The second step in the oil underpainting stage, adding underpainting white and raw amber to broaden the subtle range of your light, dark and mid tone value families.
Great videos. You have a gift at teaching so that the information actually sticks. I have always felt more confident in my charcoal drawings than in my paintings until I watched the under painting video and realized it was exactly what I was already doing with charcoal powder. Thanks for some much needed inspiration and knowledge. Btw your palette could be framed and hung on the wall, it’s a gorgeous piece of art in of itself.
Hi Melissa, my gosh! What an incredibly kind reply. That makes me feel terrific, thank you so much. I’m glad my videos were of some help to you. I’m simply a portal passing on some of the bigger ideas that helped me understand how to make pictures. I’m glad they resonated. I am teaching an eight week zoom class starting this September. It is a live, two hour class in the evenings on Tuesdays. Send me an email if you are interested. It would be fun to work with you.
Thank you very much for explanning and showing everything so well, I get a lot of answers and also motivation to paint more. I am so happy since I want to try this technic of wipping colour but I thought one had to use terpentine or mineral Spirits and they make me sick. Now I can not wait to try your process.I went to your webpage ,y our artworks are just fantastic and have a special quality like a subtle magic. One day I will be able to achieve one of them, I hope. Please, make a new video as you have time, I love watching you painting. Greetings from Germany.
Todd, thank you for these videos, I love what you are doing, its opening my eyes to new techniques. I do this about once every couple of months, learn from others and your tutorial is to the point, clear and excellent. love your work. one question: not familiar with underpainting white. I have lead white and titanium white, can I mix it? Or does it need to be exactly that?
You’re an incredible teacher! What kind of Liquin do you use? I did a quick search to pick some up at my local art store but there were a few options and I wasn’t sure which to choose haha. Thanks!
Can I just ask about the fat over lean principle? In the wipe away you used a little linseed oil with the paint, but now you're going over it with Liquin. Doesn't that cause problems?
Hi Jon, Good question. If you watch the video carefully, you will see that I point out that I am using a “WHISPER THIN” Application of oil. The purpose of the oil is simply to seal the drawing and create a slippery surface for the subsequent layer of raw umber. You can see in the video that I rub my fingers over the oil and show you the very thin residue on my fingertips. This is specifically to illustrate the point let the oil is used very sparingly here. Your question is valid and I know it comes from a place of suspicion of violating the fat over lean principle. If I used a lot of oil, it would present a problem. This technique is almost 600 years old at this point and by all appearances, has stood the test of time. Subsequent layers of liquin do not present a problem or issue with cracking.
@@toddbonitafineart1584 thank you for your detailed answer! I guess with the oil and initial paint being so thin there just isn't really enough material there to shrink and change, so cracking of subsequent layers doesn't happen. How do you think the wipe away stage would work with Liquin instead of oil? I've tried that with fairly mediocre success, but that was on a cheap acrylic gesso ground which was very absorbent which obviously doesn't lend itself well to wiping.
@@jonroads8281 Good point regarding the surface and acrylic gesso surface. I’m using oil primer on wood panels almost exclusively now. I love it. I think the Liquin would be perfectly fine. Just know that it is a quick dry medium…so your wipe away time is far shorter than using oil. The oil, despite using it thinly, provides about 6 hours of play time before it begins to tack up and begin to set. Liquin is closer to an hour. Both are doable and you should chose the one that suits your rhythm of painting. I personally like a six hour window is that is a typical studio day for me. Liquin could certainly be an excellent alternative outdoors painting plein air.
@@toddbonitafineart1584 I'm actually waiting for some oil ground to be delivered so I'm looking forward to trying it. Sadly my painting has to be fitted around a full time job, so a working time of an hour or so is probably sufficient for me, but I shall definitely try this as you've done it with the oil. You get a beautiful effect which is exactly what I've been after so I'm definitely going to take your advice from this series of videos. I only discovered your channel today but I'm definitely a fan now.
