The older I get (I'm 72) the more I realise just how much I still have to learn. I paint portraits in oils and glazing with zinc white is something I shall now feel confident to experiment with. Thank you, Nial.
I do not recommend using zinc white anymore, it was found that this paint is very unstable in the long run and does crack and even delaminate in some cases.
It's endless isn't it. I have yo temind myself why I'm painting something in the first place. It's supposed to be enjoyable not filled with pressure and anxiety. We can always learn something new.
Wow! After a few years unable to paint,this is just thenrefresher I need. Super presentation,Nial,and,great wake up information for me. Thank you for your efforts in putting all this information together. Well done. 😃🙂
Brilliant, I really love the tonal range of this piece and the wash made such a dramatic yet subtle change to the painting. For me, it made the atmospheric perspective work so well. I’d love to see it after the varnish is applied. Well done. I hope to see more videos here. Please don’t stop making videos.
Beautiful painting !!! Thanks for the tips. This is gonna help me alot with unifying my contrast an dialing it down from too much juxtaposition !!! You're extremely talented an also a great teacher
Studying the history of Fine Art in the Baroque and Rococo eras, I caught myself thinking that the techniques of these periods were imbued with some secret of uniqueness. Thanks to you, I understood why - glazing with white color separate Rococo era so much🎨
I was heartbroken when Thomas Kincaid passed. i have found a new "Painter of light' in Mr. Adams, (not a comparison, more a likeness in style) the way he brings all this light out of pure darkness. Truly enjoying your work, I cannot stop looking at it, each time I look I find new detail. Mesmerizing.
A little late to the party, my bad. Really good video. To the point, and i like that you "show" what your explaining, and actually doing on a beautiful painting that you could possible F up,and or ruin. No pressure right.
This technique is useful as well to increase aerial perspective in landscapes or even streetscenes. Trees in the far distance need to go further back? - just give them a very light blue wash.The effect should be subtle.
Thanks for the tip regarding leaving some edges in clouds as opposed to blending them. It helped. I was over smoothening. Some paintings look great with totally smooth skies, but for some reason, mine don't.
Nice tutorial! And a godsend. Working on a big Isle of Skye landscape and needed due to its lack of distant "signals" (trees and houses) that the only indication was lightening.
Very helpful video, Nial. Thank you very much for sharing this. I did have a difficult time hearing you. But perhaps that's just my old ears. Thanks again. Cheers.
Thanks, great video! I am thinking of adding some transparent lemon yellow to the zinc white because some of the areas I want to lighten are a creamy yellow-white. I will be more or less spot glazing, in that all I want to do is raise the value of some of the light areas in the sky. I have never done this before, so as you said it will take some bravery! I am a beginner so it is all new to me and I scew up a lot which causes stress, but I am learning to to fix the screw-ups.
@@NialAdams Thanks Neil. I ended up painting over the area with opaque paint, cad yellow mixed with Titanium white which enede up looking better. I haven't had much success glazing with transparent paints in skies. Seems like opaque works much better for me on skies. Unless I want something to look like fog or water mist/spray. But if I try to use zinc white for clouds, it looks bad and I need to paint over it with opaque paint.
Thanks for your helpful video. I have two questions: glazing the burnt orange line of sunset with zinc white diluted the colour somewhat, so why not glaze the sunset with say cadmium orange? Also, can you glaze (or scumble) with light colours to make the background of a painting receded to create depth and reduce detail?
Thanks, I’m guessing so many paintings need a little something at the end to unify, I know mine do. Would love to know how you got started doing this glazing/wash technique. You must like experimenting, as all great painters do! It is just fabulous I can’t wait to use it on my own un-unified paintings. Thanks again! 😊
My question is that in using Liquin to thin the Zinc White paint to a glaze, doesn't the Liquin tend to yellow over time? I used Liquin with Titanium White on one of my very large paintings; after a year, it had yellowed. In my eyes, it ruined the painting that I worked so hard on. Any other suggestions?
I do not recommend using zinc white anymore, it was found that this paint is very unstable in the long run and does crack and even delaminate in some cases.
Warning: A glaze using zinc white works well over warmer colours, but beware that it yellows rather quickly, so if you soften a sky with lots of blue and grey tones it could yellow to an ugly greenish tint within a year or two.
No, generally there is little need to varnish an oil painting these days. Paintings were traditionally varnished to protect them from atmospheric contamination like coal fire smoke, etc. Today the air is much cleaner. By all means you can varnish. Damar is a good choice but can give more gloss/shine than you might want. Most importantly do not varnish a painting until fully dry and that can take up to a year!! Nial
Love your video here! Check out Virgil Elliot’s book about oil paint. The new version. Regarding Zinc White: “Delamination of layers of oil paint containing zinc white was also revealed to be a significant issue.” Do you think this research proves we should no longer use it?
