Using vibrant underpaintings in oil paint
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- Опубліковано 26 січ 2023
- I often use a high chroma underpainting in my work, enjoying the "energy" it gives the painting. Learn about why to use a vibrant colour for your underpainting/imprimatura, and how to navigate some of the challenges it presents.
If you have any questions please leave them in the comments. Enjoy!
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Cad red wash, or burnt sienna works well. As does an ivory black+yell ochre+white mix (olive green) as a tint to build flesh tones upon.
I love how colors pop against bits of vibrant underpainting. Thank you for sharing.
It's a striking effect, I love playing with it. Thank you for watching!
what delight to discover your work. also such a wonderful video! thanks for the generosity in sharing this!
your videos are so helpful, thanks so much for posting!
Wonderful video and gorgeous work! Thanks so much.
Thank you for sharing Nicole.
What a helpful video, very clear and easy to grasp. Thanks!
Thank you for watching, I’m glad you liked it!
Love your work and style!
That was a great tutorial, incredibly helpful. Thank you :)
Very nice and wonderful artwork, beautiful painting😍😍
I used to underpaint a vibrant "negative" which would leave pops of complimentary colors popping through, but as I found I covered more and more of those, I mostly just tone it with transparent red oxide now. It is an interesting effect.
Yes a vibrant "negative" is quite visually striking! Transparent red oxide is a nice balance - not too neutral, not too strong.
That is crazy 😧? But it's something new to me! I hope to see more Art work n videos.Hope I get to see the complete finished work? Nice 👍
Thank you! My completed works, including these, can be viewed at nicolesleeth.com
Interessante Nicole Sleeth, belos exemplos. Esse vídeo é uma quebra de mitos. Pelo que eu entendo, a pintura de base, é apenas para facilitar o resultado das camadas posteriores. Agora pintar sobre esse fundo vibrante, ou branco, comprova que uma pintura pode ser feita sobre qualquer cor de fundo, já que as cores principais vão sobrepor a cor de fundo. A decisão depende do trabalho e da habilidade que o artista está disposto a ter no desenvolvimento da pintura. Se o artista quer trabalhar com o fundo, ou sobrepor o fundo com as cores posteriores.
Wow wow wow
Hi Nicole! - Thank you for this educational video. Please, keep them coming.
Do you let the underpainting fully dry first before adding the colors? THANK YOU! Subbed. :)
You’re very welcome - thanks for watching and subscribing!
Yes, I let the underpainting dry fully before starting the first pass, otherwise the colours would mix together in ways that I don’t necessarily want.
@@nicolesleeth Thank You! 🙏🙏🙏
hi! what paints are you using for the fluorescent colors-the pink, orange, yellow?
Hi! They're Kama Pigments fluorescent magenta, orange, and yellow.
I am curious as to how these paintings will look in a few years, since I know fluorescent colors aren't lightfast. Aren't you worried the underpainting will fade, effecting the layers above?
Hi there! I started using these fluorescent paints about two years ago, and haven't noticed a difference in their saturation yet. The underpainting may fade, I don't know how much, but I am not worried about it - I believe the effect is worth the potential risk. Artists, including myself, make concessions all the time in the archival nature of their work in order to realize their vision. I do what I can, and balance practicality with archival-ness. For it to truly be archival, it would be on a solid surface such as aluminum panel, so already, by choosing a flexible support (linen), I am using less-than-archival materials.
interesting,
There's so much fat in your paint that I'm going to fast for a whole month. I hope I don't find you on UA-cam anymore
Actually, the underpaintings are kept very lean - I strive to follow the "fat over lean" rule when constructing underpaintings, and use mineral spirits and Gamblin Galkyd (a lean medium). Hope that helps!!
Or perhaps I have misinterpreted your meaning?
I always find it astonishing with what self-confidence and overconfidence today's people dare to publicly give their art performance of themselves.
I get that! It's similar to how people feel so confident in publicly sharing their opinions!
@@nicolesleeth I think the comparison is very flawed! Passing something off as a work of art and presenting it to the public is very, very different than expressing an opinion about it. I believe that exactly the problem today is that most people can no longer differentiate between what is what!
Just like you with your accusation! Everything is mixed up, thrown into a heap. Cheap, banal electronic music is mixed with highly complex music, housewives and amateur graffiti become art, a county folk singer receives the Nobel Prize in Literature, etc... Everything becomes a Big Mac, which most people call burgers, even though they only have a rudimentary similarity in taste of a "real" burger!
But of course you are right on the one hand. Today it's just the case that no one differentiates or pays attention to real quality anymore. The main thing is that it is cheap and everyone can afford it.
@@achimborn5850I’m curious, in your view, what separates “passing something off as a work of art”, and actual, legitimate art?
@@nicolesleeth "Every real artist should make people think. Question rigid patterns of behavior, ways of seeing, ingrained thinking, etc." If it is possible to bring this into a certain "form" that has developed over centuries, which is comprehensible, then it is art. No matter what style.
An important aspect of my artistic thinking is the term "uniqueness".
Where the word unique certainly also contains different shades and possible opinions.
For example, the Mona Lisa is certainly "unique", but ultimately just a portrait.
One could, of course, refer to Leonardo's high level of artistic craftsmanship. Another to the "mysterious" in the expression of the Mona Lisa, etc.. Another sees the effect of light in the interplay with the mysterious landscape. Another in the pose. And so on.
So what is behind the uniqueness of the Mona Lisa? I think it's the many possible interpretations!
For me, the challenge for the viewer of a work of art is always to elevate something "familiar" into a new form of interpretation. -So not the unknown of an abstract work, which can mean everything or nothing and forces the viewer into isolation (according to the New Philosophy of Art), but to tease the famous "aha" experience out of him.
By "known" I always mean a theme or something conceptual that you can imagine. By "unknown" I mean something that has no general validity.
I think that says it all. And please forgive me, I don't have time for any more questions.