushes I use for glazing depend upon what I want the glaze to do, so I have a variety of those, some soft synthetic and some soft natural hair. I'm not particular about brands for glazing, rather about what the brush will do. About your using modeling past as a ground, if it's archival and compatible with your substrate, paints and mediums, I don't know why it would be a no-no. For the record, back in the 60s when I was a naïve young painter, I used Bondo as a ground over a canvas board and here more than 50 years later, I have one of those paintings hanging in my bedroom doing just fine. Archivists would probably have a fit over that.
In acrylics, simply paint over them if already dry. If you catch a "mistake" while painting, you can wipe it off and rebuild it. Normally, though, I prefer working out the idea before beginning the painting and allow it to build itself according to plan. If it takes a life of its own, there won't be any mistakes, only discoveries.
In one of your other tip videos, you used poppy oil for prep on a gessoed canvas to help move paint. Do you recommend using the poppy oil also for glazing, and would you use Gamsol with this? Also when not needing to glaze, but want transparency, what areas are best to use transparency? I do know when used with water on a beach transparency works wonderfully
Candace Troy at 10:40 Dianne talks about using a little gamsol with linseed oil. Poppy oil may take longer to dry...also for when or why to use semi/transparent colors watch from 4:00min Dianne explains. Maybe an example would be..if your painting rocks and would like the water on top to see through...or with a seascape ; the transparent colors would be used to block in the underpainting...like several colors blocked in like a mosaic form...many tend to add white with seascapes..should use semi- and transparent colors for underpainting...hope This makes sense. Btw..liquin is a good glazing medium...only thing is does have an odor.
Candace, poppy oil is a slow drying oil so not the best glazing medium. I recommend either a formula that contains a drier such as liquin or any other commercially formulated glazing medium, or make your own with one of the traditional formulas such as 1/3 linseed oil, 1/3 damar varnish and 1/3 turps. In this tip, I'm showing the method of beginning with grisaille and building the entire painting with glazing and scumbling. However, for creating transparancy, glazing can be used with other techniques.
I'm uncertain what you are call an impressionist technique. If you're referring to an impasto painting (see Quick Tip 184), it's probably not a good idea if you're using oil paint because the paint oxidizes from top down, making really thick paint take many, many months to dry completely.
Thanks Dianne, the best demo of what glazes do, the best description of what they are useful for. I've had teachers, graduates from the NY academy, who weren't able to explain this process nearly as clearly as you demonstrate in this by now 'longer' tip. In fact, theirs was confusing intellectual mumbojumbo. You've got the pedagogy, the skill to present complexity as cohesive. Wish I could hit 10 thumbs up !! 💃👍👍👍🙌high 10 !
Wow! Thanks for that. I like "high 10"!
Montreal Artlive SO AGREE!!
yes, I second your praise for Dianne.
I learned nothing at university from any teachers. I have learned more from Dianne in a short time than all the years I spent there. I learned from other colleagues than from anyone.
She is so nice to give these lessons.
@@debbiejohnson2789 Yes, definitely one of the best on YT, concise yet clear
Your depth of knowledge is amazing! So generous of you to share it with us. Your art students must have loved you!!!
Thanks for that, Karen.
Super stuff! Thanks again and again and again.
This is why oil painting looks life like with the light rays transmitted into the painting, thank you.
Thanks for watching and for being a subscriber.
Diane: Thank you so very much for sharing your knowledge/experience with us all. I have so much to learn and you are the best source of information I have found. Please know how much I appreciate what you do. How very kind of you.
Ah thanks, Pat.
This is the best teaching about glazing.👏👏👏🌹
Thanks.
The final tip regarding opaque light dispersing via glaze... I had never thought of that. Thank you.
You are so welcome!
Thank you so much for this Quick Tip on Glazing. I am enjoying several of your Quick Tip videos while this corona virus has us so confined. Good time to learn new techniques!
Thanks, Jacki. I hope we have enough here to keep you occupied while we are all sequestered.
You are the best Dianne, I learn so much with your tips, always a plaisure to watch your video.
"Plaisure" like Khan on Star Trek, The Wrath of Khan?
Thank you for generously sharing your knowledge, it is just as important to me to know how to apply paint as it is to know why different paints, brushes and mediums respond the way that they do.