Thank you. And I’d say that delaminating only becomes an issue where Zinc white is used thicker, as an Impasto. In the case of using it for thin glazing there is adequate medium to bind it successfully.
I found it difficult to see a difference at the end. Perhaps with the clouds but certainly not with the red bit. It may be that the video doesn't reproduce reality very well. Perhaps a 'before' and 'after' photo may help. I think most people would be impressed by the 'before' and feel it was plenty 'realistic' enough: the difference after glazing may only be felt by a minuscule minority of cognoscenti.
The older I get (I'm 72) the more I realise just how much I still have to learn. I paint portraits in oils and glazing with zinc white is something I shall now feel confident to experiment with. Thank you, Nial.
I do not recommend using zinc white anymore, it was found that this paint is very unstable in the long run and does crack and even delaminate in some cases.
It's endless isn't it. I have yo temind myself why I'm painting something in the first place. It's supposed to be enjoyable not filled with pressure and anxiety.
We can always learn something new.
Wow! After a few years unable to paint,this is just thenrefresher I need. Super presentation,Nial,and,great wake up information for me. Thank you for your efforts in putting all this information together. Well done.
😃🙂
Fantastic tip, love the soft look and toned down colors.
What a privelage to watch an expert ,loving your work just found you so glad
Just what I was looking for. Thank you.
Brilliant, I really love the tonal range of this piece and the wash made such a dramatic yet subtle change to the painting. For me, it made the atmospheric perspective work so well. I’d love to see it after the varnish is applied.
Well done. I hope to see more videos here. Please don’t stop making videos.
Beautiful painting !!! Thanks for the tips. This is gonna help me alot with unifying my contrast an dialing it down from too much juxtaposition !!! You're extremely talented an also a great teacher
Thanks for this demo. You have answered several questions. I will look at more of your videos.
Studying the history of Fine Art in the Baroque and Rococo eras, I caught myself thinking that the techniques of these periods were imbued with some secret of uniqueness. Thanks to you, I understood why - glazing with white color separate Rococo era so much🎨
I was heartbroken when Thomas Kincaid passed. i have found a new "Painter of light' in Mr. Adams, (not a comparison, more a likeness in style) the way he brings all this light out of pure darkness. Truly enjoying your work, I cannot stop looking at it, each time I look I find new detail. Mesmerizing.
Amazing lesson in less than 20 minutes. Thank you so much ❤
I really enjoyed your presentation and I learned a lot, Thank you
A little late to the party, my bad.
Really good video. To the point, and i like that you "show" what your explaining, and actually doing on a beautiful painting that you could possible F up,and or ruin.
No pressure right.
There is no pressure, as these effects are being applied to a dry painting. Just wipe out the effect if it's not working.
@Frank_Nemo I do struggle with the wet on wet sometimes. Thanks for the response. Great work.
always clear and articulate -cheers
I’ve been thinking about this exact topic over the last few days, and you’ve explained it perfectly-thank you for sharing this.
My pleasure Walter. Great minds think alike!
This technique is useful as well to increase aerial perspective in landscapes or even streetscenes. Trees in the far distance need to go further back? - just give them a very light blue wash.The effect should be subtle.
Woaow so beautiful..... painting... just unbelievable
Thanks for the tip regarding leaving some edges in clouds as opposed to blending them. It helped. I was over smoothening. Some paintings look great with totally smooth skies, but for some reason, mine don't.
Very well done
Good one, Nial.
Gorgeous painting! And fantastic demo well done
Thank you Nial Adams for a perfect demo & explanation. Just what I was looking for. Your painting is lovely!
Many thanks, glad you enjoyed it and found it useful. N
Love it! It really makes a difference. I like it very much.
Nice tutorial! And a godsend. Working on a big Isle of Skye landscape and needed due to its lack of distant "signals" (trees and houses) that the only indication was lightening.
Many thanks for leaving your kind remarks. I appreciate it. N
Thank you so much for demonstrating this. I’m learning all the time!
Good info about glazing and scumbling!
Liquin may add more flexibility to zinc white. But if it flakes off, being at the final layer, maybe it can be fixed.
Excellent!! Thank you!
very interesting - great info - thanks
Very helpful video, Nial. Thank you very much for sharing this. I did have a difficult time hearing you. But perhaps that's just my old ears. Thanks again. Cheers.
I heard him perfectly.
Thank you and I’ll increase the sound volume a bit on future videos. I appreciate the feedback. N
Thanks for that! I have a painting that could just do with this! I’ll give it a go
Great information, thank you. Love your painting, too!
Many thanks, I appreciate your compliment
Thanks, I've just subscribed, I find you explain very well and calmly as well.
Thanks and I hope you find these useful. Enjoy your painting!
Perfectly explained in 2 minutes. Great!
Thanks
Such a great skilled artist and unique style.
Thank you kindly Wayne!
