Artist/Art Teacher Dianne Mize addresses two questions in this weeks Quick Tip. One quick tip on the different paint transparencies and one quick tip on using glazings.
Thanks Dianne, the best demo of what glazes do, the best description of what they are useful for. I've had teachers, graduates from the NY academy, who weren't able to explain this process nearly as clearly as you demonstrate in this by now 'longer' tip. In fact, theirs was confusing intellectual mumbojumbo. You've got the pedagogy, the skill to present complexity as cohesive. Wish I could hit 10 thumbs up !! 💃👍👍👍🙌high 10 !
I learned nothing at university from any teachers. I have learned more from Dianne in a short time than all the years I spent there. I learned from other colleagues than from anyone. She is so nice to give these lessons.
Diane: Thank you so very much for sharing your knowledge/experience with us all. I have so much to learn and you are the best source of information I have found. Please know how much I appreciate what you do. How very kind of you.
Thank you for generously sharing your knowledge, it is just as important to me to know how to apply paint as it is to know why different paints, brushes and mediums respond the way that they do.
Thank you so much for this Quick Tip on Glazing. I am enjoying several of your Quick Tip videos while this corona virus has us so confined. Good time to learn new techniques!
Excellent teaching skills. This is the best explanation of glazing and options I have heard on youtube. Thank you for sharing your knowledge with us! Subscribed for sure:-)
Thank you so much . You explain things so well. I have learnt more from you in the two videos I have watched than from many art teachers. Can’t wait to get my paints out again. Bless you. 🌺
Thank you so much, Dianne! Your instruction is so clear and straightforward - just what I have been searching for. I am so happy to have found your videos, and look forward to exploring your site.
Wow! This was great information in a nutshell and for an artist that does not paint with glazing you are pretty good at showing and talking about it.Thank you.
Hi, Dianne. I'm so glad I found your channel for all the great information. In this tip you talk about Gamsol and linseed oil as a glazing medium. In looking at linseed oils - which one should I use??? The one that is mixable with water, or does it matter? Thanks.
I didn't know! Thank you, Dianne! Very clear and useful. I stand beside Montreal Artllive (8 month ago message) who said what I couldn't quite put it into own words. :)
Thank you very much for your instructional videos which give a deep rooted knowledge enabling to attempt any painting. Could you please tell if we can use different mediums in one oil painting, like linseed oil plus turpentine in lower layers and then liquin for glazing in top layers?
Thanks Dianne, wonderful as always! I am wondering how, why and where to use glazing process at the of a finished oil painting in order to enhance the various aspects of the piece. Would you please comment on that topic.
Seniz, glazing is not always necessary, mostly if you're using the layering method like Bougeureau used is it a primary technique. Here is a link to an article that explains that: www.virtualartacademy.com/glazing-techniques-in-oil-painting/#When_are_glazing_techniques_in_oil_painting_used
Thank you for your quick tips, Dianne. Yours is my go-to channel when I need a refresher or have to explain something I can’t quite remember. I love your phonetic spelling of ‘grisaille’ , but how many would have the slightest idea what that means or how to pronounce it? Must be a generational thing! Anyway, thank you.
Rosee, since I don't paint with acrylics, I'm not sure I'm qualified to answer this with authority, but I do know that acrylic glazing mediums are available.
@@IntheStudioArtInstruction thank you Dianne. I'll still be watching and learning as I understand some oil and acrylic techniques are universal. I use water for glazing as I never like the mediums. Thank you and enjoy your day.
Wow. Learned so much. Questions: 1 My great great grandfather was a Hudson valley painter. All his paintings have turned dark and the colours have dimmed. Can I use the techniques here to clean them up? I know my grandmother had some restored at some point. so would should try to remove varnish first? 2. I am looking at paintings I did several years ago...before cataract surgery, now the colors look dull and I want to brighten as well as put a glaze on the back ground to have it recede. There was a note not to use neutral color suggestions?
