Seems like a ten minute video on UA-cam just taught me more about painting than art lessons twice a week for ten years when I was a kid going to school. WTF? Incredibly useful. Thanks for sharing your knowledge.
Malcolm Gladwell said in his book Outliers that "to achieve world class expertise in any skill is largely a matter of practicing the correct way for about 10 000 hours". And here is a world class artist that can show you how to get there a bit sooner. Thank you for posting these videos :)
i absolutely love you....you are an amazing teacher....I plan on purchasing all the supplies you are using and thank you again...OMG you're fabulous !!!!
Grisaille Painting 0. Establish 9 different values from black and white 1. The Block-In a. Paint in outer parameters of portrait b. Replicate the large overall shape 2. The Construct a. Establish the location of key features b. For example, the brow line, nose line eye line, and lip line for portraits (and ear and mouth) 3. The Shadow Shapes a. Look for light and dark shadows of overall shapes b. move from lines to mass, shape, and value 4. Paint the Background a. use a large brush b. “oil painting may be seen as a series of corrections” 5. Paint a single shadow value a. block-in all the shadows in a single unified shadow value b. understand where the shadows are by taking into account the direction of the light 6. Key the Painting a. put in the stroke of the lightest light 7. Painting of the Lights a. you may start with the darker values if you wish b. capture the lights modeling large plane shifts c. use values 2 to 5 d. model basic geometric forms e. eliminate all hard edges (soften them) because they will show through as oil paint is translucent 8. Reassess and Correct Major Shapes a. stand back ever so often and compare painting to master copy 9. Variations of the Darks a. start with lighter shadows before going to darkest and lightest b. organize individual brushes with individual values/shades c. use a mal stick to support arm for details d. can deal with edges while painting or at the end of the process e. for a gradation one may paint one flat value and then adjust it with wet-into-wet 10. The Rendering of the Lights a. think about big form and large planes first b. only blend the edges of strokes c. transition rough strokes/value placement d. (overpaint from what you need and then correct the shape?) e. after painting darkest lights, paint lightest light 11. Reassess and Deal with Edges a. correct small forms and small changes of direction b. blend and knit adjacent brushstrokes, perhaps by working with two brushes of adjacent values, soften hard edges so that there is a mix of soft, hard, and lost edges c. focus on each individual area and bring it to a complete finish
No water - she's using regular oils. It's the name of the Masterson palette with the red cover. A 12 x 16 paper palette pad fits in the Masterson perfectly.
I had to switch off as soon as you adopted that silly North American habit of referring to TONES as "values". A value of something is its monetary worth. The difference between the lightness and darkness of a hue is its TONE.
Wish she would have told use the values by number (especially since she went through all the steps to mix all 7) as she was using them to block in the head.
I do not understand this video. Old masters (15th to early 19th century) would hardly ever start painting shapes directly on white canvas. Depending on subject, whether it includes landscape, portrait, etc., canvas is primed with permanent darker pigments such as iron oxide, ochre, etc. Those permanent pigments block painting from behind, creating stabile permanent base. Drawing is transferred using pouncing technique, then lines completed with white chalk or charcoal. On top of chalk/charcoal drawing, grisaille is done using pure white tempera (oil is not necessary at this stage) by blending it into background, thinning or thickening white paint as needed, to achieve all values ranging from background to pure white. That is the start, and all what was necessary for grisaille under-painting. And as for greys, they were achieved later, using scumbling technique; transparent white (or other pigment) is scumbled all over colour work to neutralise colours, then removed with rags or scumbled again where needed, in several passes.
I know artists in academia are sensitive about criticizing their "academic" method because of their jobs .. but seriously do we have to go to school to learn art? not to mention the student loan debt that will cause a "blue period".Maybe Picasso got lucky with his blues but not the starving artist .. So thankfully a paint supplier and UA-cam joined together to stop this art school non sense and I hope a full curriculum will be produced on this channel
i know right!!? i mean you can already learn enough using the internet alone but the problem is that the information is scattered all over the place, if there would be a single source of information like youtube that would be awesome and we wouldn't be paying for info that its already at disposal
Thank you for getting right to the point and teaching. So many people get caught up and having a conversation they forget to teach. I appreciate your clarity and conciseness.
Seems like a ten minute video on UA-cam just taught me more about painting than art lessons twice a week for ten years when I was a kid going to school. WTF?
Incredibly useful.
Thanks for sharing your knowledge.
Sam Dave Pollard n
Malcolm Gladwell said in his book Outliers that "to achieve world class expertise in any skill is largely a matter of practicing the correct way for about 10 000 hours". And here is a world class artist that can show you how to get there a bit sooner. Thank you for posting these videos :)
i absolutely love you....you are an amazing teacher....I plan on purchasing all the supplies you are using and thank you again...OMG you're fabulous !!!!
This is going into my treasure chest of valuable information. Thanks
This is the excellent transfer I need from charcoal into those steps in oil. Very well presented.
Exactly what I have been seeking - thank you for your clear and precise instruction Mandy.