@@jonroads8281 I like your moxie! There is something incredibly spirited about people who work full-time but still make a spot in their schedule for painting. Good for you my friend! Thank you for all your kind words and feedback, it means a lot and I sure appreciate it. I really am glad you found something of value. Yes! Please enjoy the videos and absorb as much as you can and paint as often as you can. I created these videos as a complement to an online zoom class . You should think about joining our next eight week class. It takes place in the evenings and is an online group. There is one coming up in March. Send me an email and I can give you more information. I have not put it up on my website yet but glad to give you all of the info. My email address is Tmbonita@gmail.com It will be fun to work with you in a class setting. We go over this material together and critique your work each week in chat it’s progress. Either way, thank you again for all your kind words. Happy painting to you and good luck. All the best, Todd
old video so not sure u will answer but since ur supposed to go from thin to thick in layers, on the under painting u only covered the canvas with linseed oil on a rag then painted on it with pure paint...which yes u wiped away but on top of that now and in the next video u stain using paints diluted in liquin...isnt linseed oil thicker than liquin...? and forget the medium the paint thickness of the under painting u have left here to get the darkest shades will be thicker than the paints u stain it with...doesnt that go against the thick on lean rule n lead to the painting cracking?
Hi Humza, thank you so much for your question! You are right on target with your thinking. The fat Over lean principle means that the word fat equals oil. So, in theory, you are absolutely correct, your initial layers should be leaner, having less oil than the subsequent layers. I think I go over this in the overall video series but I’ll repeat it here. In this particular case, he will note that all of my layers are incredibly thin. I point out on two occasions that the initial oil layer is, “whisper thin”…. Not only am I really careful to point this out and stress how little oil I am using, I then initiate a close-up where you can see my fingers rubbing the surface to expose the extremely thin residue on my fingertips. This initial oil layer serves three purposes. One, it seals the drawing. Two, it’s sets up a somewhat slippery surface for the subsequent layer of raw umber I will lay on next. three, and this point is very telling pertaining to your question, the subsequent layer of raw umber, it is important to note that raw umber is an earth color in dries quickly, having very little oil in it. To be clear, the third reason for laying down the whisper thin application of oil is to extend the drying time of the subsequent layer of raw umber. in other words, by laying down the oil first, I can get a few more hours of painting time before the Raw umber dries. You are also correct to point out that when I dark in the raw umber passages, I am indeed layering more Umber oil paint. Again, I would remind you that these layers are so incredibly thin, they wouldn’t crack in 500 years. You are very astute and well read with your understanding of the materials. hood for you. I will add that the you are also correct in theory regarding my using subsequent layers of liquin over the oil and your observation that this would be thin over thicker paint. The theory is correct, however, again, these initial layers are so thin they are barely Audible on any register that would calculate its potential jeopardy of cracking. Another important thing to understand is that the liquin layers Are resin. The chemistry of oil drying is such that it dries via an oxidation process. The longer oil is exposed to air, it expands and contracts slowly over time, drying. If you can imagine a layer of paint expanding and extracting, it makes sense that if you put a thin glaze over something that is moving like that, but overtime, it would make sense that it would crack. The saving grace here is the use of liquin. This is an alkyd resin that speeds up the oxidizing and this, negates Any concern for expanding and contracting layers that would lead to cracking. A shorter, simpler answer is that my initial layers using oil are so darn thin, Coupled with the subsequent use of liquin, Alkyd resin, that it really will not be a problem. It’s a great question and forgive me if I was not clear enough in the video. I hope this helps. You are wise to be sensitive of your painting layers. If you are using thicker, impasto paint, it would be wise to be even more so vigilant. Thanks so much for your question. Happy painting to you.
@@toddbonitafineart1584 thank u so much Todd my brother for taking the time to really give a clear answer...im new to oil painting and as u can imagine not having any formal education n relying on youtube videos for info i get pretty bamboozled with all the different techniques and little nuances u old masters have picked up and mastered over the yeas n years of working with the medium...tell me is it ok for me to use turpentine instead of liquin? im having a hard time finding it or any other mineral spirit here...thanks again for taking the time to educate a newbie whos lost in the sea of videos trying to learn;)
I do not agree that the red filter aids with value decisions. Instead, it overcomplicates the view with this extraneous red color. Also, I do not agree with the routine addition of white throughout a painting to lighten values. In my opinion, this weakens an otherwise nice tonal start to the painting.
