MP has been my muse and fascination since childhood. So happy to have stumbled upon your channel! I’ll be painting today and attempting this technique 💐
I Love the whimsical, magical, idyllic, fanciful, romantic paintings, of Maxfield Parrish’s work for years. I believe I have the very book you spoke of, but I do not remember reading the type of brush or the way it was used, or the technique that was used from the book. Thank you, I’ll have to check-out more of your vlogs. Fantastic painting , of coarse. I do not have the skills or patience anymore for such Fine Art but love to learn new techniques, ideas, design, comp’s, and never ending color. I Love Art, it keeps me going, listening, watching, and trying to learn, all day, every day. God Bless, Again, Thank you
You can look forward to future adventures with your art Constance. I'm very pleased you found this interesting. When I first saw Parrish images as posters and reproductions they resonated deeply with me. A glimpse of a slightly different vision and reality.
All these decades I thought Parrish somehow had forced oil paint through an air brush, which sounds impossible not to mention unhealthy! I am eager to try this method.
This is so great! I am thinking of attempting a painting (not painted since college 25 years ago) Don't suppose you offer in-person lessons on this technique?
A great adventure awaits you as you take up painting again and I hope you achieve great results with your painting. Sorry not to offer one to one lessons but can answer any questions you may have regarding this method - I can be contacted via my website.
I can’t wait to try this technique. Thank you for providing such wonderful lessons. Wondering what colours you used for the base of your sky. Even before you pounced on the glaze, you had a beautiful transition from the creamy horizon to the blue above. Following your lessons in Newfoundland.
'Morning Alicia - a few people looking in from Newfoundland since my channel found it's feet a few weeks ago. I'm glad you found this interesting. That base colour is white and Naples yellow for the pale cream then gradually introducing cobalt blue to the same mix - as the sky ascends the cobalt blue content is gradually increased - all the base colour is therefore opaque.
Will you be posting any more online tutorials? I haven’t seen any recent ones. I used the pouncing technique on a painting I completed yesterday, it really made a wonderful transition. Thanks again. @@grahamtwyford9564
Sir. My apologies hv a follow up question. After glazing do you varnish, then glaze over the varnish again? Thank you so much. So the steps would be. 1. Monotone paint first the image 2. Glaze 3. Varnish 4. Glaze again??? I apologize again. Thank you so much.
No problem. Sequence here 1. opaque underpaint layer. 2. Thin varnish layer allow to dry. 3. Glaze. 4 If this continued further another varnish layer over the dry glaze 5. glaze. For Parrish each glaze is 'locked' between varnish layers. Without the varnish a good effect can be achieved but Parrish originals have a deep and lustrous extra depth. Parrish began the process with a varnish layer over the white priming; this seals the priming so the glaze does not strike in or absorb into the priming. Bearing in mind some originals now have a fine craquelure caused by the complex layering ( Parrish was concerned for his craft but the paintings primary purpose was for reproduction shortly after completion) - this does not detract from the distinctive finish.
Thanks Jason, glad you think so. My first attempt at video editing - I painted with one hand and held the i-phone in the other. I've now got proper kit so hope to improve image and sound in future presentations.
Yes that's the method to lock the glazes between thin layers of varnish. The glaze is easily manipulated over the dry varnish layer and does not absorb into the layer of paint below. Without the varnish the glaze can absorb a little making it more difficult to model and blend. The method is, I think, unique to Parrish. Parrish used copal which stands up to the solvent action of the glaze, Liquin performs in like manner. I'm glad this was of interest.
@@grahamtwyford9564 thank you for shedding light on this. I have seen that because of his heavy use of varnish, a lot of Parrish paintings are already in bad condition. Is there a more modern and robust way to reach the same effect than in his paintings without the bad durability drawback?
An acrylic gloss medium would work very well - I am familiar with Winsor and Newton gloss medium and they also have a slow drying medium which will assist. You will know acrylics dry fast but you can work quickly to good effect. If you brush out a thin layer of the slow drying medium first, then work the glaze (use gloss medium in the glaze instead of Liquin) into the slow drying layer it will give an extended open time i.e. time to work before everything sets. With acrylic when you sense it is starting to dry and drag ease off and let it dry properly - then work another layer over to modify. If you continue to work into an almost dry glaze it will start to break up and go patchy so let it dry before continuing. I use the shaving brush method frequently with acrylic.
just lovely. You mentioned that you could remove some of the glaze from the buildings if needed. How would you do that? Thank you for your excellent presentation and work.