1.Usually, old paintings turn dark because of their varnish, but some are due to chemistry in inferior or incompatible paints. For removing the varnish safely, follow these instructions: ua-cam.com/video/eePZXTCzPXw/v-deo.html . Any artist grade mineral spirits will work. Then for applying fresh varnish, follow this guide: ua-cam.com/video/IigHWFv-C_w/v-deo.html OR this one: vimeo.com/434803650 2. Clean your paintings first with mineral spirits, then rubbing alcohol. Once dry, varnish it. For
Thanks Dianne ! This is precious ! My question : how do I clean a painting between two layers if the waiting time got very long and the paint in the new layer dosn´t stick. I did paint over an "old" painting (after 1 year) and at first it looked ok, but when completely dry the new layer started crumbling and fall of.I hope this makes sense. Thank you so much for all your videos !!!
Wowzer another awesome video. I'm in what we used say "in hog heaven" 😆. Thank you for another fantastic video on glazing and transparent colors. Ms Michal I sign this way because I don't do much gaming Any more cause it's no fun without my running partner. Actually I'm into fossil and pretty rock hunting. 🙃☕🙏💖🇺🇸
Did the old masters use linseed oil to dilute their paint for glazing? Excellent demo btw - I've been looking for this info for a while now. Much appreciated!
I assume you're referring to the Italian Renaissance masters such as Titian. His glazing technique is the one that is usually studied these days, although the same limited materials were available to all of them. A good glaze requires that it be thin enough for multiple layers, that it dry as quickly as possible and that it hold its integrity so that one layer will go over another without rewetting it, so the old Masters used forumlas made of an oil, a dryer and a solvent. Linseed oil alone is not thin enough and dries too slowly for glazing. There are multiple forumlas used by the old masters, but one that continued to be used for centuries was varying proportions of Stand oil, damar varish, gum turpentine and cobalt drier.
I love this. What a great lesson. But I think that it’s VERY important to start with a good Grisaille! One that shows all the shadows, not in shadow, cast shadow, etc. Right?
Thank you very much for this and every tutorial. I glazed a painting with several coats of liquin original and ivory black and the surface ended up very glossy - is there anything I can do to remedy this? I did this before I saw this awesome tutorial...thank you again Ms. Mize...
Very good portrayal of a complex subject! Was just wondering about the use of Liquin, or other drying agents, with layers and layers of glazes. The Masters didn't have these products, and the methods they used were archival. Has there been any evidence, as of yet, about the use of modern drying agents, vs. the old methods? Is there any possibility that the drying agents used now, as glazes, may cause flaking or cracking over time? I don't know if enough time has evolved for anyone to determine the result of using the products, or if they have ways of simulating the ravages of time and atmosphere over years and years. What's your take on this?
You make a good point, Laverne. Manufacturers of the new products do have a way of testing that supposedly simulates time but I, myself, don't altogether trust it. Only time will tell. I tend to stay pretty close to traditional materials with the exception of using Liquin. There is this: in our modern world we are able to control environmental factors that, in the past, have contributed to flaking and cracking. That considered, to a certain extent we can trust most new materials, but I stay away from anything made by companies who produce cheap materials.
Kathy, you might find it fun to do some experiments where you mix a bit of black into every tube color you work with just to observe the change it makes. The experiment is even richer when you create a value scale from each mixture.
Wonderful lesson! Can I please ask you, I have used walnut alkyd medium in my painting and I’d like to slightly shade with a glaze, would I use the paint with walnut alkyd to thin it to that transparency? Or liquin.. or a slow dry medium to be safer ?!
I have not used Walnut alkyd so am not familiar with it. I do know it was developed by the M.Graham company to be a solvent-free medium, but I'd need to do more research about it before I could answer your question with any authority.
Hi Dianne, I painted pure ultramarine blue as ocean water and it’s too bright. Could I thin glaze with transparent red oxide to tone down but keep transparency I love?
