Classical Oil Painting Demonstration in Real Time / Landscape Part 1 (Drawing)
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- Опубліковано 26 сер 2024
- This is part 1 of a series of videos peering over my shoulder as I paint a 5x7 landscape scene. I typically begin my classical-style paintings with a line drawing or tonal study to help establish where things are in the composition. I stain my canvas with a thin mixture of solvent and a fast-drying earth color such as umber or sienna. I allow the stain to dry for about a week or so and then go back in to create the drawing. This process allows me to prepare a foundation for the blocking layer that will be added once the drawing layer has dried.
I prefer to work traditionally, allowing my paint to dry naturally without adding modifiers. If you want the stain to dry faster, you can use a color infused with an alkyd dryer such as Gamblin's Fast Matte or Winsor & Newton's Griffin.
Just what I've been looking for. Indirect method. Thank you for posting.
Thanks I'm glad you like it!
thank you very much . your way of painting is completely differant from everyone else on youtube and i truly hope you know much it means to this shipyard worker from mississippi .thanks again
You're welcome. I'm glad it appeals to you! Stay tuned for more.
👍👍👍
Nice 👌👍
Wondering what's the reasoning behind putting the first gray acrylic layer if you're going to putting multiple coats of a red ground on top of that? Is that still the process you use in 2021?
The acrylic could be any color as long as the finish is not glossy. The color doesn't matter, though I would still be reasonable with selection. I usually go for gray or some neutral tone such as an off-white or buff just as a default. The primary reason for it is to seal the canvas and change its texture. Acrylic paint does a better job of preventing color sinking in oils and it makes the surface smoother. Gesso doesn't do either of those things quite as well, though it is still necessary as a first coat of primer.
Yes I still do it because it greatly reduces the need to rely on oiling out in between paint layers. I still may oil out simply to have a wet ground to paint into, but I don't need to rely on it as much to restore color depth and saturation. Furthermore, having a proper minimally-absorbent surface to paint on, combined with proper layer application, all but removes complications when varnishing.
..15:20 8:54 is this a white color or it is a gamsol??and why it is too light?
It's actually a mixture of the dark color I used for the lines and solvent to thin it out. I had intended to paint in some shadows, but I ended up inverting my thinking when I saw the ground coming up instead. For some reason, whether it was the panel I used or the brush I used or that the toned ground just had not completely dried yet, I started lifting the color up off the panel instead of applying the darker color. I think the latter was the issue, so what I took away from it was to allow that particular color at least a week and a half to two weeks to dry before painting on it or use a touch of Galkyd with it to speed things up. For reference, I was using Rembrandt Light Oxide Red for the ground.