@@grahamtwyford9564 In that same book, Parrish was quoted to have used an end of a paint brush with a cloth around it. And a library check out card to mask off/protect the areas he didn't want glaze to go over.
it is gorgeous! Wish you had gone into the paint more--oil? Could you do this with acrylic? I've always been fascinated by Maxwell's sky colors. Over all colors. Truly luminous.
Thanks for that - yes you can work in a similar way with acrylic using an acrylic gloss medium. Wet the underlayer first and allow it to absorb moisture then absorb surface wetness with a cloth; this will give more time for the glaze to be manipulated some slow drying medium thinly applied before glazing will help as well. One last thing to consider as soon as the glaze begins to set, ease off the stippling otherwise it can begin to break up and fragment. Some practice required to familiarise yourself with the process.
Lovely demo, thank you kindly! I've been curious to know how M.P. did this for some time. Hoping to translate your helpful information into a digital painting technique. Will probably need to create a stipple/stencil brush in Photoshop first.
Beautiful! Thank you for sharing that technique.
MP has been my muse and fascination since childhood. So happy to have stumbled upon your channel! I’ll be painting today and attempting this technique 💐
excellent demo. thank you
really like the effect created on the glaze with the badger-hair brush...reminds me of a kabuki brush.
You are very talented!
Your voice reminds me of my Sheffield grandfather ❣️
S-T-U-N-N-I-N-G. Thanks for sharing your art with us!
Lovely - thank you for that; my pleasure.
Where have you been?! Just only discovered you a couple of days ago
I Love the whimsical, magical, idyllic, fanciful, romantic paintings, of Maxfield Parrish’s work for years. I believe I have the very book you spoke of, but I do not remember reading the type of brush or the way it was used, or the technique that was used from the book.
Thank you, I’ll have to check-out more of your vlogs. Fantastic painting , of coarse.
I do not have the skills or patience anymore for such Fine Art but love to learn new techniques, ideas, design, comp’s, and never ending color.
I Love Art, it keeps me going, listening, watching, and trying to learn, all day, every day.
God Bless, Again, Thank you
You can look forward to future adventures with your art Constance. I'm very pleased you found this interesting. When I first saw Parrish images as posters and reproductions they resonated deeply with me. A glimpse of a slightly different vision and reality.
Great video!
All these decades I thought Parrish somehow had forced oil paint through an air brush, which sounds impossible not to mention unhealthy! I am eager to try this method.
Great if you give it a try. Parrish says he once tried blowing paint through a diffuser but felt he breathed more in than went on the painting!!
Thank you so much for that!!! Incredible. That technique has so many possible applications and I'm excited to explore
BEAUTIFUL !!! Very informative AND inspiring. Thanks for sharing yourself 🤍
Thank you for that - glad you like it.
I suggest looking at a painting by Aniko Vida when it comes to "glazing"...Her still life artwork is unmatched...
This is so great! I am thinking of attempting a painting (not painted since college 25 years ago) Don't suppose you offer in-person lessons on this technique?
A great adventure awaits you as you take up painting again and I hope you achieve great results with your painting. Sorry not to offer one to one lessons but can answer any questions you may have regarding this method - I can be contacted via my website.
at 5:30 so awesome to see how Parrish laid down the backlit glory
Excellent video. Thank you!
Thank you for that, I'm pleased you found it interesting.
Nice art beautiful work😃
I can’t wait to try this technique. Thank you for providing such wonderful lessons. Wondering what colours you used for the base of your sky. Even before you pounced on the glaze, you had a beautiful transition from the creamy horizon to the blue above. Following your lessons in Newfoundland.
'Morning Alicia - a few people looking in from Newfoundland since my channel found it's feet a few weeks ago. I'm glad you found this interesting. That base colour is white and Naples yellow for the pale cream then gradually introducing cobalt blue to the same mix - as the sky ascends the cobalt blue content is gradually increased - all the base colour is therefore opaque.
Will you be posting any more online tutorials? I haven’t seen any recent ones. I used the pouncing technique on a painting I completed yesterday, it really made a wonderful transition. Thanks again.
@@grahamtwyford9564
Sir. My apologies hv a follow up question. After glazing do you varnish, then glaze over the varnish again? Thank you so much. So the steps would be. 1. Monotone paint first the image 2. Glaze 3. Varnish 4. Glaze again??? I apologize again. Thank you so much.