You are so welcome! Yes, the technique is of utmost importance.
Favourite youtuber💕💕💕 thank you Diane!
Yay! Thank you!
I am enjoying your tutorials immensely! Not only the quick demonstrations of techniques, but your wonderful voice!
Thanks.
I enjoy watching your videos. You are calm, pleasant and not rushing through the content. And of course very informative. Thanks.
Thanks. I'm delighted you're enjoying these.
Thank you so much Dianne, you are a fabulous and generous teacher.
Thank you so much!
Thankyou for your preliminary teachings on glazing techniques. You are amazing in your method of teaching art theory. You love art and it shows
Thanks.
Thanks, Dianne - having you illustrate that about the glazes and especially the opaque colors really does answer it my question!
Great.
Again Thank you. I never knew the concept. I am a beginner, but now I am equipped with a tidbit of knowledge to use. Thank you.
Glad it was helpful!
Brilliant explanation Dianne. Thank you.
You are so welcome!
Thank you Dianne,very crucial information with detailed demonstration and patience ,like the way you explain.
Thanks.
Thank you for your quick tips, Dianne. Yours is my go-to channel when I need a refresher or have to explain something I can’t quite remember. I love your phonetic spelling of ‘grisaille’ , but how many would have the slightest idea what that means or how to pronounce it? Must be a generational thing! Anyway, thank you.
My pleasure. Thanks for making these your go-to.
I love your way of teaching. Amazing
Thank you! 😃
gosh Dianne, I am very thankful for all your helpful quick tips. You explain everything very well for us novices. A1 teacher!
My pleasure to help give clarity.
Thank you so much . You explain things so well. I have learnt more from you in the two videos I have watched than from many art teachers. Can’t wait to get my paints out again. Bless you. 🌺
There's no better time than now! Thanks for watching.
So clear and precise ! Love the way you explain methods
Thanks.
where have you been all my life, thank you so much!!
My pleasure. Thanks for watching.
Thank you Dianne. You are so helpful. Your lessons are so clear.
Thank you. I enjoy doing these.
Wow! This was great information in a nutshell and for an artist that does not paint with glazing you are pretty good at showing and talking about it.Thank you.
It's good to know about a wide range of techniques whether we use them or not. Thanks for watching.
Thank you for sharing your knowledge with us. Greetings from Chihuahua, Chihuahua Mexico 🇲🇽
Our pleasure!
Great stuff Dianne. 🤗💐
Thanks.
Thank you Dianne for sharing your knowledge with us. You are a great teacher!
Thanks for that.
That was so very enjoyable - thank you for sharing your repertoire of knowledge.
My pleasure!
Thanks Dianne, Such a clear explanation & demonstration.
My pleasure.
This was very helpful. I tried to do glazing without instruction so I am grateful for this video.
Glad it was helpful!
You explained glazing opaque and transparent very well.
Thanks.
Excellent teaching skills. This is the best explanation of glazing and options I have heard on youtube. Thank you for sharing your knowledge with us! Subscribed for sure:-)
Thanks for watching and for subscribing.
Thank you Diane. I love the soft richness of many layers of glazing, but have been finding my way. This helped.
Great!
Very well explained indeed ! Thank you so much! A pleasure to watch and listen to!
Thanks.
Thank you so much for sharing your knowledge. You are a treat to learn from.
I appreciate that!
Queen of the Painting!! 👏
😊
You’re terrific! Many thanks for all your tips 😃
You are so welcome! It's a pleasure doing these.
Thank you Dianne, you rock.
😊
Thank you so much for your time and talent!! You are so knowledgeable!
It's a pleasure.
You are such a great and generous teacher.
Thanks.
In the Studio Art Instruction and I love the way you say ValYA ❤️❤️
Thank you!! Excellent classes!!
My pleasure, and thanks.
Wonderful and succinct explanation of the topic! Thank you for doing these videos!
My pleasure.
Hi Dianne - I don't know if you will see this, as this is an old Q.T.
But I wanted to say two things: 1) THANK YOU for your generous sharing of your time and immense expertise here!
2) What say you to the (seemingly many) "serious" painters out there who loudly scorn the use of acrylic grounds under oils as "non-archival" and thus a 100% NO-GO??
