How You Are Making Oil Painting Harder Than It Needs To Be
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- Опубліковано 7 вер 2024
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Hi, I am the son of two artists and began painting in my hometown of Richmond, Virginia before I could walk. I was a rare combination of artist and athlete so I moved to Los Angeles in 2008 to play football for USC. I left the team my sophomore year to focus on painting and filmmaking, applying the same focus and discipline from my football career to my art. I primarily work in oils, and spend most free days painting "en plein air" in my new home of Sarasota Florida.
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Paint Coach is hands down the best tutor to explain in "broad strokes" how to get the essentials of painting down. Us students overcomplicate everything when there is an almost foolproof framework!
This works 100%, All one need to do is experiment with the ideas. One won't get it the first time. One may not get it the 5th time. However, when you keep it in mind and force yourself to paint broad shapes and not try to go for the final color and final details, you will see the random shapes you painted start turning into recognizable objects. That's when you may start adding the details.
My key to this is at the beginning stage I never think I am painting a person, a tree, etc. I did this because I had preconceptions of how they look like in my mind. I also never stare at the painting for more than 4 seconds because I'll start painting from memory and not what's in front of me.
Every start of the painting, I look at everything in front of me like they are all alien objects. I disassociate everything I know with what's in front of me at the beginning stages. I only start with the light color and shadow colors for each object. I try to get it near the color, but I don't care about it as color is subjective and relative. Value is more important to me. At the end of the day when someone asks me "the color isn't accurate" (which has never happened because the values were on point to sell the feel of painting) I will probably say "I know, and I like how this turned out anyways" Unless color is extremely important, I say not to even sweat about it so long as it fits the overall scene. It can be adjusted over time in the painting.
So when I break it down into light and shadow, I paint the broad shapes, then adjusted the color/values. These broad shapes are placeholders for future shapes. It doesn't matter if they are consolidated. If the eye and the upper cheek area are together. I am building the foundation for everything to sit on. No type of detail should even be thought of in the first half. The moment I start to think about things like the eyes, mouth, lips, etc. and not some random shape to place on it to etch out the likeness or features, I stop myself. In the past, I've ran to details first and it was like I put someone else's eyes , ears, nose and mouth on someone else's skull structure. So it looked like a relative of theirs or a sibling but not them. This was because the broad shapes I placed at the beginning was not accurate in describing the person. It didn't matter how well I put in those details on they were dead wrong.
Now let's talk about the pear and how I would approach it. I do exactly what he does. I mean I'll try to explain it more lol.
Ok do you know how to mix colors? I ask myself this question every time I start painting lol. I keep a color wheel or something right by me.
So what can we say about the pear? it's mostly warm colors. A warm green. That means certain colors shouldn't even be put into it at the beginning. Most of the time I flop at getting the right color at this starting stage so I just mix up some green close to what I think it is and toss in some warm color into it and slap it on the painting. Then I can adjust the color/values once everything is blocked out and there's a initial value. How I would approach the green to the red? I sometimes get the green and make it as warm as possible before it starts to turn something undesirable. Sometimes it moves into the other color and is not green anymore. For that reddish color I'd start with an orange and get the yellow and mix it with the warm green to put into the orange and see what would happen. I'd use yellow to lighten up the orange color. or a yellow green.
There are multiple ways to get to the desirable color.
There is no special formula to mixing (ok there probably is but I will tell you, I don't do it, I just built experience over time. Could you imagine if stephen curry stayed up all night doing equations for his 3 pointers? Neither can I lol.) You have to get a good feel at what colors will do.
For a detailed look at color mixing I recommend Emma Jane Lefebvre. She does watercolor paintings but her color mixing videos should still be useful. I know it was for me. Although some things you can't do like using water to lighten up the paint. Mixing is usually all the same. She goes through , all the colors. Red, green, blue, yellow, grey, etc. and different variations. It helped me get the feel for everything.
Sometimes, I just go to that channel and work on mixing paint and seeing what colors I yield while mixing. Forget trying to paint portraits, or multi colored sunsets at a beach. I just want to try and guess what will happen when I add in...some of this...and some of that...Usually the color wheel will be a great indicator of what will be created. Building that feel/guess is important. You want it to be like the muscle memory like your hand and eye coordination when painting/drawing what is actually in front of you and not preconceptions of what you see. It's ok to have a color wheel lying around to remind you. At some point you'll do it long enough to make the experience commit to long term memory.
Trust me learning how to mix colors and see them derive from each other moving them to the desired color from the colors already on the palette made my skills jump. Going back and learning some of the fundamentals (not all, just the ones that you know you are lacking in.) after I got a decent experience painting, really help me see things in a new light.
As a person once said " You are not above the fundamentals" - Cori Lefkowith
This is very helpful! You put the words that I could imagine clearly in my mind. Thank you so much for your output!
Truly very helpful. Thank you for this, Ratus, and Chris.