1) Academic painters have been using filters for hundreds of years to simplify their motifs tonal range. Your ability to see value relationships is the single most important skill set in academic representational painting. This tool enables that and for many is a game changer. It’s hard to argue this point when you see artist like Homer snd Eakins used them. 2) Regarding your opinion using white during the tonal process, I will add; “Viva la diffêrence”. To suggest it weakens the tonal start is subjective. To this I’ll add my own subjective observation and direct you to a tonal under painting masterpiece that in my opinion, was not improved upon with color. Grand Odaliisque in grisaille by Jean Auguste Dominique Ingres is a masterpiece that used white during the execution of the tonal start. Check this link out from the MET: www.metmuseum.org/art/collection/search/436708 Incredible!!! …and don’t get me started with Vermeer…and the list goes on with painters who used white. Most importantly, use what works for you and your process. “Viva la diffërence”!!!!
@@toddbonitafineart1584 Thank you for the thoughtful long reply. While there is endless speculation about notable past artists' possible use of newly invented "artist's aids" such as the camera obscura and later photography, to me these claims are of limited value. For example, much effort has been exerted to "prove" that Vermeer regularly used the camera obscura. Whether he did or did not becomes a very minor point in light of the independent artistic genius of Vermeer. All of those who have tried to replicate a Vermeer painting by setting up a room with the same objects and lighting, and employing a camera obscura to get accurate placement on the canvas --- ended up with disastrously bad paintings because they had none of the skills and genius of Vermeer. In other words, it is the artist, and not the paraphernalia, that produces worthy paintings. I question to what degree any good artists used the red filter, and I can imagine that any use of such a tool was probably quite limited. I say this because very good artists don't waste much time on extraneous "amateur" artist aids. I would agree with your implication that such aids, if used at all, are used mainly by "academic" painters. In my mind, this distinction is not necessarily a good one for the academic painters. While Ingres, Homer, and Eakins are certainly very good artists, they would not be on my list if I were to compile a list of the best and top 50 artists that I admire and consider seminal, most creative, and most important. It becomes almost laughable to try to imagine great artists like Cezanne, Picasso, El Greco, Titian and Velasquez utilizing a red filter to understand light and dark picture values. At your suggestion, I looked up the Ingres grisaille version of the Odalisque. Again, while stipulating that Ingres is a very good artist (mostly I prefer his precise skills as a draftsman), I am not particularly enamored of this grisaille painting. It has "academic interest", at best. And I would say that the routine inclusion of white to gradate tones is a weakness, rather than a strength, in this work. If by "viva la difference" you mean "to each his own", at least we can agree on that. But as Picasso so brilliantly inquired (of a photographer, I believe), "why work in a salt mine when you can work in a gold mine"? And for me, this is the crucial difference between great art and academic art.
