OIL PAINTING TIPS: How to Glaze, Scumble, and . . . GLUMBLE?
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- Опубліковано 11 лип 2024
- My favorite thing is when artists take regular techniques and ideas we all use and act as if they invented them....so, I present to you: GLUMBLING! Yes, that's right, when you add a little oil to your paint and blend it out, that's glumbling. And I made that up. It's mine. Obviously kidding...but still, I hope there's something useful in this video. I do practice these techniques all the time to correct my paintings.
If you like my content, be sure to check out my Patreon:
/ scottwaddell
And my website where you can find tutorials for beginners and advanced artists alike:
www.scottwaddellfineart.com
MUSIC:
"Loping Sting" Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License
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that lady did not blink once when you dabbed that paint on her face
Absolutely amazing. You are a insanely talented artist. Seems the girl is just going to talk...
This is best demo of glazing I’ve seen. Lots of artists treat glazing like it’s a state secret- thanks for sharing!
I totally agree with everything you've said.
Seriously! I’ve been looking for a demonstration like this.
I bought some of his full, in depth courses and they are worth every cent!!
Your paintings are scary realistic! Great job 👏
I've watched a few of your videos now and I must commend you on your down to earth teaching technique; the combination of clearly speaking/explaining, while you are applying various techniques is perfect. And of course your work is fantastic.
Agree on all points, would only add that I enjoy his speed of presentation. Intro is kept to a minimum, and he quickly gets down to the matter.
You are the most generous artist with your knowledge that I've come across on UA-cam. Thank you. Like you I studied art at a university, but but not classically trained.
Bravo, maestro! Thanks. Another brilliant video!
A pedantic point: scumbling is the reverse of glazing. While glazing is painting a (semi-) transparent colour over a lighter preparation, scumbling is a (semi-) transparent lighter colour over a darker preparation. A glaze always shifts its hue towards orange, while a scumble shifts its hue towards blue. The Old People used scumbling to create the beautiful optical greys that one sees in their paintings.
At least this is what I was taught back in the late 1960s in Italy when I was learning how to paint.
Another "pedantic point": the deffinition are endless, and painters, restorers, researchers and conservators doesn't agree about it, and its ok that happens that way (different schools of thought, different language, different evolution of words and differetn usages).
One deffinition that many historians of the technical aspects of painting use is that a true glaze happens when the refraction index of the pigment is closer to the vehicle -linseed oil, just suppose- (to name just one, Noëlle Streeton, foremost Van Eyck expert, but they are many more) A glazing/glacis is like a colored, limpid glass . A veil/velature in the other hand happens when we use diluted a pigment that by nature is opaque or semiopaque, so even diluted doesn't form a true glass-like film. A scumble is in a way like a veil, but its name also implies a why of execution, similar to a frottis. All this are definitions, variables and in concrete applications, as Scott suggest, many times happens nor a true glaze nor a true veil, because most of the things happens "in between".
Michael, thank you for your comment. Could you please explain why a glaze always shift its hue towards orange and a scumble towards blue? I can't find any reason behind that.
@@dalescher i had the same question. For the scumbling, I'm assuming because white pigment mixed with another pigment makes it a cooler hue, but i'm not sure about how the glazing makes it oranger... maybe because glazing often uses warmer colors such as burnt umber?
... are you the famous Michael John Angel of Angel Art Academy fame?
@@fluxlx6451 Yup. That's me-sins and all. Hi,fluxlx!!!
Beautifully explained in a easy way to understand. Thanks for this keep bringing more of this
Glumbling is probably what the Italians call Velatura...thanks for your tips, I learnt a lot.
i'v been watching videos on painting for years and i learned more from this little video of yours than i ever have
You're a true master Scott, many thanks from Italy.
Your portrait work is incredible. Wonderful video, thank you
Wow!!! She is sooo realistic! Absolutely incredible 👏
Extremely informative and well explained!
I just love your channel! Period❤️
Only just found you but so pleased with your techniques as answered a few questions on portraits, many thanks for your advice Scott :)
Amazing! That’s a good idea to mix techniques to make things look smoother! 👌👌👌👌👌
I am ready for this! As I have now perfected Bumbling.