I understand the wish and the use of so-called “best practices” to allow our paintings to "survive" as long as possible.
But I personally find such high-brow contempt for the common practice of painting with oils over gesso + acrylics unfair and overly “precious". In my book, to insist that my paintings must be pristinely preserved for many centuries is unrealistic & egotistical. No painting lasts forever and the so-called Masters generally had no idea that they would become famous centuries later either…. That’s just my two-cents’ worth.
What are your thoughts on the matter?
To begin with, those who claim that acrylic grounds will not survive time are dead wrong. Historically, painters have experimented with all sorts of grounds. Many have survived over centuries, others (such as some Leonardo experimented with) started falling apart immediately. Science has brought painting materials a long way.
I object to any kind of dogma for the sake of itself. I do believe that we should use materials in such a way that our work holds together because we don't want it to fall apart once sold. But there's enough scientific information available to us today that informs us of what works and what doesn't work. For example, we know that acrylic painted over oil will not adhere so that's not a good practice.
Excellent video and very informative, thank you.
My pleasure. Thanks for watching.
Thanks! I’ve been looking for a course on glazing!
Have fun with it.
I didn't know! Thank you, Dianne! Very clear and useful. I stand beside Montreal Artllive (8 month ago message) who said what I couldn't quite put it into own words. :)
You are amazing teacher. Thanks a lot all of your lession helps me a lot
Thank you. It's a pleasure to share these.
Gracias! I really enjoy your classes. Big hug from Madrid
Thanks. Hugs back from north Georgia, USA.
Extremely helpful. Thank you!
You're welcome! Thanks for watching.
Thanks Dianne, wonderful as always! I am wondering how, why and where to use glazing process at the of a finished oil painting in order to enhance the various aspects of the piece. Would you please comment on that topic.
Seniz, glazing is not always necessary, mostly if you're using the layering method like Bougeureau used is it a primary technique. Here is a link to an article that explains that: www.virtualartacademy.com/glazing-techniques-in-oil-painting/#When_are_glazing_techniques_in_oil_painting_used
Hi, Dianne. I'm so glad I found your channel for all the great information. In this tip you talk about Gamsol and linseed oil as a glazing medium. In looking at linseed oils - which one should I use??? The one that is mixable with water, or does it matter? Thanks.
Margaret, never mix oil and water. Any artist grade refined linseed oil will work.
You are always spot on. Thank you so much
Thank you!
This is wonderful to see the dynamics of blending glazes. Dianne I use acrylics. what is the best to use for glazing with them please
Rosee, since I don't paint with acrylics, I'm not sure I'm qualified to answer this with authority, but I do know that acrylic glazing mediums are available.
@@IntheStudioArtInstruction thank you Dianne. I'll still be watching and learning as I understand some oil and acrylic techniques are universal. I use water for glazing as I never like the mediums. Thank you and enjoy your day.
Thank you so much, Dianne! Your instruction is so clear and straightforward - just what I have been searching for. I am so happy to have found your videos, and look forward to exploring your site.
Wonderful. Welcome aboard.
Hello Dianne,
The Quick Tip 178 brings me to a Question:
Do you have any rules or tips for mixing colors with the same or with different properties (opaque, semi-transparent or transparent)?
E. g. Opaque color 1 + Opaque color 2, or Opaque color 1 + Transparent color 2, …
Are there any recommendation or rules in relation to mixing colors with the properties opaque, semi-transparent or transparent?
First, the fewer rules we have, the better we paint. There are no rules for mixing opaque colors with transparent ones. The primary reason to know the difference between the two characteristics is for use in glazing. Then the only standard to remember Is that when you mix a transparent into an opaque, it loses its transparency.
I love this. What a great lesson. But I think that it’s VERY important to start with a good Grisaille! One that shows all the shadows, not in shadow, cast shadow, etc. Right?
Only if you're using the glaze method for your painting process. Otherwise, finding the notan is extremely important before beginning a painting.
This is such a great video, thank you!
Thanks for watching.
Wow. Learned so much. Questions:
1 My great great grandfather was a Hudson valley painter. All his paintings have turned dark and the colours have dimmed. Can I use the techniques here to clean them up? I know my grandmother had some restored at some point. so would should try to remove varnish first?