So beautiful thank you
Beautiful work , thank you for explaining so well .👍👍
My pleasure John and thanks for leaving a comment. I appreciate it.
Estou conhecendo agora, seu trabalho. Estou encantada, é lindo. Parabéns.
Great tip. Thanks.
Thanks, great video! I am thinking of adding some transparent lemon yellow to the zinc white because some of the areas I want to lighten are a creamy yellow-white. I will be more or less spot glazing, in that all I want to do is raise the value of some of the light areas in the sky. I have never done this before, so as you said it will take some bravery! I am a beginner so it is all new to me and I scew up a lot which causes stress, but I am learning to to fix the screw-ups.
It’s all about learning and experimentation. So how did it turn out for you?! N
@@NialAdams Thanks Neil. I ended up painting over the area with opaque paint, cad yellow mixed with Titanium white which enede up looking better.
I haven't had much success glazing with transparent paints in skies. Seems like opaque works much better for me on skies. Unless I want something to look like fog or water mist/spray. But if I try to use zinc white for clouds, it looks bad and I need to paint over it with opaque paint.
This is very helpful thank you!
Lovely
Thank you for sharing..
Great your painting
Thank you very much!
Thanks for your helpful video. I have two questions: glazing the burnt orange line of sunset with zinc white diluted the colour somewhat, so why not glaze the sunset with say cadmium orange? Also, can you glaze (or scumble) with light colours to make the background of a painting receded to create depth and reduce detail?
I wish I knew what color mix you used for the top left dark clouds, as that is what color I'm trying to achieve. Let me know. Thank u
Thanks, I’m guessing so many paintings need a little something at the end to unify, I know mine do.
Would love to know how you got started doing this glazing/wash technique. You must like experimenting, as all great painters do! It is just fabulous I can’t wait to use it on my own un-unified paintings. Thanks again! 😊
Yes Bill, give it a try. Sometimes it’s all a painting needs to complete it. Let me know how you get on please! N
What do you think of using Windsor and newton blending and glazing medium?
Beautiful work. I’d love if you had a Patreon site!
Why not do him one better, and buy one of his paintings?! 🤔 it'd be quite the friendly gesture to return your appreciation thats forsure!
Excellent! I just found you and I did enjoy it very much. Do you critique others paintings ?
Thanks and if you’d like to contact me direct please email me or message via Instagram.
@@NialAdams ok .
My question is that in using Liquin to thin the Zinc White paint to a glaze, doesn't the Liquin tend to yellow over time? I used Liquin with Titanium White on one of my very large paintings; after a year, it had yellowed. In my eyes, it ruined the painting that I worked so hard on. Any other suggestions?
Would this technique work if trying to create fog or mist in a painting ?
What about cracking? Zinc white is said to be leading to cracking.
rembrandt royal talens do a transparent white oil paint
Thank you Nice
I do not recommend using zinc white anymore, it was found that this paint is very unstable in the long run and does crack and even delaminate in some cases.
Should have shown the painting originally, then the same painting after the glazing.
Warning: A glaze using zinc white works well over warmer colours, but beware that it yellows rather quickly, so if you soften a sky with lots of blue and grey tones it could yellow to an ugly greenish tint within a year or two.
Zinc white has several inherent problems. Not to be used willy-nilly at all. Research carefully before using.
Do you varnish this painting when finished, and if so, do you varnish with gloss or satin or mixed. .
No, generally there is little need to varnish an oil painting these days. Paintings were traditionally varnished to protect them from atmospheric contamination like coal fire smoke, etc. Today the air is much cleaner. By all means you can varnish. Damar is a good choice but can give more gloss/shine than you might want. Most importantly do not varnish a painting until fully dry and that can take up to a year!! Nial
will it give a mist effect.
Yes, depending upon how thick the paint/glaze/wash is you can create lovely misty effects. Give it a try!
Love your video here! Check out Virgil Elliot’s book about oil paint. The new version. Regarding Zinc White: “Delamination of layers of oil paint containing zinc white was also revealed to be a significant issue.” Do you think this research proves we should no longer use it?
I bet the Liquin will trap it in the way you are using it but I am no scientist.
Thank you. And I’d say that delaminating only becomes an issue where Zinc white is used thicker, as an Impasto. In the case of using it for thin glazing there is adequate medium to bind it successfully.
@@NialAdams I wondered about that. Time will tell us. The study was only 27 years long so we will learn fairly soon. Cheers!
❤️
I thought glazing with white was call a "veil"?
I'm a scumbler! Haha.
I found it difficult to see a difference at the end. Perhaps with the clouds but certainly not with the red bit. It may be that the video doesn't reproduce reality very well. Perhaps a 'before' and 'after' photo may help. I think most people would be impressed by the 'before' and feel it was plenty 'realistic' enough: the difference after glazing may only be felt by a minuscule minority of cognoscenti.
Your volume is pathetic and hardly audible