I really love this demonstration.
Amazing content as always.
Thank you so much for your help...i enjoy your Tutorials a lot. Very good explained..
Fantastic advice and great content! I will be using glumbling in my next portrait for sure
Nicely explained and demonstrated.
Thank you very much, the simple and very important demonstration really helps!
very nice explanation. Much needed in these days
FANTASTIC !!!!
Incredible creative technique and informative video, thanks!
Thank you Scott this was very useful ..greetings from Croatia😀👋
Excellent lesson thank you and i love your work.
You are the best, Scott and humble, too ! Thanks for showing us how you do it. I know exactly what you mean, when you step back and see a small version of your photo, and the shadows as a whole are not working. Also, I am going to try the same palette you use. I think I have been using too many colors, and its causing lack of 'color harmony'. Best wishes, from Louisiana.
Thank you sir , amazing tips for correcting the work
Amazing video and we'll executed! I used to paint with oils, but I'll try these techniques with acrylics.
Beautiful!
Your so good you've taught me so much .thank you 😊
This was really helpful. Thank you!
Just what I needed to know. Thank you for this. I'll be referring to this a fair bit I reckon.
Has igualado a la fotografia. Felicitaciones. Eres un Maestro.
Great tips thank you!
Great video
Excellent teaching
Love it Scott🥰 just EXACTLY what I was looking for!!!🤩 You da man. Slightly crazy like me a can see🤣.
Great stuff from fellow left handed artist!
Great portrait artist !!!
Great video!
your skill is insane!
The glazing section here is technically a velatura, which is like a glaze but done with opaque or semi-opaque pigments. It lends a more gauzy/foggy feeling than a glaze of transparent colors. A velatura brings the area towards the color mixed - moving both light and dark passages - where a glaze darkens everything, often moving the area towards a color darker than both the glaze color and the color on the substrate. If Scott had continued the velatura over the shadow area of the cheek it would have lightened that area.
Transparent pigments are weird. Take permanent alizarin and mix it with ultramarine and you'll end up with a purple that is somehow darker than either color you started with.
Note: I love Scott and think this is a great video. I just wanted to offer some more information for people to research and play with in their studios. The pigments you use to add transparent or semi-transparent passages matter, so play around with it! From left to right Scott's preferred colors are opaque, opaque, opaque, transparent, opaque, transparent.
Which is the darkest color on Scott's palette here ?
@@Kig505 Ivory Black (last on the right), followed by Raw Umber (2nd to last on the right).
@@archaen2321 Thank you sir ! 🥂
@@Kig505 Of course! Sorry I didn't see this for two days. Is there anything I can help you with? An underlying reason you asked that question?
@@archaen2321 hi I am working on a figure and just learned painting by myself a life ago my way , never had opportunity of following academic training .. now exist tutorials here and i am discovering many technics and sometimes is a little bit confusing .. so i need more explanations
Glumbeling is awesome!
Thanks Scott for some more of your tips and techniques ☺️
Very very helpful your cool 😎 more please...
this so good
Great video! Thank you, thank you, thank you. Very helpful.
you are so talented. wish I had the patience
Thank you!
I liked a lot your video. Very didactic. I thank you a lot..
Beautiful my god!!!
Have you done a video about your brushworks? I wonder how you achieve this extremely smooth surface, it’s impressive! Plz make a tutorial about this subject!
Oleogel from Rublev or Oleo Impasto Medium from Michael Harding works well as it doesn't bead up like linseed oil often does. It's just linseed oil and silica, one of my favourite mediums for glazing etc.
Thank you!!
great tips
great, thank you
Glumble for the win! Ooo auto correct did not like that word at all. We fought. But awesome tips as always!! :)
Thankyou for sharing
Thanks very much!
Use the scumbling brush for the umbling part of the gumbling. Love it
Yes, that was very helpful.
Thanks for the valuable tips.
I learned that glasing should only be done with transparent colors as additional mediums may not be recommended for the durability of the layer.