I'm going to go get painting!😁
Thanks a lot
One thing I find helpful with squinting is to squint to a lesser degree as I go along. So at the beginning I squint 100% so everything is almost black and white and very generic with shape and tone. Then once that’s blocked in I squint to maybe 75% and I see a little more color shifts and slightly more detail, then I squint to 50% and add the suggestion of a little more texture. And finally I might stop quitting altogether and look for just a few touches of specific color and textural details to finish a painting. When I first started I thought you had to squint the whole time and I could never really leave the block in stage!
Chris you're so generous with all the knowledge and advice you share. Your skills are amazing. And your perspective on the process is on point. Thank you so much for being a great coach.
Rocks and flowers 🤯😱
Thank you for a simple breakdown of complexity
For those who find squinting down difficult, a good alternative is purchasing welding glass shields from a shop selling welding supply. Often sold individually (inexpensive), each rectangular piece of glass measures approx. 1.5" x 3", and degrees of darkness are numbered. Best to try in person, looking out of shop window through dark glass piece to see how much light is reduced. Think of them as very very dark sunglasses, so give your eyes a few seconds to adjust. I use diff. degree of darkness shields for indoors vs outdoors. If with naked eye it appears that middle ground wheat field might be the same value as the foreground rooftop, the dark glass will settle the matter.
And by the way, IMHO, these dark glass slides are far more useful than the legendary dark glass device (mirror) of 19thC academic painting, as one can both look through them and use reflectively (like a mirror).
genuinely this is some of the best painting advice ive ever seen on youtube- i'm just starting oil painting (ive been a digital painter/artist for years but i finally decided to go traditional) and am trying to do more still lives / landscape paintings, thank you sm for ur videos!
Thank you so much for everything you teach. It makes oil painting way less intimidating!
Happy to help!
Thanks for all you do for us Chris!
My pleasure!
Most beautiful video. Praiseworthy coaching. Great Artist, great personality.Thanks.
I do acrylic painting and your oil painting advice videos have helped me improve so quickly :)
Just FYI all the wisdom imparted here by the Paint Coach here applies for Digital Painting too Thanx Chris
These videos are extremely useful. I am thankful that you create these. They are helping me on my painting path.
Great again, and this works for Acrylic painters equally. I also apprciate the static screen on the laptop. Using the wide screen (normally a "two shoot") integrated with the medium wide shot, (more focus on you) helps as well. Thanks
Love your videos and I've taken three of your painting courses including the latest on portraits. Your lessons are so helpful! I'm currently attempting a portrait of a three-year-old and it is challenging, so I was wondering if you can do a video about how to approach painting a child's portrait. Thanks!
Well i should have known that you had a video on this already. Found it, and it really helped!
Every video is so helpful! My oil painting improved a lots since I started your course. Thank you ✨✨
Suggestion for the painting coach. Your start on your thumbnail works because you extracted out some of the lights, whereas in the second image, the zigomatic arch is more resolved and brought out in to light. Reconsider your management of lights and highlights, so that they're not just observational indications but decisions you consciously make and choose to create flow. Highlights are like arrows according to Master Steve Huston.
This is not just a good idea for oil painting but rendering in other mediums as well. I’m university we did an exercise where we had an image on a projector really blurred out, and periodically our professor would up the focus a couple notches after we had added in the new areas coming into focus until finally the image was crisp and we were done. We did this in charcoal and the drawings were of better quality working this way.
That was awesome! I haven't painted in a few months now, just been busy. But seeing this makes me want to get painting right now.
This is like learning to become a Jedi ! I've learned so much about the light and the dark side !😂💯👍
Go on fozza lad another lesson smabashed. Thank u my friend
I always get confused about the block in. Some artists use only a mixture of burnt sienna and ultramarine blue for the darks but some use the local colour. This video explains the block in very well. I think I’ve been using a variety of techniques and it’s not working for me. I’m going to sign up for your classes again as you explain things so well! Thanks Chris 🙂
For checking tones I've found my phone to be a really useful tool. I'll take a photo of my subject and a photo of my painting and make them both black and white. I use a cheap collage app to view them side by side which really helps when it comes to comparing them. I find this especially useful if there are certain colours that I'm struggling to see accurately as just tones.
Thanks, Chris. Good tips to tackle shadows and light.
What are your thoughts about the classic technique of starting by finishing first the drawing of all the shapes and contours completely with either graphite, charcoal, or a thinned down dark paint, and only untill the drawing is completely finished and refined to start painting in full color, being careful not to paint over and lose any of the contours that were very exactly drawn?
With that style of painting the pros seem to be that the contours and shapes can be made more accurate more easily, but the drawbacks are that the brushwork might be a little less free. But it seems to be a foolproof way of getting all the shapes as accurate as possible. Would be interesting to hear your take on it.
Don't laugh, but your background music is really catchy. Can you tell us which songs you use? Especially the old classical piano one but the one used in this video is also pretty catchy
FANTASTIC, thanks so much 🙏 😀
Glad you enjoyed it!