Maria, there are other ways to get those blues you see. Look at the color wheel. Ultramarine blue sits on the violet side of blue on the wheel, but all blues appear to our eyes in various ranges from blue violet to blue green, depending upon the light, the weather and the movement in the water. We have that full range to work with in all their values AND in their various saturations. I suggest you explore these options.
Dear Dianne, Thank you for addressing my question on transparent, semi transparent, and opaque oil paint. I understand what you taught. I learn from a structured instruction. However, semi opaque was not addressed, please show how that fits into the glazing process. Again, thank you rachael
Rachael, some artists will use semi-transparent (or semi-opaque) oils for glazing, but just like opaque paints, when thinned out, the semi-transparent are likely to reveal small particles of pigment. Most artists who rely on glazes stick to the truly transparent colors.
Thank you for yet another clearly explained tip. I have a question for which I haven’t been able to find a satisfactory answer. I use water mixable oils. (I know you don’t use them but hope you might have the answer.) My question: can I use Liquin for these oils in the same ways you use them with regular oils, especially for glazing?
Pat, you can, but you also have to switch to aa petroleum solvent for keeping the brush clean because Liquin is not water mixable. Holbein has water mixable mediums called Duo Aqua Oil Mediums. A couple of these also enhance the drying time similar to Liquin.
@@IntheStudioArtInstruction Diane, thank you so much. I knew if anyone could give me a clear and accurate explanation it would be you. I truly appreciate your help!!
Hello Dianne, The Quick Tip 178 brings me to a Question: Do you have any rules or tips for mixing colors with the same or with different properties (opaque, semi-transparent or transparent)? E. g. Opaque color 1 + Opaque color 2, or Opaque color 1 + Transparent color 2, … Are there any recommendation or rules in relation to mixing colors with the properties opaque, semi-transparent or transparent?
First, the fewer rules we have, the better we paint. There are no rules for mixing opaque colors with transparent ones. The primary reason to know the difference between the two characteristics is for use in glazing. Then the only standard to remember Is that when you mix a transparent into an opaque, it loses its transparency.
Thanks Dianne, for your clear explanation. I've got a question though. I've learned to use a opaque colour first and then paint the glazing over it. What difference does this make in the end? And if you add more layers, what effect do different colours have then, or is it ment to be done with just one colour (so repeating the one colour several times)?
This is just one approach to painting. The technique I show here is, as far as we know, the one originally used by artists when oil paint was first discovered. When painting in layers, there is a technical need caused by the speed of drying. Opaque colors, for the most part, drying slower than transparent ones so that should be taken into consideration. Painting in transparent layers gives a depth to the color because of the physics of how light either bounces back or is absorbed by the color. So whether one glazes, paints in layers or alla prima depends upon personal choice of what the artist's wants from the color.
Just what I needed thank you so much. I am trying to match colors in photo. A hill of evergreens at high noon. The photo shows blue green the some yellow Blue . You gave much help any thoughts would help. Thanks
Great. The best way to match the colors you are seeing is to first identify the hue, then the value, then the intensity. This sharpens you visual perception as well as makes color mixing fun rather than a struggle.
Dear Dianne; I am still a little confused. On portraits, as opposed to this demonstration, if you use opaque over transparencies aren't you covering up the transparencies? I can see opague on top of landscapes or still life, but not so much on portraits. They make a transparent white that works well on top of transparencies and does not cover transparencies over.
Unfortunately, in my country liquin is 200 bucks. And if I were to buy it overseas, I would have to pay in dollars, equally expensive... is there any alternative for fast drying mediums? Linseed oil, for instance, I can find on markets.. but is so wet where I live, that I would take months to finish just 2 layers in oil.... until I find an alternative (or a sponsor) I'm stuck on acrylics
Clara, long before Liquin was invented, we added a bit of cobalt linoleate called cobalt drier to speed up drying. A drying agent is not necessary unless you are doing glazing and glazing is not necessary for oil painting. So, if no drying agent is available to you, it's shouldn't hamper your ability to paint with oils.
