Text -Oil painting links



                Books    >  
Drawing in the right side of the brain. Bettie Edwards 
The Art Spirit            Robert Henri
 Carlson’s  guide to landscape.      John F Carlson
  “The Bible of landscape painting”        Kyle Buckland
Fill your Oil Painting with Light and Colour          K. Mc Pherson

 Great landscape artists

Timgagnon.com.      Silhouettes

TONS of Paint user -  Turner Vinson



Karl Rungius.  Thomas Moran   Joaquin Sorolla Albert Biers      ANDREW TISCHLER   Kim Jung Gi          Korolart.com     Kyle Buckland    Joseph McGuirl

                                  Dont use WHITE for highlights - last resort

                                                  OIL  PAINTING
Colley Whisson webinar
Kyle Buckland.       Light in your paintings.   3 secrets
            Also Corageous Colour
Put your warm colours down first when going overcolours because 
 Easier to cool a warm colour than warm a cool colour

“5 MISTAKES TO AVOID TO CREATE BETTER DEPTH IN YOUR PAINTINGS AND WHAT TO DO INSTEAD!




  Use of range of blues






Overlapping shapes create depth

Creates perspective also

fence posts / shadows


eg  telegraph pole pushes things back






Difficult DOF -

 because little depth to work with 

so foreground must be worked on

to achieve depth







Tonal control


Cools and warms


Underpainted with dark blue visible on far shore

Blues and purples marked 

Depth in shadows is so important
"If I get depth in my shadows I get depth in the overall painting"
Thats where the magic happens

We can see into his shadows




Cools and warms again  

 Foreground brickwork contrasting with the distant brickwork

Foreground water  against the distant water

Make the brights strong enough





Manage colours

Front boat was green and back one was red

He switched colours

to help perspective












Diminish your shapes as you go backwards











Smaller tree on right  and background trees
help promote the idea that the main tree is very large





                              Background / middle ground  /  Foreground

Brushwork 

Simplify the background

Midground more detail

Foreground Pile it on ......

   Thick paint in the foreground not in the sky or distance


Smoothen the brush strokes in background


Warmer colours in foreground


Overlapping shapes in foreground





Same idea here

Background is smooth  very little detail work

Mid area Bottle has more detail


Foreground  "Go for broke"






                 *****************************************************************







      








Strong compositions don't happen by accident
   Paintings need to be magnetic to draw the viewer in
  >>  Composition / colour / Light / Focus point / perspective
         Contrast / Emphasis - visual weight area
Contrast in value
Focal point at circled area = high contrast area
(Repeat that in two other areas!)

Use Intensity to create contrast = contrasting areas of strong colour with areas of dull colour
Create contrast with temperatures
eg brown warm shadows below contrasting with the cool water
and also the warm brown of the tree tops with the cool sky


LIGHT
We are not attracted to 50/50 light dark
Go either predominantly dark or bright
Above strong emphasis on dark

Paint only on the days that you eat!!!
Practice creates imspiration .........

1 Design first
2 Put value to work

Notan sketch
3-5 values

Patterns of light  
and darkness 
and colour

Looking for strong value relationships - if you have that it will work regardless of colours used.

                           ID the colour masses
Mix the colours ahead connecting with the 3-5 values you have already established.


If it looks bad on the 

palette it will be bad 

on the canvas


Here is the painting 
got from those colours






Block in the main shapes first








One colour for each 

shape

for all 5 notans





Now break those shapes up above






 Series 1 Episode 27   Flowers      Kathwren Jenkins
A   Geraniums
A little medium on the canvas and brush
1)  Base tone >flat 1/2in brush Lay in Background looks like this with ragged edges

Base colour is CRIMSON
Filbert rounded brush
Bright RED
Start along outside
Stroke = push down and lift up
2 petals bottom right






 Go around the outside
start the strokes outside the
crimson

Mix some Orange with the
 RED to go lighter
(Not white)






                                                         

Above showing the 3 stroke EDGE
and right the 3 added petals    >>>>>>>>



Add a little white and more petals
This is the MIDDLE tone                                                 A petal on the outside  of flower
                                                                                          3 edge strokes + 3 petals


Stems                                                           Small filbert brush with RED and GREEN on the tip















This is how the BUDS are created with the
double loaded small filbert


Highlights are next with ORANGE and a touch of WHITE  >>>


Leave the outer edge dark
Yellow and Green centre


               *******************************************************
LILAC
Ultramarine blue  + Mauve
Block in the cylinder shape                         Add edges with the Filbert brush

                           

                                                                                               This is the flower straight on
                                                   and from the side Push and Lift
                                                           Mauve and White

 Stem added                                                       









Avoid separate stars  OVERLAP the flowers full and part flowers
                                                                               Two colours on the brush

                             

Buds added with Sable round brush                              Mauve + White for HIGHLIGHTS
                              

Keep the highlights in the centre and
 away from the edges
Helps 3D shape.
 PUSH down and LIFT

Add some green/yellow centre and leaves.