@@KpxUrz5745 I’m going to flag you as an internet troll based on comments you left on my other video. That was rude and inappropriate snd I deleted it. I’ll keep this reply because I see a learning opportunity. If you further reply I’ll ask you to identify yourself with your full name as I suspect your comments in the other thread came from a false sense of bravery hiding behind your handle. Plus, honestly, anonymity is just weird here. 1) Most of your reply above is based on subjectivity. For the most part I’m usually happy to engage in this kind of exchange in the interest of learning and open perspective but in your case, your troll like comments from the other post stain your intent credibility for me…they make it feel like you’re just trying to be a contrarian. It feels a little pretentious and disingenuous when you use phrases like the one you used where you suggested it was “laughable” for an artist to use a red piece of plastic as a visual aide. 2) To be clear, Eakins, Homer, Van Gogh, Sorrolla, Durer and the list goes on of historic Masters who used visual aids of one kind or another. This is a free painting education video blog designed to show students how to see and think like an artist. I don’t pretend to be a guru or a Yoda or claim I invented this material. Almost everything I share is based on academic principles that have been passed down for more than 600 years….well documented academic traditions of painting and teaching art. I’m simply a portal passing on simple concepts and tools that predate the renaissance by artist who are household names, fill museums and art history books. History, my personal experience and common sense support the idea of artist using everything from plum lines, calipers, grid systems, camera lucidas and a myriad of visual and learning aids…including red and varied colored filters. Respectfully, it’s well documented and elementary. 3) Academic principle number 133: If someone tells you not to do something in art, politely smile and thank them. Then go home and try it for yourself snd see if it works for your painting. Then you can rule it in or out based on your personal experience. The artist brain is the right brain…the brain of the rebel… if someone tells you NOT to do something or suggest that it’s laughable to do so, this should immediately raise a red flag. Go be free and try it for yourself and draw your own conclusion.. 4) One of the learning opportunities here is to recognize and identify the dangers of false art speak. Art circles are often riddled with false half truths. A popular one in art school was, “ Don’t use black”… I still hear this one sometimes…Common sense!….Monet, Wyeth, Sargent snd thousands of painters used black well enough and yet this rhetoric still ruminates. If anyone tells you NOT to try something or suggests you are an amateur for thinking or trying something, red flag them, smile politely and then go try it. Simple as pie.
That little red lens is such a great idea!
Love your teachings, I hope more people realize how great you are at giving such a great class.
Thank you so much Janie. Glad you learned something of value.
Epic tip! Tube the liquin!
This is an awesome video in clouding the explanation. Values are so important from the very beginning. Thanks so much. Blessings and be safe.
That is an adorable palette! 🎨🤩
Man what a great series. I love the academic truths notes. Love your style. I hope you make more videos
Great videos. You have a gift at teaching so that the information actually sticks. I have always felt more confident in my charcoal drawings than in my paintings until I watched the under painting video and realized it was exactly what I was already doing with charcoal powder. Thanks for some much needed inspiration and knowledge. Btw your palette could be framed and hung on the wall, it’s a gorgeous piece of art in of itself.
Hi Melissa, my gosh! What an incredibly kind reply. That makes me feel terrific, thank you so much. I’m glad my videos were of some help to you. I’m simply a portal passing on some of the bigger ideas that helped me understand how to make pictures. I’m glad they resonated. I am teaching an eight week zoom class starting this September. It is a live, two hour class in the evenings on Tuesdays. Send me an email if you are interested. It would be fun to work with you.
Thank you very much for explanning and showing everything so well, I get a lot of answers and also motivation to paint more. I am so happy since I want to try this technic of wipping colour but I thought one had to use terpentine or mineral Spirits and they make me sick. Now I can not wait to try your process.I went to your webpage ,y our artworks are just fantastic and have a special quality like a subtle magic. One day I will be able to achieve one of them, I hope. Please, make a new video as you have time, I love watching you painting. Greetings from Germany.
Great lesson! Thank you!
Thank you Blue Moon.
Fascinating to watch this unfold. Love the, take time and care approach. Gain confidence and maintain focus. A breath of fresh air!
Love your comment and that you found something useful with it. Paint well my friend.
Love your comment and glad you found something Useful. It will my friend
Todd, thank you for these videos, I love what you are doing, its opening my eyes to new techniques. I do this about once every couple of months, learn from others and your tutorial is to the point, clear and excellent. love your work. one question: not familiar with underpainting white. I have lead white and titanium white, can I mix it? Or does it need to be exactly that?
You’re an incredible teacher! What kind of Liquin do you use? I did a quick search to pick some up at my local art store but there were a few options and I wasn’t sure which to choose haha. Thanks!
Thanks so much Amber. I’m glad you find value in my videos. I use liquin original. Best of luck to you on your painting journey
@@toddbonitafineart1584 thank you 😊
Are you painting with the canvas on a table
I paint on Masonite panels. I put packaging tape on the back of the panel and where it to a large piece of wood that I prop on my easel. Works great.
Can you tell me please what the transparent red ‘card’ is called?
Yes, it’s called a Ruby Beholder. It’s a quilters tool. Amazon has them last time I checked.