Hi Dianne..what is the main paint when i will paint?is it opaque or transparent?if it needs to use both,then how should i know when do i use transparent paint when i am painting ?
Thanks Dianne, the best demo of what glazes do, the best description of what they are useful for. I've had teachers, graduates from the NY academy, who weren't able to explain this process nearly as clearly as you demonstrate in this by now 'longer' tip. In fact, theirs was confusing intellectual mumbojumbo. You've got the pedagogy, the skill to present complexity as cohesive. Wish I could hit 10 thumbs up !! 💃👍👍👍🙌high 10 !
Wow! Thanks for that. I like "high 10"!
Montreal Artlive SO AGREE!!
yes, I second your praise for Dianne.
I learned nothing at university from any teachers. I have learned more from Dianne in a short time than all the years I spent there. I learned from other colleagues than from anyone.
She is so nice to give these lessons.
@@debbiejohnson2789 Yes, definitely one of the best on YT, concise yet clear
Your depth of knowledge is amazing! So generous of you to share it with us. Your art students must have loved you!!!
Thanks for that, Karen.
Super stuff! Thanks again and again and again.
This is why oil painting looks life like with the light rays transmitted into the painting, thank you.
Thanks for watching and for being a subscriber.
Diane: Thank you so very much for sharing your knowledge/experience with us all. I have so much to learn and you are the best source of information I have found. Please know how much I appreciate what you do. How very kind of you.
Ah thanks, Pat.
where have you been all my life, thank you so much!!
My pleasure. Thanks for watching.
The final tip regarding opaque light dispersing via glaze... I had never thought of that. Thank you.
You are so welcome!
Thank you for sharing your knowledge with us. Greetings from Chihuahua, Chihuahua Mexico 🇲🇽
Our pleasure!
This is the best teaching about glazing.👏👏👏🌹
Thanks.
Favourite youtuber💕💕💕 thank you Diane!
Yay! Thank you!
Thank you for generously sharing your knowledge, it is just as important to me to know how to apply paint as it is to know why different paints, brushes and mediums respond the way that they do.
You are so welcome! Yes, the technique is of utmost importance.
Again Thank you. I never knew the concept. I am a beginner, but now I am equipped with a tidbit of knowledge to use. Thank you.
Glad it was helpful!
Queen of the Painting!! 👏
😊
Thank you so much for this Quick Tip on Glazing. I am enjoying several of your Quick Tip videos while this corona virus has us so confined. Good time to learn new techniques!
Thanks, Jacki. I hope we have enough here to keep you occupied while we are all sequestered.
I am enjoying your tutorials immensely! Not only the quick demonstrations of techniques, but your wonderful voice!
Thanks.
You are the best Dianne, I learn so much with your tips, always a plaisure to watch your video.
"Plaisure" like Khan on Star Trek, The Wrath of Khan?
I enjoy watching your videos. You are calm, pleasant and not rushing through the content. And of course very informative. Thanks.
Thanks. I'm delighted you're enjoying these.
I love your way of teaching. Amazing
Thank you! 😃
Thank you Dianne, you rock.
😊
You explained glazing opaque and transparent very well.
Thanks.
You’re terrific! Many thanks for all your tips 😃
You are so welcome! It's a pleasure doing these.
Brilliant explanation Dianne. Thank you.
You are so welcome!
Thank you so much Dianne, you are a fabulous and generous teacher.
Thank you so much!
Great stuff Dianne. 🤗💐
Thanks.
Thankyou for your preliminary teachings on glazing techniques. You are amazing in your method of teaching art theory. You love art and it shows
Thanks.
Thanks, Dianne - having you illustrate that about the glazes and especially the opaque colors really does answer it my question!
Great.
gosh Dianne, I am very thankful for all your helpful quick tips. You explain everything very well for us novices. A1 teacher!
My pleasure to help give clarity.
Thank you!! Excellent classes!!
My pleasure, and thanks.