2. I am looking at paintings I did several years ago...before cataract surgery, now the colors look dull and I want to brighten as well as put a glaze on the back ground to have it recede. There was a note not to use neutral color suggestions?
1.Usually, old paintings turn dark because of their varnish, but some are due to chemistry in inferior or incompatible paints. For removing the varnish safely, follow these instructions: th-cam.com/video/eePZXTCzPXw/w-d-xo.html . Any artist grade mineral spirits will work. Then for applying fresh varnish, follow this guide: th-cam.com/video/IigHWFv-C_w/w-d-xo.html OR this one: vimeo.com/434803650
2. Clean your paintings first with mineral spirits, then rubbing alcohol. Once dry, varnish it.
For
Brilliant video thanks for sharing ❤
Thanks for watching.
Thank you very much for your instructional videos which give a deep rooted knowledge enabling to attempt any painting. Could you please tell if we can use different mediums in one oil painting, like linseed oil plus turpentine in lower layers and then liquin for glazing in top layers?
Manju, we have to be careful about that. If a top layer dries before one underneath, there's a risk of the paint cracking.
Thank you very much.
Did the old masters use linseed oil to dilute their paint for glazing? Excellent demo btw - I've been looking for this info for a while now. Much appreciated!
I assume you're referring to the Italian Renaissance masters such as Titian. His glazing technique is the one that is usually studied these days, although the same limited materials were available to all of them.
A good glaze requires that it be thin enough for multiple layers, that it dry as quickly as possible and that it hold its integrity so that one layer will go over another without rewetting it, so the old Masters used forumlas made of an oil, a dryer and a solvent. Linseed oil alone is not thin enough and dries too slowly for glazing. There are multiple forumlas used by the old masters, but one that continued to be used for centuries was varying proportions of Stand oil, damar varish, gum turpentine and cobalt drier.
thank you very much, you are kind to share. Especially now.
My pleasure!
Thank you so much for this tip. I would like to see the differences in using black. Black as a pure color vs. black that has been mixed.
Kathy, you might find it fun to do some experiments where you mix a bit of black into every tube color you work with just to observe the change it makes. The experiment is even richer when you create a value scale from each mixture.
Thank you. Very good lessson.
Thanks for watching.
Very good portrayal of a complex subject! Was just wondering about the use of Liquin, or other drying agents, with layers and layers of glazes. The Masters didn't have these products, and the methods they used were archival. Has there been any evidence, as of yet, about the use of modern drying agents, vs. the old methods? Is there any possibility that the drying agents used now, as glazes, may cause flaking or cracking over time? I don't know if enough time has evolved for anyone to determine the result of using the products, or if they have ways of simulating the ravages of time and atmosphere over years and years. What's your take on this?
You make a good point, Laverne. Manufacturers of the new products do have a way of testing that supposedly simulates time but I, myself, don't altogether trust it. Only time will tell. I tend to stay pretty close to traditional materials with the exception of using Liquin.
There is this: in our modern world we are able to control environmental factors that, in the past, have contributed to flaking and cracking. That considered, to a certain extent we can trust most new materials, but I stay away from anything made by companies who produce cheap materials.
Thank you very much for this and every tutorial. I glazed a painting with several coats of liquin original and ivory black and the surface ended up very glossy - is there anything I can do to remedy this? I did this before I saw this awesome tutorial...thank you again Ms. Mize...
I regret to tell you, but there's no remedy. Liquin does have its downside.
Dianne, have you ever used unbleached white (acrylic) instead of Titanium?
Thanks very much ma'am your videos are so helpful and joyful
My pleasure 😊
Thank you Dianne, your wonderful. If learned so much from all your videos and full lessons. Can I ask, I've heard an artist say to use only linseed oil for glazing, is this advisable?
Can you Please tell me what is( the brush you used at 9:10) thanks
Thank you for the tip, Dianne! Why won't you make a combined video on creating a real painting using glazing?
Because it would take entirely too long. These Quick Tips, not full demonstrations.
