Beginner's Realism Course - Pt 3.1 - Tuning Your Palette
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- Опубліковано 26 сер 2024
- Part 3.1
Before we begin painting, I'll take you through the process of pre-mixing a limited set of colors to use for your underpainting. This stage also serves as your block-in layer, which will develop the drawing on the canvas from an outline to a more realized image of shapes and colors.
This is the link to the bird image:
www.dropbox.co...
For this step in the process you should have it printed on photo paper. The easiest way is to take the file to a CVS or Walgreens on a flash drive and have the photo department print it for you. Print size should be 5"x7".
This has been designed as a free step-by-step instructional series covering the process of painting a bird on a small canvas panel using oil paint. The lessons can be followed using a stretched canvas or a canvas panel. All of the materials needed for the course are available at the link below. Simply hit the button at the bottom of the page to add everything to your cart and proceed through check-out. If you already have some of the items, just remove them from the cart.
www.jerrysarta...
Enjoy, and have fun!
Thank you very much! :)
You're welcome!
Where did you get your palette/board from. Just found your channel and I’m loving it great tutorials,especially for a beginner like myself.👏🏼👏🏼👏🏼
That's a glass palette I got from a Hobby Lobby store somewhere. I can't recall the brand name but they do come in different sizes.
@@davidbrancato5339 thank you. I’ve watched quite a lot of colour matching and I have to say that yours is the most informative yet simplest way to do it so I have adopted yours. Also I like the way that you are organised and meticulous using the palette knife. I’m following along with this tutorial as I feel I can do this. I am a graphite portrait artist and have never worked in colour. Great work.👏🏼👏🏼👏🏼
@@mikparker2572 It is a very elegant solution to the problem, if you want to look at it that way. Granted, this video series only touches on the main five colors, but I actually use a few more than this when I'm not making beginners' tutorials. Here's my current palette, all from Blue Ridge oil colors:
Ivory Black
Burnt Umber
Titanium White (I also use Flake or Cremnitz occasionally when I need a softer look)
Cadmium Yellow Light
Cadmium Red Light
Pyrol Ruby Red
Quinacridone Magenta
Cobalt Violet
Ultramarine Blue
Cobalt Blue
Thalo Blue (both shades)
Cobalt Teal
Thalo Green (both shades)
Please note that I don't use all of these all of the time. Most of them are very rarely used. The black, for example, is only for those rare times when Ultramarine and Burnt Umber can't make a deep enough black and I need to add a touch of Ivory to punch it down that extra 5%. That's the only time I ever touch the Ivory Black. Phthalo Blue , Phthalo Green, Cobalt Violet, etc... those are all for very specific times as well and, like the black, do not ever get mixed into the main colors. They are for isolated cases only, such as that one flower that's just too vibrant while the rest of the painting is within range of the main five colors.
David this is wonderful thank you!! I started something similar with Acrylics, a more thorough step by step, and this is inspiring! I hope I can deliver this same smoothness as you. Excellent! Going to see what I need to paint along for this bird too, you make it look so easy. 👍🎨🎨🎨🎨
Awesome! I would like to see what you're doing as well, both with your own project and if you follow along with this one. I find it extremely difficult to do this with acrylics, as the paint cannot be pre-mixed ahead of time and applied the same way. With oils you can take your time and plan everything out, which is the main reason I work with and teach with them. I have found that students learn better when they have the entire class time to work with the color mixtures and not worry about anything drying out. The palette can even be used over the course of two days without needing to be re-done. Additionally, the method I am using here will demonstrate how the fat-over-lean rule is put into practice. So it is multi-purpose!
@@davidbrancato5339 Acrylics definitely dry much faster. I mist them lightly as I work to keep them workable without harming their integrity when they dry on canvas. For longer projects I use a sta-wet palette and they are wonderful. When I mix I tend to use a retarder so they don't get gummy while I mix. Just depends on how I feel about it.
Yes I find students do need that time, that way they tend to feel less intimidated. Thank you, I'll feature you in my next step by step and highlight your channel. I don't have many subs but videos like yours really help people who prefer thorough instruction and I would like to help spread the word. Fat over lean has always confused me, that is very helpful! ❤😁🎨🎨🎨
Thanks for the support. I appreciate that. Fat over lean is essentially very easy to understand once you grasp the concept. You don't have to worry about it with acrylics because it is not applicable. However, the rule states simply that there must be more oil content present in paint that is being applied over a dry layer of paint that contains less. So in my tutorial here, the underpainting/block-in that you are watching has no painting medium added - it is direct paint from the tubes. After this layer has dried, the detail layer will be applied over it. That layer will have medium added (stand oil in this case) to increase its oil content and adhere to the rule. Simple!
@@davidbrancato5339 That fascinates me even more because usually people use thinner from the beginning and you do not here so I'm excited to attempt this. Acrylic paints are basically a thin liquid plastic polymer which makes it so they dry faster and all that but there is nothing as elegant as oils. I'll be hitting a CVS photo department this weekend lol.
Yes of course, the initial application of paint certainly can be thinned down. That is one traditional way to lay down an underpainting, often done with an earth pigment such as umber or sienna because those dry quickly. It that case, the second layer could be blocked in using direct paint as I did here. I just didn't do a thinned underpainting. My block-in is my underpainting. I like to call it base color, which is another way of saying foundation color or dead color - in other words, it is the suggestion of the color and value structure without concern for accuracy. That comes in the final layer.