This was very helpful. I tried to do glazing without instruction so I am grateful for this video.
Glad it was helpful!
Thank you Dianne,very crucial information with detailed demonstration and patience ,like the way you explain.
Thanks.
Excellent teaching skills. This is the best explanation of glazing and options I have heard on youtube. Thank you for sharing your knowledge with us! Subscribed for sure:-)
Thanks for watching and for subscribing.
Thank you so much . You explain things so well. I have learnt more from you in the two videos I have watched than from many art teachers. Can’t wait to get my paints out again. Bless you. 🌺
There's no better time than now! Thanks for watching.
Thanks Dianne, Such a clear explanation & demonstration.
My pleasure.
So clear and precise ! Love the way you explain methods
Thanks.
You are such a great and generous teacher.
Thanks.
In the Studio Art Instruction and I love the way you say ValYA ❤️❤️
Thank you so much, Dianne! Your instruction is so clear and straightforward - just what I have been searching for. I am so happy to have found your videos, and look forward to exploring your site.
Wonderful. Welcome aboard.
Thank you Dianne. You are so helpful. Your lessons are so clear.
Thank you. I enjoy doing these.
Brilliant video thanks for sharing ❤
Thanks for watching.
Wow! This was great information in a nutshell and for an artist that does not paint with glazing you are pretty good at showing and talking about it.Thank you.
It's good to know about a wide range of techniques whether we use them or not. Thanks for watching.
Thank you so much for sharing your knowledge. You are a treat to learn from.
I appreciate that!
That was so very enjoyable - thank you for sharing your repertoire of knowledge.
My pleasure!
You are always spot on. Thank you so much
Thank you!
You are amazing teacher. Thanks a lot all of your lession helps me a lot
Thank you. It's a pleasure to share these.
Thank you Diane. I love the soft richness of many layers of glazing, but have been finding my way. This helped.
Great!
Gracias! I really enjoy your classes. Big hug from Madrid
Thanks. Hugs back from north Georgia, USA.
This is such a great video, thank you!
Thanks for watching.
Extremely helpful. Thank you!
You're welcome! Thanks for watching.
Thank you so much for your time and talent!! You are so knowledgeable!
It's a pleasure.
Wow! Fascinating
Thanks.
Thank you Dianne for sharing your knowledge with us. You are a great teacher!
Thanks for that.
thank you very much, you are kind to share. Especially now.
My pleasure!
Thank you nice work very well done!
Thank you too!
I agree totaly a lot of thanks from the Netherlands
Thanks for watching. I love the Netherlands!
Very well explained indeed ! Thank you so much! A pleasure to watch and listen to!
Thanks.
Excellent video and very informative, thank you.
My pleasure. Thanks for watching.
Thanks! I’ve been looking for a course on glazing!
Have fun with it.
Hi, Dianne. I'm so glad I found your channel for all the great information. In this tip you talk about Gamsol and linseed oil as a glazing medium. In looking at linseed oils - which one should I use??? The one that is mixable with water, or does it matter? Thanks.
Margaret, never mix oil and water. Any artist grade refined linseed oil will work.
I didn't know! Thank you, Dianne! Very clear and useful. I stand beside Montreal Artllive (8 month ago message) who said what I couldn't quite put it into own words. :)
Wonderful and succinct explanation of the topic! Thank you for doing these videos!
My pleasure.
Thank you very much for your instructional videos which give a deep rooted knowledge enabling to attempt any painting. Could you please tell if we can use different mediums in one oil painting, like linseed oil plus turpentine in lower layers and then liquin for glazing in top layers?
Manju, we have to be careful about that. If a top layer dries before one underneath, there's a risk of the paint cracking.
Thank you very much.
Thanks very much ma'am your videos are so helpful and joyful
My pleasure 😊
Wonderful explanation..thank you
Thanks! My pleasure.
Thank you Dianne .
My pleasure.