Very useful
Super intéressant … merci
Love the way you explained. Very useful. Thanks
your skin tone is insane. Wow
When I glumble I have a hard time moving the paint around. Yours is gliding across the canvas so easily! Should I add some solvents like you did with the glazing process? c:
great thankyou
ok just shit my self when i started watching and see the calibre of your paint....... just wow, i cant take photographs as realistic as you paint
I knew u went to gca just by the quality of your portrait
Complimenti.
Excelentes videos !!!solo que no estan traducidos en subtitulos al español.
❤❤❤
Amazing!!! Could you add the subtitles, please?
He is better than the old masters
Hi sir very nice too my beautiful painting teknik good idea artwork posrait artist
Thanks.
Awesome. Question; do you glace with oil+paint only? Not terpentine into it? If so why and what's the difference? Brgds T.
Thank you very much for your clear explanation. but your surface is very slippery. what kind of cloths do you use and what materials do you use to prepare your cloths. Another question which oil do you use the most for your glazing. love to know which brushes go with what, thank you. Definitely go see more of how you work and with what materials. Marianne van Nunen.
Your canvas when making brush grumbling on her nose, you make her NOSE MOVE, as if she is all ready part REAL LIFE. ENJOYED , THANK you will watch again paint colors used on eye, and parts of face. Some people are using BLUE RIDGE. from NC. and really like it. I try to you the words in ENGLISH. but does not show it. . Hearing is not easy , when surrounded with so much noise, or when need to be quietly listening, when everyone is sleeping..
Like and share your video support you, godbless 😇😇😇
So...the previous layer has to be dry before using any of these techniques? And I really enjoyed the video.
Hello first like :)
Thanksfor the techniques, but there is a question, what about the canvas surface, the imprimation is important ?
Is the real time full video on patreon?
Do you work alla prima? If not how are you able to keep working after areas have dried?
I really enjoyed watching this video. What was it about?
what is that smoothing thin that u used for those separated oil drops on the surface? eng is not my mothers lang so i cant understand what ur saying. solvin?
hi scott how much do you charge to have a picture oil painted? in color at 16"x24"?
Great video thanks. I wish there were a way to glaze a whole area lighter (as opposed to darker) - but I don't think you can?!
You can! It is harder though as white has much more coverage, in my experience if you mix the colour you're looking to achieve and make it slightly whiter, then glaze on top of it after. you can go back in with the purer colour (to fix the hue of the colour that has been flattened out with the white in the mix) that way firstly you lighten the tone, and then fix the hue. Adding a purer glaze again on top of a "white glaze" (of course not pure white) loses the thickness of the white while keeping the lightening aspect of it. Hope this helped!
Hi, can flaxseed oil sold in grocery stores for human ingestion be used as a working substitute for artist quality linseed oil?
what is your advice about how to make a photograph not paint like you painted a photograph on people/head/distortion ?
Scott, just wondering, the colors u have in your palette? I recognize some, but not all. Especially the pink
The pink is white and alizarin crimson, my best guess, Titanium White, Yellow Ochre, Cadmium Orange, Alizarin Crimson, Burnt Umber, Ivory Black. Ivory black combines with white gives a light blue grey for high lights, thus he doesn't need blue, as long as a human skin is not under a very blue light. and ivory black and yellow ochre can give greenish appearance. his pallet as i see it, is for skin tones and portraits. am guessing he has more paint colour if he is doing background, sky and foreground, and waters. he's showing colours related to skin tones as it makes it easier to understand.
@@RudyLouie yeah, pretty much knew all the other colors but pink. Thanks, really appreciated
@@RudyLouie very true, your palette might also vary by what you're painting
What kind of oil was used to thin the paint? Linseed? Turpentine?
What is your palette here? Yellow ochre, cadmium orange, alizarin crimson, raw umber, and chromatic black? Titanium white?
But but but... What about fat over lean "rule". That glaze will be very fragile. And if you varnish your work it is possible to destroy de glaze because of the solvent from the varnish componence wich will be too invasive in this situation.... I mean.. It happened to my paintings several times in the past. And it was very annoying.