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The Venetian Method - Glazing
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- เผยแพร่เมื่อ 17 ส.ค. 2024
- Here I demonstrate glazing in the initial layers of the painting. I also discuss color and methods for painting patterned objects.
00:00 - Intro
00:34 - Palette overview
04:28 - Preparing the surface
11:03 - Glazing the face
24:33 - Glazing the background and hair
27:21 - Glazing the shirt/patterned objects
30:39 - Recap
www.danielkrobbins.com
I’m really appreciating your clarity. I like that you explain what you’re using and why. Nice work, thanks for sharing your skills with us!!!
Hi Daniel
I've been learning to paint for about 3 years now and I've just come across your content which is perfect for where I am on my journey right now. Thanks you so much for the detailed, technical explanations they are an absolute godsend to me. Keep up the great work. Thanks again.
Q re: #1 drawing self portrait/Venetian Glazing. Your instructions are the best step by step instructions.
1) how do you decide the size of the grid in relation to size of the model?
2) is it possible to show the measurements you mark out on the canvas instead of trying to visualize your hand placement?
Big Thanks for helping my ability to paint. It has helped me tremendously!
Oops…Sorry for 2 posts with same question!
Thanks for including the art history of painting methods and technology of light manipulation. Well done!!
this is so perfect.i really cant say how much you make things clear for me.thank you so much for creating these.
You’re welcome 😊
thank you so much for these videos. you have helped an incredible amount as i've been learning portraiture in oils solely through online learning and you have among the best in information and teaching techniques
This is really encouraging to listen and watch you paint. Great job for this who know and understand the process. Blessings and be safe.
Thanks a million for this great and useful demo! It helps me to complement my art work mastery. All the best for you!!
And to you, Jose. I’m glad you found it useful.
Great video , this is the venetian techniques i use . From the block in or drawing , to grisaille where charoscura separates light and shadows. Then the many layers of glaze. Good stuff . And we also incorporate the fat over lean rule when using this classical technique. Great video.
I'm just starting to learn glazing, and my studio only lets us use transparent paints* like Indian yellow, alizarin red and good ol Prussian blue (it's so fierce and overpowering, but such a great color) for the glazing layers, so I'm very interested to see how you're working with the cadmiums and other opaques at this stage.
So much to learn watching you, from how you're using your hand as a mahlstick to the way you're applying the paint to when you go ahead and take in some white/opaques.Also loved the sanding tip.
Thank you so much for sharing your extensive experience. I'm so pleased to find some people still teaching glazing- my first exercise was a struggle, but now that I've been tasked with copying some Chardin still lifes for practice, I'm beginning to understand why the old masters used it! It looks amazing (as does your canvas, even at this stage.)
Wonderful demonstration
This is a beautiful painting. Thanks for sharing.
🙏
@@danielkrobbins6644are you going to make any new content ? Hope you're healthy .
Fine work/excellent video. You speak my language. Thanks.
You are so informative, thanks.
Best video on glazing that I have found. I do wish you could speak more about your color mixing (we cannot see your paint wells when you grab paint) Otherwise, this is fantastic! It was nice having your finished painting (on instagram) to look at while you did this. It would also be nice if the cam were just slightly closer to the canvas. Again, great video! Would it be possible to include a flattened perspective shot of the painting as you finished up today, so we could get a great view of your "finished" work?
Thanks for helping hone my amateur skills
Incase anyone needs to know... (although I prefer lead white) zinc white is the most transparent of the whites. But there is a caveat: it is a more fragile paint film, maybe good for a veil.
I see the answer in your video ! Oops hadn’t gotten there yet!
This is so helpful! Do you oil the portrait before you start with your glazing ?
Venetian painting #1 (how to draw portrait onto canvas)
You have a most useful way of explaining your step by step instructions. Thank You, It’s improved & made my abilities much stronger.I just need clarity on the following:
1) I would appreciate your measurements for the single size of the grid and how to determine what size to use.
2) trouble visually understanding where you are putting the face markings. Is it possible to see them actually on the canvas as you place them?
Again much thanks!
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Hi Daniel, the problem you're trying solve by sanding the surface can be solved by rubbing a little powdered chalk over an area that's too slick. Sanding lead white pigment is not a good idea.
Yes, sanding lead is concerning which is why I use a respirator and gloves when I do it. However, your chalk trick sounds great. Does it help the glaze bind to the subsequent oil layer? Part of the reason to sand the surface is to reduce the gloss so the next layer adheres properly to the oil. It doesn't seem like rubbing the chalk would create enough of a tooth in the surface but this is the first time I've heard of such a technique.
@@danielkrobbins6644 chalk added at the oiling out stage can control he relative leanness of the layer and speed the drying so you don't get to glossy in the early stages. It can also help if your having trouble with your oiling out is crawling or resisting, even a little condensation on the canvas can cause this problem. The chalk dries the surface like magic. Velazquez and Rembrandt both used chalk both to modify impasto but also to control leanness and drying times. There is some cool research in this area at the moment. karin Groens paper about Rembrandts binding medium is worth looking at. Oh! and vacuum! The respirator is great but the dust you create is all over your studio. I'm not a health and safety nut, I'm making dutch stack process lead white in my studio, just be careful.