@@toddbonitafineart1584 Thanks! Can’t find them in Australia, only Etsy for $87, .... errrrh no! I wonder if red cellophane might work, I’ll try it.
@@suecalvi9862 Oh no!
That’s absurd $.
Email me your address in Australia and I’ll send you one. My gift to you!!
@@toddbonitafineart1584 That’d be wonderful, thankyou! but I’ll pay for it, and postage. Is there a way I can send you my address that is not public?
@@suecalvi9862 yes, send to my personal email address
Can I just ask about the fat over lean principle? In the wipe away you used a little linseed oil with the paint, but now you're going over it with Liquin. Doesn't that cause problems?
Hi Jon,
Good question. If you watch the video carefully, you will see that I point out that I am using a “WHISPER THIN” Application of oil. The purpose of the oil is simply to seal the drawing and create a slippery surface for the subsequent layer of raw umber. You can see in the video that I rub my fingers over the oil and show you the very thin residue on my fingertips. This is specifically to illustrate the point let the oil is used very sparingly here.
Your question is valid and I know it comes from a place of suspicion of violating the fat over lean principle.
If I used a lot of oil, it would present a problem. This technique is almost 600 years old at this point and by all appearances, has stood the test of time.
Subsequent layers of liquin do not present a problem or issue with cracking.
@@toddbonitafineart1584 thank you for your detailed answer! I guess with the oil and initial paint being so thin there just isn't really enough material there to shrink and change, so cracking of subsequent layers doesn't happen.
How do you think the wipe away stage would work with Liquin instead of oil? I've tried that with fairly mediocre success, but that was on a cheap acrylic gesso ground which was very absorbent which obviously doesn't lend itself well to wiping.
@@jonroads8281
Good point regarding the surface and acrylic gesso surface. I’m using oil primer on wood panels almost exclusively now. I love it.
I think the Liquin would be perfectly fine. Just know that it is a quick dry medium…so your wipe away time is far shorter than using oil. The oil, despite using it thinly, provides about 6 hours of play time before it begins to tack up and begin to set. Liquin is closer to an hour. Both are doable and you should chose the one that suits your rhythm of painting. I personally like a six hour window is that is a typical studio day for me. Liquin could certainly be an excellent alternative outdoors painting plein air.
@@toddbonitafineart1584 I'm actually waiting for some oil ground to be delivered so I'm looking forward to trying it. Sadly my painting has to be fitted around a full time job, so a working time of an hour or so is probably sufficient for me, but I shall definitely try this as you've done it with the oil. You get a beautiful effect which is exactly what I've been after so I'm definitely going to take your advice from this series of videos. I only discovered your channel today but I'm definitely a fan now.
@@jonroads8281 I like your moxie! There is something incredibly spirited about people who work full-time but still make a spot in their schedule for painting. Good for you my friend! Thank you for all your kind words and feedback, it means a lot and I sure appreciate it. I really am glad you found something of value. Yes! Please enjoy the videos and absorb as much as you can and paint as often as you can. I created these videos as a complement to an online zoom class . You should think about joining our next eight week class. It takes place in the evenings and is an online group. There is one coming up in March. Send me an email and I can give you more information. I have not put it up on my website yet but glad to give you all of the info. My email address is Tmbonita@gmail.com
It will be fun to work with you in a class setting. We go over this material together and critique your work each week in chat it’s progress. Either way, thank you again for all your kind words. Happy painting to you and good luck. All the best, Todd
old video so not sure u will answer but since ur supposed to go from thin to thick in layers, on the under painting u only covered the canvas with linseed oil on a rag then painted on it with pure paint...which yes u wiped away but on top of that now and in the next video u stain using paints diluted in liquin...isnt linseed oil thicker than liquin...? and forget the medium the paint thickness of the under painting u have left here to get the darkest shades will be thicker than the paints u stain it with...doesnt that go against the thick on lean rule n lead to the painting cracking?
Hi Humza, thank you so much for your question! You are right on target with your thinking. The fat Over lean principle means that the word fat equals oil. So, in theory, you are absolutely correct, your initial layers should be leaner, having less oil than the subsequent layers.