Thanks! Love the flower painting btw!
Is your foundations of oil painting course on patreon? I've loved watching your you tube videos and think I'm ready to learn! 😊
Thank You great video!🙌🤗🙏👋👌👍👏🏻👏🏻⭐️
A piece of red acetate/red filter viewer will help an artist see values. Can get thru art supply stores.link below
Well put .
it does
thank you
Youre such a great teacher 🔥♥️
Hi Chris, I’m struggling with washes and the fat over lean rule. I’m starting off with an acrylic tonal wash, and then I’m mixing my oils with turps, linseed oil and Liquin but because I’m painting one part of the painting one day and another the next, I’m getting totally lost as to how many layers I’ve applied , what thickness and what the proportion of dilution is. The end result is ok, but my god what a guddle I get in and wonder if the painting will start cracking in time to come….any advice?
Bry here. If my students want to paint many layers I encourage them to make detailed notes about their layers and mediums. It’s best to think of it as slow dry over quick dry. Make notes of your medium mixtures and how fast they dry. If you don’t want to make detailed notes it helps to try to limit your layers and simplify your mediums. Was that helpful at all?
@@GalleryBry thanks for taking time to reply. I am an illustrator but I’ve recently started oils and I live in a place where I can’t access classes so I rely on UA-cam, which is great up to a point. Not sure how I could make notes because I’m painting bits and bobs here and there depending on what colours I’ve mixed. Frankly it’s total mayhem. I can’t see how it’s possible to organise layers evenly in terms of my mixture, especially when im using turps, linseed oil and Liquin together. I suppose I just need to keep going and be aware and see what happens…or maybe mix up my mediums in one jar and just use that, that might work :)
@@janhannah9444 premixing your mediums depending on what layer you are on could be helpful. Have you ever tried alla prima? No need for mediums, turps, fat over lean. It’s a simple and elegant way to paint. I paint medium and solvent free. It makes the process so much easier.
Focus on lighest and darkest values,
the best paint coach
Really helpful video, thank you!
Very good explanation and very helpfull!
Hi Chris , I love oils and want to do daily oils after day job, daily chores, family etc at night for 30min.but doing oils just 30 min ..breaks my continuity of the thought flow everyday....so changed to gouache everyday ...and weekend oils for 2-3hrs. . Is my thinking right? With Gouache I feel principles are same as oils.. but easy to set up and close
Thanks. Very helpful.
Excellent 🙌👌👍🙏🙏😃
Amazing explanation 😍
Love your channel! How do I make the background have harmony with my foreground if I decide not to use the actual background? I always find my subjects “floating” around whenever I paint a portrait or a still life
Bry here. I usually encourage my students to use a limited color palette and use some color from the subject in the background. This creates color harmony. You can also create interesting color schemes with the background. For example if you paint a green pear you could put some pink or red in the background. Purple works well too. If you create an imagined plain background be cognizant of light and shadow. Be sure it matches the subject. You can also use the background to create lost and found edges in the subject. Was that helpful at all?
@@GalleryBry yes!! Thank you so much!
@@zarite6079 You’re quite welcome. :)
You are reading my mind here 😂 l was just talking about this in the Facebook group. How make your brain skip details that just are not there for you to do at the beginning of your painting. If your grey matter start telling you no just keep going you’ll be sitting down three hours trying to correct a small detail that is not even there. Ggrrrr ha ha
nice
what a pro
Instead if squinting, could I change the focus to be very out of focus? Would achieve the same effect without trying to see through all those eyelashes and watery eyes.
This is a lesson that needs to be repeated occasionally 😁
I'm just starting out in oil painting and I have a question about underpainting, what do you use to underpaint? is it just oils mixed with paint thinner or something else? thanks for the vid really helpful
if you're having difficulties squinting, just get cataracts.
I sketch pretty good but its way different color shading.
My first was a good first but im getting worse
Can you mix quick dry oil paint with normal oil paint
You can, but the paint will dry faster than regular paint, but slower than the quick dry paint.
Ok, I was told this, just wanted to double check thanks. I just so much cheaper on Amazon uk. Thanks!
@@melanies7305 No problem. You can mix water-mixable oils and regular oils as well. You just lose the ability to clean up with water. Just in case that helps as well.
So start with anime-style cell shading and finish with real-life adaptation?
Pretty much yes...You will find some of his videos where he says "some of my students say their paintings look like cartoons. This is because they haven't put enough transitions in their paintings." Anime/cartoons usually have 2-3 transitions. Light side, dark side and/or the very bright side. You need to find the rest of the transitions in the face.
Look at his video called "Why Your PORTRAIT Paintings Look CARTOONISH and How to FIX Them" in this channel, it's a popular one lol.
I think I will paint one of my chickens. Perhaps the dopey one that just stands there and stares blankly into space
don't need to squint, i just gotta take off my glasses :D
Are you on discord?
Overthinking things?
Sounds like my kind of video...
the amount of time I've wasted on early details ...