Oh yes, I have read about Rembrandt using chalk and ground leaded glass in his pigments to alter the consistency and trying time. I didn’t also know that it could be used to prepare the surface in the early stages of the painting for glazing. I’ll check out that paper describing the method.
And regarding the sanding process, I always scrape and sand outside and never in my studio. After sanding I use a wetted paper towel to get any extra paint dust off of the painting before moving it into my studio. I also recently started using an air purifier with a HEPA and charcoal filter to filter out all of the VOCs and fine particles in the air. Even with these precautions, I am still looking into scrapping lead white and replacing it with titanium white altered with chalk and linseed oil to change its mixing properties and opacity.
The paper I mentioned says up to 45% of the impasto in late Rembrandts impasto was calcium carbonate. This makes a really stiff but really lean paint that dries super fast. It's almost hard to get off the brush. Egg protein was also found in the impasto, my guess is he was adding a few drop to emulsify a little water into the paint. I know it seems weird but it's dry the following day. If you only use linseed oil and no solvents you can carry on working with no stripping off previous layers. I haven't had solvents in my studio for more than ten years. Brushes left in oil, last way longer too.
How dry was your paint before the glazing stage?
Hi Daniel, is it also possible to add white (in the light areas) during glazing? Or that's something you would do only during the scumbling process? Thanks for clarifying this and keep up the good work!
Yes, it is also possible to use white or other opaque colors during the glazing process. However, because of their opacity, the intensity of the glaze in both luminosity and color will be diluted.
@@danielkrobbins6644 Thanks. Although I don't understand something: scumbling on top of the glaze will also reduce luminosity, and eventually completely cover the glaze underneath. So what is the point of glazing if then one scumble on top with opaque paint?
The scumble starts as semi opaque, which allows some of the glaze to show through in a very subtle way. Also, the scumble area gets smaller and smaller as the painting progresses, which leaves more areas with glaze on top.
Thanx again
Just a suggestion for future vids, the angle that you use to show what you're doing is just useless for us viewers to see the "light" quality reflecting from the glaze. I use glazes in my work so I'm familiar with the technique, just a suggestion mate. Nice work.
I thought glazing was only used for temperature change over dried opaque colors? Such as using a reddish glaze for areas of the face or hands where blood vessels are close to the skin, blue glaze on areas where blood veins are near the surface, or maybe a warm glaze where the sunlight touches the skin.
Your applications are correct, but the primary purpose of the glaze in my painting is to increase the depth and luminosity of the entire painting.
Is it alright to distress canvas? Because the substrate is woven I am worried it might cause cracking or damage the weave. I'm going to try it lightly and see how it goes.
Yes, glazing has been done on stretched canvas for hundreds of years. With that being said, working on a rigid support is the best thing you can do to prevent cracking in your paintings. Stretching your canvas over a stiff board or sheet of metal will prevent the canvas from stretching as you paint on it.
Why wouldn't you have thin layer of oil drying with no paint mixed into it? What I mean is, does it have a negative impact on the finish of the painting?
Yes, layers of oil add too much oil to the surface, create adhesion issues with subsequent layers, and contribute to the yellowing of the painting. Don’t apply a layer of pure oil.
@@danielkrobbins6644 thanks à lot!
Really nice painting! I love glazing, although I use acrylic paint, sometimes finished with oil, and a slightly different technique. I love the freedom of being able to build the layers slowly.
I also work in oil on top of acrylic if I want to switch up my process. Sometimes I do that if I really want my under layers to dry quickly. Sometimes I just like to work with the acrylic which can feel quite liberating after oil because it handles so differently.
@@danielkrobbins6644 Yes, that is what I do most of the time too.
Palet note cad lemon, cad medium, ndian yellow, cad orange, pyrrol orange,cad red medium, quinecridone rose or alizarin crimson permanent or just pure quinacridone, phtalo green, or ultramarine blue, yellow ochre or transparent yellow iron oxide, burned sienna, cobolt violet ( light) ivory black, lead white 🎶🧡🎵😀
be nice if the guy talked about the colors he’s using in each brush in…😢
What's with the word cadmium. V green is insane.
Poor and misleading demonstration!
what's misleading about it?
🤷♂️
Often I wonder why videos like this are made and placed here. Technically and artistically speaking, I must refute everything "taught" here, as being incorrect, desultory, and ultimately unhelpful to create good paintings. I do not accept that any of these methods were used by the Masters. Everyone is free to disagree with me, but let's just say that I have immeasurably more real experience in painting than the "teacher" in this video.
Then you should make some of your own videos and upload them. I would love to see the quality of your work.
I always find it funny how lay people imagine and think how the great masters of the Renaissance and Baroque would have painted. Ok, it's not funny, because this unbelievable overconfidence has become fashionable today and every housewife and wannabe creative thinks they have to make a contribution too.