Dear Dianne,
Thank you for addressing my question on transparent, semi transparent, and opaque oil paint. I understand what you taught. I learn from a structured instruction. However, semi opaque was not addressed, please show how that fits into the glazing process. Again, thank you rachael
Rachael, some artists will use semi-transparent (or semi-opaque) oils for glazing, but just like opaque paints, when thinned out, the semi-transparent are likely to reveal small particles of pigment. Most artists who rely on glazes stick to the truly transparent colors.
This was so helpful! Definitely going to try glazing in my next painting :))
Have fun!
Querida maestra que hermoso como transmite su sabiduria no se ingles pero algo me queda. Mi eterna gratitud desde colombia
Gracias por tu comentario.
You're BRILLIANT, thank you so much. This is really helpful💖😊
You're so welcome! And thanks.
Wonderful explanation..thank you
Thanks! My pleasure.
Thank you nice work very well done!
Thank you too!
Wow! Fascinating
Thanks.
Thank you Dianne .
My pleasure.
Just what I needed thank you so much. I am trying to match colors in photo. A hill of evergreens at high noon. The photo shows blue green the some yellow
Blue . You gave much help any thoughts would help. Thanks
Great. The best way to match the colors you are seeing is to first identify the hue, then the value, then the intensity. This sharpens you visual perception as well as makes color mixing fun rather than a struggle.
I agree totaly a lot of thanks from the Netherlands
Thanks for watching. I love the Netherlands!
awesome, high-quality information! thank you!
My pleasure. Thanks for watching.
Wonderful lesson! Can I please ask you, I have used walnut alkyd medium in my painting and I’d like to slightly shade with a glaze, would I use the paint with walnut alkyd to thin it to that transparency? Or liquin.. or a slow dry medium to be safer ?!
I have not used Walnut alkyd so am not familiar with it. I do know it was developed by the M.Graham company to be a solvent-free medium, but I'd need to do more research about it before I could answer your question with any authority.
Thanks Dianne, for your clear explanation. I've got a question though. I've learned to use a opaque colour first and then paint the glazing over it. What difference does this make in the end? And if you add more layers, what effect do different colours have then, or is it ment to be done with just one colour (so repeating the one colour several times)?
This is just one approach to painting. The technique I show here is, as far as we know, the one originally used by artists when oil paint was first discovered. When painting in layers, there is a technical need caused by the speed of drying. Opaque colors, for the most part, drying slower than transparent ones so that should be taken into consideration.
Painting in transparent layers gives a depth to the color because of the physics of how light either bounces back or is absorbed by the color. So whether one glazes, paints in layers or alla prima depends upon personal choice of what the artist's wants from the color.
@@IntheStudioArtInstruction Thank you for answering. It helps me understanding the different approaches.
Thanks Dianne ! This is precious ! My question : how do I clean a painting between two layers if the waiting time got very long and the paint in the new layer dosn´t stick. I did paint over an "old" painting (after 1 year) and at first it looked ok, but when completely dry the new layer started crumbling and fall of.I hope this makes sense. Thank you so much for all your videos !!!
Christina, rubbing alcohol with a soft gauze pad will do the job.
P.S. Oil paint, when applied properly, should not crumble. My guess is that your initial layers had solvent in them or that you used too much medium.
@@IntheStudioArtInstruction Thanks Dianne! I´v found your video on this topic and really loved it !!!Have a nice day!
This is so helpful. Thank you!
You're so welcome!
Does transparent color have any advantage over opack color other than glazing.
Not really, considering it can be used as a part of any painting technique.
Thank you for this video...very informative.
Always a pleasure.
Thank you for your demos.
I want to know what or when do you see or find motivation for your references??? What are they? How do you apply those to your canvas? Motivation...
Motivation comes from desire. Any subject that gets your attention, that makes you want to look at it for a second time, is worth exploring with paint. If nothing gets your attention, then perhaps listening to music that you enjoy or taking a walk or any activity that makes you curious will get your creative juices going. If you really want to paint, then that's your motivation. The subject matter comes from the joy of living.
Amazing video! Thank you very much!
Thanks for watching.
Thank you for yet another clearly explained tip. I have a question for which I haven’t been able to find a satisfactory answer. I use water mixable oils. (I know you don’t use them but hope you might have the answer.) My question: can I use Liquin for these oils in the same ways you use them with regular oils, especially for glazing?