Thanks Dianne, wonderful as always! I am wondering how, why and where to use glazing process at the of a finished oil painting in order to enhance the various aspects of the piece. Would you please comment on that topic.
Seniz, glazing is not always necessary, mostly if you're using the layering method like Bougeureau used is it a primary technique. Here is a link to an article that explains that: www.virtualartacademy.com/glazing-techniques-in-oil-painting/#When_are_glazing_techniques_in_oil_painting_used
Thank you for your quick tips, Dianne. Yours is my go-to channel when I need a refresher or have to explain something I can’t quite remember. I love your phonetic spelling of ‘grisaille’ , but how many would have the slightest idea what that means or how to pronounce it? Must be a generational thing! Anyway, thank you.
My pleasure. Thanks for making these your go-to.
This is wonderful to see the dynamics of blending glazes. Dianne I use acrylics. what is the best to use for glazing with them please
Rosee, since I don't paint with acrylics, I'm not sure I'm qualified to answer this with authority, but I do know that acrylic glazing mediums are available.
@@IntheStudioArtInstruction thank you Dianne. I'll still be watching and learning as I understand some oil and acrylic techniques are universal. I use water for glazing as I never like the mediums. Thank you and enjoy your day.
Wow. Learned so much. Questions:
1 My great great grandfather was a Hudson valley painter. All his paintings have turned dark and the colours have dimmed. Can I use the techniques here to clean them up? I know my grandmother had some restored at some point. so would should try to remove varnish first?
2. I am looking at paintings I did several years ago...before cataract surgery, now the colors look dull and I want to brighten as well as put a glaze on the back ground to have it recede. There was a note not to use neutral color suggestions?
1.Usually, old paintings turn dark because of their varnish, but some are due to chemistry in inferior or incompatible paints. For removing the varnish safely, follow these instructions: ua-cam.com/video/eePZXTCzPXw/v-deo.html . Any artist grade mineral spirits will work. Then for applying fresh varnish, follow this guide: ua-cam.com/video/IigHWFv-C_w/v-deo.html OR this one: vimeo.com/434803650
2. Clean your paintings first with mineral spirits, then rubbing alcohol. Once dry, varnish it.
For
This is so helpful. Thank you!
You're so welcome!
Thank you. Very good lessson.
Thanks for watching.
Querida maestra que hermoso como transmite su sabiduria no se ingles pero algo me queda. Mi eterna gratitud desde colombia
Gracias por tu comentario.
Thanks Dianne ! This is precious ! My question : how do I clean a painting between two layers if the waiting time got very long and the paint in the new layer dosn´t stick. I did paint over an "old" painting (after 1 year) and at first it looked ok, but when completely dry the new layer started crumbling and fall of.I hope this makes sense. Thank you so much for all your videos !!!
Christina, rubbing alcohol with a soft gauze pad will do the job.
P.S. Oil paint, when applied properly, should not crumble. My guess is that your initial layers had solvent in them or that you used too much medium.
@@IntheStudioArtInstruction Thanks Dianne! I´v found your video on this topic and really loved it !!!Have a nice day!
Wowzer another awesome video. I'm in what we used say "in hog heaven" 😆. Thank you for another fantastic video on glazing and transparent colors.
Ms Michal I sign this way because I don't do much gaming Any more cause it's no fun without my running partner. Actually I'm into fossil and pretty rock hunting. 🙃☕🙏💖🇺🇸
Thanks for watching.
I love it!
😊
great teacher
Thanks.
This was so helpful! Definitely going to try glazing in my next painting :))
Have fun!
Did the old masters use linseed oil to dilute their paint for glazing? Excellent demo btw - I've been looking for this info for a while now. Much appreciated!
I assume you're referring to the Italian Renaissance masters such as Titian. His glazing technique is the one that is usually studied these days, although the same limited materials were available to all of them.