Grisaille Painting
0. Establish 9 different values from black and white
1. The Block-In
a. Paint in outer parameters of portrait
b. Replicate the large overall shape
2. The Construct
a. Establish the location of key features
b. For example, the brow line, nose line eye line, and lip line for portraits (and ear and mouth)
3. The Shadow Shapes
a. Look for light and dark shadows of overall shapes
b. move from lines to mass, shape, and value
4. Paint the Background
a. use a large brush
b. “oil painting may be seen as a series of corrections”
5. Paint a single shadow value
a. block-in all the shadows in a single unified shadow value
b. understand where the shadows are by taking into account the direction of the light
6. Key the Painting
a. put in the stroke of the lightest light
7. Painting of the Lights
a. you may start with the darker values if you wish
b. capture the lights modeling large plane shifts
c. use values 2 to 5
d. model basic geometric forms
e. eliminate all hard edges (soften them) because they will show through as oil paint is translucent
8. Reassess and Correct Major Shapes
a. stand back ever so often and compare painting to master copy
9. Variations of the Darks
a. start with lighter shadows before going to darkest and lightest
b. organize individual brushes with individual values/shades
c. use a mal stick to support arm for details
d. can deal with edges while painting or at the end of the process
e. for a gradation one may paint one flat value and then adjust it with wet-into-wet
10. The Rendering of the Lights
a. think about big form and large planes first
b. only blend the edges of strokes
c. transition rough strokes/value placement
d. (overpaint from what you need and then correct the shape?)
e. after painting darkest lights, paint lightest light
11. Reassess and Deal with Edges
a. correct small forms and small changes of direction
b. blend and knit adjacent brushstrokes, perhaps by working with two brushes of adjacent values, soften hard edges so that there is a mix of soft, hard, and lost edges
c. focus on each individual area and bring it to a complete finish
Thanks for making a tutorial that actually thoroughly explains the process! Good ones are so hard to find
so. much. info. i'm never leaving this channel
Many thanks for a very clear set of directions. Great teaching!
Thank you for sharing your knowledge with us so generously. I have learned so much from your videos.
I want her to be my teacher she's literally queen
Samescape I agree. She has such a commanding presence, she's likeable and elegant. Even in her dialect. This is how you teach art.
What she teaches is pretty much what you'll learn at any of the academic painting studios or schools.
Wow, this is great. It makes sense. Thank you
Great! Thank you!
brilliant tutorial thank u
wet pallet ?? for oil ? water mixable oils maybe ?
No water - she's using regular oils. It's the name of the Masterson palette with the red cover. A 12 x 16 paper palette pad fits in the Masterson perfectly.
I had to switch off as soon as you adopted that silly North American habit of referring to TONES as "values". A value of something is its monetary worth. The difference between the lightness and darkness of a hue is its TONE.
Wish she would have told use the values by number (especially since she went through all the steps to mix all 7) as she was using them to block in the head.
too bad you do not explain exactly which medium you use for every step
I do not understand this video. Old masters (15th to early 19th century) would hardly ever start painting shapes directly on white canvas. Depending on subject, whether it includes landscape, portrait, etc., canvas is primed with permanent darker pigments such as iron oxide, ochre, etc. Those permanent pigments block painting from behind, creating stabile permanent base. Drawing is transferred using pouncing technique, then lines completed with white chalk or charcoal. On top of chalk/charcoal drawing, grisaille is done using pure white tempera (oil is not necessary at this stage) by blending it into background, thinning or thickening white paint as needed, to achieve all values ranging from background to pure white. That is the start, and all what was necessary for grisaille under-painting. And as for greys, they were achieved later, using scumbling technique; transparent white (or other pigment) is scumbled all over colour work to neutralise colours, then removed with rags or scumbled again where needed, in several passes.
At 8;30 she still hasnt corrected the right eyebrow.
Seems like she confuses what is working for her suggests it workks for views. Its not a difficult project.
I know artists in academia are sensitive about criticizing their "academic" method because of their jobs .. but seriously do we have to go to school to learn art? not to mention the student loan debt that will cause a "blue period".Maybe Picasso got lucky with his blues but not the starving artist .. So thankfully a paint supplier and UA-cam joined together to stop this art school non sense and I hope a full curriculum will be produced on this channel
i know right!!? i mean you can already learn enough using the internet alone but the problem is that the information is scattered all over the place, if there would be a single source of information like youtube that would be awesome and we wouldn't be paying for info that its already at disposal
Exactly what kind of brushes were used? I would like to know the shapes and sizes that were used for this
You dont need classical understand. Paint what you see
Thaaaaaaank you..... really helpful and wonderful ⚘
Wow she is amazing teacher. I learn so much 👍🙏
Best art work
Thank you so much!!!!!
Bello !
stunning
Wonderful video, one of the best I’ve seen! Thank you for an amazing clear and accurate instructing 👏👍
brilliant
Very informative and useful. Thank you very much for sharing your wonderful skills
Thank you for getting right to the point and teaching. So many people get caught up and having a conversation they forget to teach. I appreciate your clarity and conciseness.
Looks like you're putting your oils into the freezer overnite.... does that work? Are they useable the next day?
AMAZING :o
good info but dont watch this lady when ur sleepy
I LUV this channel.
Thanks Joe! Happy to hear you are enjoying our videos.
Great work