No problem. Sequence here 1. opaque underpaint layer. 2. Thin varnish layer allow to dry. 3. Glaze. 4 If this continued further another varnish layer over the dry glaze 5. glaze. For Parrish each glaze is 'locked' between varnish layers. Without the varnish a good effect can be achieved but Parrish originals have a deep and lustrous extra depth. Parrish began the process with a varnish layer over the white priming; this seals the priming so the glaze does not strike in or absorb into the priming. Bearing in mind some originals now have a fine craquelure caused by the complex layering ( Parrish was concerned for his craft but the paintings primary purpose was for reproduction shortly after completion) - this does not detract from the distinctive finish.
@@grahamtwyford9564 I simply cannot thank you enough. Look forward to any future videos you make . Thank you again sir.
Beautiful
THIS IS ABSOLUTELY FANTASTIC THANK YOU SO MUCH 🌈 🙏 WONDERFULY PRESENTED AND EXECUTED, MASTER PIECE AMAZING.....
Thanks Jason, glad you think so. My first attempt at video editing - I painted with one hand and held the i-phone in the other. I've now got proper kit so hope to improve image and sound in future presentations.
@@grahamtwyford9564 THAT WOULD BE AWSOME, I CAN FIRE UP THE BIG SCREEN AND WATCH ON TV, RATHER THAN MY PHONE, PLEASE DO AND THANK YOU SO MUCH😃👍💐💐💐
Great stuff!!!! Question: did you varnish before adding glaze. Thk you sir. Learned so much.
Yes that's the method to lock the glazes between thin layers of varnish. The glaze is easily manipulated over the dry varnish layer and does not absorb into the layer of paint below. Without the varnish the glaze can absorb a little making it more difficult to model and blend. The method is, I think, unique to Parrish. Parrish used copal which stands up to the solvent action of the glaze, Liquin performs in like manner. I'm glad this was of interest.
@@grahamtwyford9564 thank you for shedding light on this. I have seen that because of his heavy use of varnish, a lot of Parrish paintings are already in bad condition. Is there a more modern and robust way to reach the same effect than in his paintings without the bad durability drawback?
Fab to honour Maxwell in this way. What should I use for acrylic medium instead of oil. Thanks.
An acrylic gloss medium would work very well - I am familiar with Winsor and Newton gloss medium and they also have a slow drying medium which will assist. You will know acrylics dry fast but you can work quickly to good effect. If you brush out a thin layer of the slow drying medium first, then work the glaze (use gloss medium in the glaze instead of Liquin) into the slow drying layer it will give an extended open time i.e. time to work before everything sets. With acrylic when you sense it is starting to dry and drag ease off and let it dry properly - then work another layer over to modify. If you continue to work into an almost dry glaze it will start to break up and go patchy so let it dry before continuing. I use the shaving brush method frequently with acrylic.
@@grahamtwyford9564 Thank you so much, saved me lots of mistakes and frustration.
Thank you!!!
just lovely. You mentioned that you could remove some of the glaze from the buildings if needed. How would you do that? Thank you for your excellent presentation and work.
Thank you for this. A cloth around a finger should work well and cotton buds or Q Tips for details.
@@grahamtwyford9564 In that same book, Parrish was quoted to have used an end of a paint brush with a cloth around it. And a library check out card to mask off/protect the areas he didn't want glaze to go over.
it is gorgeous! Wish you had gone into the paint more--oil? Could you do this with acrylic? I've always been fascinated by Maxwell's sky colors. Over all colors. Truly luminous.
Thanks for that - yes you can work in a similar way with acrylic using an acrylic gloss medium. Wet the underlayer first and allow it to absorb moisture then absorb surface wetness with a cloth; this will give more time for the glaze to be manipulated some slow drying medium thinly applied before glazing will help as well. One last thing to consider as soon as the glaze begins to set, ease off the stippling otherwise it can begin to break up and fragment. Some practice required to familiarise yourself with the process.
Lovely demo, thank you kindly! I've been curious to know how M.P. did this for some time. Hoping to translate your helpful information into a digital painting technique. Will probably need to create a stipple/stencil brush in Photoshop first.
Thank you. That sounds like a fine application and I'd be interested to see how it works out.
Where’s Stars? I love the art of Maxfield Parrish. For a very long time.
Ty! Bravooooooo
My mum's my dad. My dad's my mum.
Thank you!!
Glad you like it, my pleasure..