Pat, you can, but you also have to switch to aa petroleum solvent for keeping the brush clean because Liquin is not water mixable. Holbein has water mixable mediums called Duo Aqua Oil Mediums. A couple of these also enhance the drying time similar to Liquin.
@@IntheStudioArtInstruction Diane, thank you so much. I knew if anyone could give me a clear and accurate explanation it would be you. I truly appreciate your help!!
Wow I never knew that the opaque went on after the transparent. Is it ever done the opposite way? How is it done for skin tones?.
It depends upon the process you are using. Here I am showing the glazing process used most often in the early days of oil painting.
Would alternating layers of retouch varnish glazes and liquin create drying problems?
I would not recommend this.
beautiful video thank u so much
Can you glaze over dark crimson/ultra blue with either turquoise/green colors around a face portrait?
I'm not sure I understand what you are asking. Could you be a bit more specific?
Question: I have done a couple of painting starting with a thin layer of oil ove modeling paste, for a background, let it dry, and then used acrylics in glazes and non glazes on top. I have been told this is a Nono, but I have not had problems so far, could you give your opinion on this. Also I have many acrylic colors but just a few oils, could you give your opinion on a basic oil palette and the minimum mediums you use, and the type of hair or synthetic in your glazing brush? It would be very helpful, thank you!
Linda, I explain my palette in Quick Tip 115 - th-cam.com/video/RORenwUXMDI/w-d-xo.html . The only mediums I use are linseed oil and either Liquin or Galkyd Lite. ( I have just recently begun to work with Galkyd Lite.) The only time I use linseed oil is to loosen up paint that is stiffer than I like it to be, and I use Liquin (or GL) in small amounts only when I want the paint to dry rapidly or for glazing and signing my work.
The brushes I use for glazing depend upon what I want the glaze to do, so I have a variety of those, some soft synthetic and some soft natural hair. I'm not particular about brands for glazing, rather about what the brush will do.
About your using modeling past as a ground, if it's archival and compatible with your substrate, paints and mediums, I don't know why it would be a no-no. For the record, back in the 60s when I was a naïve young painter, I used Bondo as a ground over a canvas board and here more than 50 years later, I have one of those paintings hanging in my bedroom doing just fine. Archivists would probably have a fit over that.
Excellent tutorials! I work in acrylics and was wondering, how do you fix mistakes?
In acrylics, simply paint over them if already dry. If you catch a "mistake" while painting, you can wipe it off and rebuild it. Normally, though, I prefer working out the idea before beginning the painting and allow it to build itself according to plan. If it takes a life of its own, there won't be any mistakes, only discoveries.
“There are no mistakes, just happy accidents" right ? 😁
In one of your other tip videos, you used poppy oil for prep on a gessoed canvas to help move paint. Do you recommend using the poppy oil also for glazing, and would you use Gamsol with this? Also when not needing to glaze, but want transparency, what areas are best to use transparency? I do know when used with water on a beach transparency works wonderfully
Candace Troy at 10:40 Dianne talks about using a little gamsol with linseed oil. Poppy oil may take longer to dry...also for when or why to use semi/transparent colors watch from 4:00min Dianne explains.
Maybe an example would be..if your painting rocks and would like the water on top to see through...or with a seascape ; the transparent colors would be used to block in the underpainting...like several colors blocked in like a mosaic form...many tend to add white with seascapes..should use semi- and transparent colors for underpainting...hope This makes sense. Btw..liquin is a good glazing medium...only thing is does have an odor.
Candace, poppy oil is a slow drying oil so not the best glazing medium. I recommend either a formula that contains a drier such as liquin or any other commercially formulated glazing medium, or make your own with one of the traditional formulas such as 1/3 linseed oil, 1/3 damar varnish and 1/3 turps.
In this tip, I'm showing the method of beginning with grisaille and building the entire painting with glazing and scumbling. However, for creating transparancy, glazing can be used with other techniques.
Hello Diane, is it possible for me to to glaze over an impressionist technique. How does one glaze over a palette brush painting? Thank you!
I'm uncertain what you are call an impressionist technique. If you're referring to an impasto painting (see Quick Tip 184), it's probably not a good idea if you're using oil paint because the paint oxidizes from top down, making really thick paint take many, many months to dry completely.