A good glaze requires that it be thin enough for multiple layers, that it dry as quickly as possible and that it hold its integrity so that one layer will go over another without rewetting it, so the old Masters used forumlas made of an oil, a dryer and a solvent. Linseed oil alone is not thin enough and dries too slowly for glazing. There are multiple forumlas used by the old masters, but one that continued to be used for centuries was varying proportions of Stand oil, damar varish, gum turpentine and cobalt drier.
I love this. What a great lesson. But I think that it’s VERY important to start with a good Grisaille! One that shows all the shadows, not in shadow, cast shadow, etc. Right?
Only if you're using the glaze method for your painting process. Otherwise, finding the notan is extremely important before beginning a painting.
Great lesson, thank you
My pleasure!
Thank you very much for this and every tutorial. I glazed a painting with several coats of liquin original and ivory black and the surface ended up very glossy - is there anything I can do to remedy this? I did this before I saw this awesome tutorial...thank you again Ms. Mize...
I regret to tell you, but there's no remedy. Liquin does have its downside.
Very good portrayal of a complex subject! Was just wondering about the use of Liquin, or other drying agents, with layers and layers of glazes. The Masters didn't have these products, and the methods they used were archival. Has there been any evidence, as of yet, about the use of modern drying agents, vs. the old methods? Is there any possibility that the drying agents used now, as glazes, may cause flaking or cracking over time? I don't know if enough time has evolved for anyone to determine the result of using the products, or if they have ways of simulating the ravages of time and atmosphere over years and years. What's your take on this?
You make a good point, Laverne. Manufacturers of the new products do have a way of testing that supposedly simulates time but I, myself, don't altogether trust it. Only time will tell. I tend to stay pretty close to traditional materials with the exception of using Liquin.
There is this: in our modern world we are able to control environmental factors that, in the past, have contributed to flaking and cracking. That considered, to a certain extent we can trust most new materials, but I stay away from anything made by companies who produce cheap materials.
Thank you so much for this tip. I would like to see the differences in using black. Black as a pure color vs. black that has been mixed.
Kathy, you might find it fun to do some experiments where you mix a bit of black into every tube color you work with just to observe the change it makes. The experiment is even richer when you create a value scale from each mixture.
Amazing video! Thank you very much!
Thanks for watching.
Wow I never knew that the opaque went on after the transparent. Is it ever done the opposite way? How is it done for skin tones?.
It depends upon the process you are using. Here I am showing the glazing process used most often in the early days of oil painting.
Wonderful lesson! Can I please ask you, I have used walnut alkyd medium in my painting and I’d like to slightly shade with a glaze, would I use the paint with walnut alkyd to thin it to that transparency? Or liquin.. or a slow dry medium to be safer ?!
I have not used Walnut alkyd so am not familiar with it. I do know it was developed by the M.Graham company to be a solvent-free medium, but I'd need to do more research about it before I could answer your question with any authority.
You're BRILLIANT, thank you so much. This is really helpful💖😊
You're so welcome! And thanks.
Hi Dianne, I painted pure ultramarine blue as ocean water and it’s too bright. Could I thin glaze with transparent red oxide to tone down but keep transparency I love?
Maria, there are other ways to get those blues you see. Look at the color wheel. Ultramarine blue sits on the violet side of blue on the wheel, but all blues appear to our eyes in various ranges from blue violet to blue green, depending upon the light, the weather and the movement in the water. We have that full range to work with in all their values AND in their various saturations. I suggest you explore these options.
Thank you for this video...very informative.
Always a pleasure.
Can you glaze over dark crimson/ultra blue with either turquoise/green colors around a face portrait?
I'm not sure I understand what you are asking. Could you be a bit more specific?
awesome, high-quality information! thank you!
My pleasure. Thanks for watching.
Thsnk you . You are so helpful.
You are so welcome!
Dear Dianne,
Thank you for addressing my question on transparent, semi transparent, and opaque oil paint. I understand what you taught. I learn from a structured instruction. However, semi opaque was not addressed, please show how that fits into the glazing process. Again, thank you rachael
Rachael, some artists will use semi-transparent (or semi-opaque) oils for glazing, but just like opaque paints, when thinned out, the semi-transparent are likely to reveal small particles of pigment. Most artists who rely on glazes stick to the truly transparent colors.
