How To Get The Sfumato Effect
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- Опубліковано 30 вер 2024
- The easiest way to think about how to create sfumato in classical oil painting & an extremely important factor for giving your painting a hazy glowing effect.
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Good information Nic. I would say that the areas referred to as glazes are actually scumbles, and not so much a glaze, which is generally transparent. Sfumato is dependent on a variety of contrasts, and of course edge control, right from the very beginning of an image. There are paint surfaces that facilitate this, and of course several mediums. You may be interested in mediums such as balsam, oil essential oil, mediums such as mediums containing one part of Venice turpentine, one part spike, and one part sun thickened linseed oil. Or, mediums such as copal, with the addition of gum elemi. Nothing on planet earth with create a better sfumato effect than gum elemi prepared the proper way. The effect can be seen in many works by William-Adolphe Bouguereau, who use elemi. Anyway, your work both educational, and artist is remarkable.
great insights on technique and mediums, Bouguereau is one of my favorite artist and yes Nics channel is classy.
Not sure exactly what i said so you could definitely be right, but the first area with Munch’s self portrait in the lower left is definitely a transparent glaze. The area on the right side with the clothes and background is scumbling. then there’s many areas with lots of messy combos.
Interesting points on mediums! I’ve actually been wanting to try some Italian mediums that combine egg and sun thickened linseed oil, similar to Botticelli’s Primavera
@@NicThurman Yes, there are mediums that facilitate many special effects. Balsams in mediums will allow for blending that is remarkable, and not obtainable, with just paint, and oil. I have studied Rembrandt self portraits, up close and am convinced that he used more than just paint, and linseed oil. There are some areas that appear to make use of a hard resin oil varnish, such as amber. Unless he painted on an absolutely flat surface, which he did not, even a thickened oil wouldn't permit effects in areas observed. Experiments with some mediums, is well worth the time, cost and effort. Very interesting channel that you have created. I hesitated to mention anything about mediums, as your work is already wonderful. However, there are some materials that will permit effects that paint alone simply will not. Thanks for all you do!
I would like to SEE some example.
Very informative!
Thank you!
🖤🖤
Good observations, but what you show is not "sfumato". You describe edges; lost, soft and hard edges.
"Sfumato" technique (even Vasari described it referring to Giorgione and Leonardo) isn't about edges between an object and their backgrounds or other objects. It's about describing form using a gradient from a tone or color to another instead of using lines. Sfumato was achieved through velatura and other techniques, and the result were paintings where noses, lips, eyes weren't the "cartoonish" stylization produced so far. For example, have a look at the lips, nose, fingers and breasts of Giorgione/Tiziano's "Venere dormiente" and compare those features to Cimabue's ones in Crocifisso or any other of his paintings.
In fact the italian dictionary describes "sfumare" (infinitive form of "Sfumato") as "gradual transition from one color to another, without visible interruption".
That’s fine but it doesn’t change any of the content of what I’m talking about. It doesn’t need to be all or nothing to be described as sfumato. In any case the best paintings have a combination of dissolved edges and sharp ones. So in my view sfumato is increasingly lively when contrasted with strategic sharpness
@@NicThurman I'm not saying you said anything wrong about what you described. Everything is correct but I'm just saying that what you described isn't called "sfumato". In "Trattato della pittura" written by Leonardo himself, he describes the process (that will be named by Vasari) as creating form through a transition from one tonal value to another by painting layer after layer of really thin paint to the point that in the final gradient you can't see any brushstroke. So, sfumato refers to the way paint application creates grandients, not to the idea of using soft or lost edges to compose relations between objects.
@@andreamig1you’re talking about the technique or process, I’m talking about the effect created
@@NicThurman I shouldn't have addressed the issue in the first place because it's clear that now you will keep defending your position since you want to build a space for yourself as an art teacher and now you think that this thing that I have pointed out does not make you look good. I'm not trying to say you aren't good teacher or you don't know your craft. It happens that sometimes to use wrong words. And now it seems it doesn't matter I said you are correctly explaining something but using the wrong word. It doesn't matter if I'm a native italian speaker and even just from a semantic point of view "sfumato" doesn't mean what you are describing... But I understand if you have to stand your position, so let's just stop discussing this.