I think I go over this in the overall video series but I’ll repeat it here. In this particular case, he will note that all of my layers are incredibly thin. I point out on two occasions that the initial oil layer is, “whisper thin”…. Not only am I really careful to point this out and stress how little oil I am using, I then initiate a close-up where you can see my fingers rubbing the surface to expose the extremely thin residue on my fingertips. This initial oil layer serves three purposes. One, it seals the drawing. Two, it’s sets up a somewhat slippery surface for the subsequent layer of raw umber I will lay on next. three, and this point is very telling pertaining to your question, the subsequent layer of raw umber, it is important to note that raw umber is an earth color in dries quickly, having very little oil in it. To be clear, the third reason for laying down the whisper thin application of oil is to extend the drying time of the subsequent layer of raw umber. in other words, by laying down the oil first, I can get a few more hours of painting time before the Raw umber dries.
You are also correct to point out that when I dark in the raw umber passages, I am indeed layering more Umber oil paint. Again, I would remind you that these layers are so incredibly thin, they wouldn’t crack in 500 years.
You are very astute and well read with your understanding of the materials. hood for you.
I will add that the you are also correct in theory regarding my using subsequent layers of liquin over the oil and your observation that this would be thin over thicker paint.
The theory is correct, however, again, these initial layers are so thin they are barely Audible on any register that would calculate its potential jeopardy of cracking.
Another important thing to understand is that the liquin layers Are resin. The chemistry of oil drying is such that it dries via an oxidation process. The longer oil is exposed to air, it expands and contracts slowly over time, drying. If you can imagine a layer of paint expanding and extracting, it makes sense that if you put a thin glaze over something that is moving like that, but overtime, it would make sense that it would crack. The saving grace here is the use of liquin. This is an alkyd resin that speeds up the oxidizing and this, negates Any concern for expanding and contracting layers that would lead to cracking.
A shorter, simpler answer is that my initial layers using oil are so darn thin, Coupled with the subsequent use of liquin, Alkyd resin, that it really will not be a problem.
It’s a great question and forgive me if I was not clear enough in the video. I hope this helps. You are wise to be sensitive of your painting layers. If you are using thicker, impasto paint, it would be wise to be even more so vigilant.
Thanks so much for your question. Happy painting to you.
@@toddbonitafineart1584 thank u so much Todd my brother for taking the time to really give a clear answer...im new to oil painting and as u can imagine not having any formal education n relying on youtube videos for info i get pretty bamboozled with all the different techniques and little nuances u old masters have picked up and mastered over the yeas n years of working with the medium...tell me is it ok for me to use turpentine instead of liquin? im having a hard time finding it or any other mineral spirit here...thanks again for taking the time to educate a newbie whos lost in the sea of videos trying to learn;)
I do not agree that the red filter aids with value decisions. Instead, it overcomplicates the view with this extraneous red color. Also, I do not agree with the routine addition of white throughout a painting to lighten values. In my opinion, this weakens an otherwise nice tonal start to the painting.
1) Academic painters have been using filters for hundreds of years to simplify their motifs tonal range. Your ability to see value relationships is the single most important skill set in academic representational painting. This tool enables that and for many is a game changer. It’s hard to argue this point when you see artist like Homer snd Eakins used them.
2) Regarding your opinion using white during the tonal process, I will add; “Viva la diffêrence”. To suggest it weakens the tonal start is subjective. To this I’ll add my own subjective observation and direct you to a tonal under painting masterpiece that in my opinion, was not improved upon with color. Grand Odaliisque in grisaille by Jean Auguste Dominique Ingres is a masterpiece that used white during the execution of the tonal start. Check this link out from the MET: www.metmuseum.org/art/collection/search/436708
Incredible!!! …and don’t get me started with Vermeer…and the list goes on with painters who used white.
Most importantly, use what works for you and your process. “Viva la diffërence”!!!!
