Yes, another video from one of my classes. I can't help it. When I have a bit of spare time, I really love making these things. Perhaps one day I will do a real movie...when I can afford to get a movie camera. Maybe some crowd funding...or not.
This is a short demo based on a painting exercise in my Impressionist class at the VAC. The aim is paint in a loose style. The focus is not on details but on the large shapes and how they are created with colour and tone. In Part 2 (coming soon), I will add a second layer of colour that will focus on the warm and cool colours to accentuate the feeling of sunlight.
Here are a few of the stages:
And here is the video. You can also see it on YouTube.
P.S. I often have trouble spelling lavender, probably because of French (lavande).
I have been looking for a good introduction to glazing in oil to recommend to the students taking my classes. I haven't been able to find one that explains the process, so I decided to make a video about it myself.
This is a simple glazing exercise that used three layers of paint. I
have chosen to do the underpainting using the traditional grey tone.
Underpainting in grey
Colour glaze in red.
Colour glaze in blue.
Here is a recap of the video:
Grey ground with drawing in oil
The canvas is tone with a middle grey to allow me to add lights and darks. They easily blend into the ground to create a smooth gradations of colour.
Under-painting with Payne's Grey & Titanium White
The first glazed is done with a napthol red. The grey underpainting neutralises the red. The glaze is mixed with a small amount of Gamblin Gel Medium. The glaze is scumbled onto the surface and blended with a dry brush. This technique creates a thin transparent film of paint and maintains the integrity of the paint.
Colour Glaze with Napthol red & Zinc White
The second glaze is done with a Pthalo blue green shade, the complement of the Napthol red. The blue is glazed over the dry layer of red using different tones of blue and zinc white.
Partial Glaze with Phthalo Blue and Zinc White
The amazing thing about glazing is the subtle gradations that can be created almost effortlessly. When painting wet on wet, the Pthalo blue and Napthol red could create dull greys and browns, but when the blue is glazed over the dry red glaze, it can be blended into the pink and still maintain the luminosity of the colours. I love the effect, but I admit I don't like the waiting time in between layers of colour. A fast drying alkyd medium certainly helps.
This is a painting process video for the my painting in the exhibition "So Says..." at Galerie de la Ville in Dollard Des Ormeaux, from May 3rd to May 24th, 2015.
In Part 2 of the cloud study in oil, I am examining the different types of thinking process that go on when working through a painting. Although there are some aspects of painting that can be rationalized through color theory and concepts about form and composition, personal opinions, experiences and feelings are the driving force behind any good painting.
You can see this video in high definition on You Tube.
When I stand in front of a painting, I will think about different things as I react to what I am seeing. I may find the work poetic, vibrant, disturbing, melancholy....
When I stand in front of my canvas and I have to determine my colour palette,my thinking is quite different. What I think about is how to translate the complexity of the colours that I see into pigments and how to get them all to work together. I have a difficult problem that I have to solve. This is the challenge of any and every painting.
study, 8 x 10 inches, oil/canvas
A good way to tackle this problem is to do a colour study. It is like a rough draft or the calculations one makes on a scrap of paper. Part 2 of the Winter landscape is a colour study that takes a look at how solve the colour problem issue.
You can see it in high definition at You Tube.
This is the first part of my video on Atmospheric Perspective. This part is about planning out the painting and includes ideas such as toning the canvas, creating a colour structure, complementary colours, and palette organization.