Thank you for yet another clearly explained tip. I have a question for which I haven’t been able to find a satisfactory answer. I use water mixable oils. (I know you don’t use them but hope you might have the answer.) My question: can I use Liquin for these oils in the same ways you use them with regular oils, especially for glazing?
Pat, you can, but you also have to switch to aa petroleum solvent for keeping the brush clean because Liquin is not water mixable. Holbein has water mixable mediums called Duo Aqua Oil Mediums. A couple of these also enhance the drying time similar to Liquin.
@@IntheStudioArtInstruction Diane, thank you so much. I knew if anyone could give me a clear and accurate explanation it would be you. I truly appreciate your help!!
beautiful video thank u so much
Hello Dianne,
The Quick Tip 178 brings me to a Question:
Do you have any rules or tips for mixing colors with the same or with different properties (opaque, semi-transparent or transparent)?
E. g. Opaque color 1 + Opaque color 2, or Opaque color 1 + Transparent color 2, …
Are there any recommendation or rules in relation to mixing colors with the properties opaque, semi-transparent or transparent?
First, the fewer rules we have, the better we paint. There are no rules for mixing opaque colors with transparent ones. The primary reason to know the difference between the two characteristics is for use in glazing. Then the only standard to remember Is that when you mix a transparent into an opaque, it loses its transparency.
Thanks Dianne, for your clear explanation. I've got a question though. I've learned to use a opaque colour first and then paint the glazing over it. What difference does this make in the end? And if you add more layers, what effect do different colours have then, or is it ment to be done with just one colour (so repeating the one colour several times)?
This is just one approach to painting. The technique I show here is, as far as we know, the one originally used by artists when oil paint was first discovered. When painting in layers, there is a technical need caused by the speed of drying. Opaque colors, for the most part, drying slower than transparent ones so that should be taken into consideration.
Painting in transparent layers gives a depth to the color because of the physics of how light either bounces back or is absorbed by the color. So whether one glazes, paints in layers or alla prima depends upon personal choice of what the artist's wants from the color.
@@IntheStudioArtInstruction Thank you for answering. It helps me understanding the different approaches.
So helpful! Thank you so much!
You're so welcome!
Just what I needed thank you so much. I am trying to match colors in photo. A hill of evergreens at high noon. The photo shows blue green the some yellow
Blue . You gave much help any thoughts would help. Thanks
Great. The best way to match the colors you are seeing is to first identify the hue, then the value, then the intensity. This sharpens you visual perception as well as makes color mixing fun rather than a struggle.
Dear Dianne; I am still a little confused. On portraits, as opposed to this demonstration, if you use opaque over transparencies aren't you covering up the transparencies? I can see opague on top of landscapes or still life, but not so much on portraits. They make a transparent white that works well on top of transparencies and does not cover transparencies over.
Joel, the appearance of opaque against transparent enhance the transparency. Opposites emphasize each other when side by side.
Unfortunately, in my country liquin is 200 bucks. And if I were to buy it overseas, I would have to pay in dollars, equally expensive... is there any alternative for fast drying mediums? Linseed oil, for instance, I can find on markets.. but is so wet where I live, that I would take months to finish just 2 layers in oil.... until I find an alternative (or a sponsor) I'm stuck on acrylics
Clara, long before Liquin was invented, we added a bit of cobalt linoleate called cobalt drier to speed up drying. A drying agent is not necessary unless you are doing glazing and glazing is not necessary for oil painting. So, if no drying agent is available to you, it's shouldn't hamper your ability to paint with oils.
Excellent.
Thanks.
Hi Dianne..what is the main paint when i will paint?is it opaque or transparent?if it needs to use both,then how should i know when do i use transparent paint when i am painting ?
Glazes work best with transparent colors.