@@toddbonitafineart1584
Thank you for the thoughtful long reply. While there is endless speculation about notable past artists' possible use of newly invented "artist's aids" such as the camera obscura and later photography, to me these claims are of limited value. For example, much effort has been exerted to "prove" that Vermeer regularly used the camera obscura. Whether he did or did not becomes a very minor point in light of the independent artistic genius of Vermeer. All of those who have tried to replicate a Vermeer painting by setting up a room with the same objects and lighting, and employing a camera obscura to get accurate placement on the canvas --- ended up with disastrously bad paintings because they had none of the skills and genius of Vermeer. In other words, it is the artist, and not the paraphernalia, that produces worthy paintings.
I question to what degree any good artists used the red filter, and I can imagine that any use of such a tool was probably quite limited. I say this because very good artists don't waste much time on extraneous "amateur" artist aids. I would agree with your implication that such aids, if used at all, are used mainly by "academic" painters. In my mind, this distinction is not necessarily a good one for the academic painters. While Ingres, Homer, and Eakins are certainly very good artists, they would not be on my list if I were to compile a list of the best and top 50 artists that I admire and consider seminal, most creative, and most important. It becomes almost laughable to try to imagine great artists like Cezanne, Picasso, El Greco, Titian and Velasquez utilizing a red filter to understand light and dark picture values.
At your suggestion, I looked up the Ingres grisaille version of the Odalisque. Again, while stipulating that Ingres is a very good artist (mostly I prefer his precise skills as a draftsman), I am not particularly enamored of this grisaille painting. It has "academic interest", at best. And I would say that the routine inclusion of white to gradate tones is a weakness, rather than a strength, in this work.
If by "viva la difference" you mean "to each his own", at least we can agree on that. But as Picasso so brilliantly inquired (of a photographer, I believe), "why work in a salt mine when you can work in a gold mine"? And for me, this is the crucial difference between great art and academic art.
@@KpxUrz5745 I’m going to flag you as an internet troll based on comments you left on my other video. That was rude and inappropriate snd I deleted it.
I’ll keep this reply because I see a learning opportunity. If you further reply I’ll ask you to identify yourself with your full name as I suspect your comments in the other thread came from a false sense of bravery hiding behind your handle. Plus, honestly, anonymity is just weird here.
1) Most of your reply above is based on subjectivity. For the most part I’m usually happy to engage in this kind of exchange in the interest of learning and open perspective but in your case, your troll like comments from the other post stain your intent credibility for me…they make it feel like you’re just trying to be a contrarian. It feels a little pretentious and disingenuous when you use phrases like the one you used where you suggested it was “laughable” for an artist to use a red piece of plastic as a visual aide.
2) To be clear, Eakins, Homer, Van Gogh, Sorrolla, Durer and the list goes on of historic Masters who used visual aids of one kind or another.
This is a free painting education video blog designed to show students how to see and think like an artist. I don’t pretend to be a guru or a Yoda or claim I invented this material. Almost everything I share is based on academic principles that have been passed down for more than 600 years….well documented academic traditions of painting and teaching art. I’m simply a portal passing on simple concepts and tools that predate the renaissance by artist who are household names, fill museums and art history books.
History, my personal experience and common sense support the idea of artist using everything from plum lines, calipers, grid systems, camera lucidas and a myriad of visual and learning aids…including red and varied colored filters. Respectfully, it’s well documented and elementary.
3) Academic principle number 133: If someone tells you not to do something in art, politely smile and thank them. Then go home and try it for yourself snd see if it works for your painting. Then you can rule it in or out based on your personal experience.
The artist brain is the right brain…the brain of the rebel… if someone tells you NOT to do something or suggest that it’s laughable to do so, this should immediately raise a red flag. Go be free and try it for yourself and draw your own conclusion..
4) One of the learning opportunities here is to recognize and identify the dangers of false art speak. Art circles are often riddled with false half truths. A popular one in art school was, “ Don’t use black”… I still hear this one sometimes…Common sense!….Monet, Wyeth, Sargent snd thousands of painters used black well enough and yet this rhetoric still ruminates. If anyone tells you NOT to try something or suggests you are an amateur for thinking or trying something, red flag them, smile politely and then go try it. Simple as pie.