 
               ********************************************************
Pink Carnation
Showing the two brush strokes                                                          The stem  > One brush stroke


With highlight on Bud      Strokes for the petals

                           
                            
Highlights                                                   
                   

                    ********************************************************
WHITE DAISY
Start with base tone GREY  Filbert brush       DONT make a star like below     Centre
                      

White petals                                   Inside petals added                  Bud on top and stem added
                    
           
                    ************************************************************
                                                                   FOLIAGE



COLOURS    Green and Sienna or Crimson make a base colour 
Brush has a sharp leading edge   Press LIGHTLY for stem
Right we see leaves Wiggle left and right and lift out lightly

   
Push down all the way to the ferrel WIGGLE back and fort   Up to tip and out.

                                          For a longer leaf Push and TRAVEL


                         Long Leaf   -  Start on edge - turn to flat side and end with edge
     

Start of BIG broad leaf  -  a system to make it easy
Could sketch in a group
           

Press at top and wiggle to tip                   Angle the strokes
                                

The stroke  Push down and lift up
   



Leaving a space in the leaf                                  Highlight strokes 
                
                                                   Overlap the leaves

**************************************************************

FERNS
Paint LOOSE to avoid conformity                                                     Small (8) filbert brush
                           

Double loading the Brush - two colours                                           Rigger Brush (Script) Thin paint

  
                                                                                                Push down and lift up
Sable round brush


                            ********************************************
HIBISCUS
Pull the dark up into the pertal    >>>>>>>>>>
   

  

Pull the darks up into veins                                       Lower leaf
  

Another petal added  also CADIUM light red                   


Mixing purples
 v=IUc31f0A7CQ

Ultra marine blue has a Red bias
Phthalo blue has a green bias and does not work

                                                Concentrate on values
UMB + quinacridone red + white.  Excellent 
Even with second-rate materials, if you concentrate on values and don’t get hung up about not having the ‘right’ colours you can get results.
So once you get used to strengthening and varying your tonal values according to the needs of a picture,  you too will quickly develop that same instinct to know when that vital ‘punch’ in the work isn’t there. And you'll be able to correct it, before it's too late, knowing from experience what needs to be done.

A really great way to get grips practically with this is to create a colour chart from the colours you actually have available. 
You’ll never have to go out and buy new colours just because you see them in a video since you’ll see the opportunity to adapt the painting to your own palette.  That’s much more exciting and in many ways easier!
  • Cheap paints make mud which makes heartache. Get the best paints you can afford.
  • And finally, good tonal value is far more important than any elusive must have colour!
Warm
  • Cadmium Red
  • Ultramarine Blue
  • Yellow Ochre
Cool
  • Alizarin Crimson
  • Pthalo Blue
  • Lemon Yellow
Mixers
  • Burnt Sienna
  • Paynes Grey
  • Titanium White (with oils & acrylics) 

                                                   Tips on Using Red
• Adding an opaque white (FlakeW) to red will tend to create a pink, rather than a lighter red. (Try a transparent white or a little yellow for a lighter red.)
• A pigment that fades when exposed to light will fade faster if used on a white background than on a dark one.
• Pigments that aren't permanent are best used full strength, rather than as tints.
• Artist's quality paints are classified into series, indicated by a number on the tube, costing increasingly more as the pigment becomes more expensive. So, for example, in Winsor & Newton oils, bright red is series one, cadmium red is series four, and carmine is series six.
• Remember that using a complementary color intensifies a color.
• Make use of the fact that red appears to 'advance' against a green or dark blue, which appear to 'recede'.
Flake White is excellent for painting as a result of its flexibility, durability and speed of drying
The complementary color of red is green and this is the perfect place to begin.                              
Complementary colors naturally make each other appear to be brighter than they are in reality.


                                          LINKS

Distant green = UM blue  + YOchre  +  TWhite
Liquin dries the paint quickly
Sky  UM blue BUmber  Quin  magenta   Tit White
 Distant sea. UM. Blue  Cob Blue  Phthalo   Green   T W
B Umber (reduces saturation for distance)
Highlight breaking wave Cobalt Teal /Ph Green/ T W
Add UB / C B to mix as u move down
Shadow colors of waves - UB/ CB / Q Mag/ TW
ROCK SHADOWS.  UB / BU
Light on rocks - BS/ BU/ YUmb/ CYellow/ TW
Rock HLights  BU/ BSien/CadY/ TW

Brenda notes on adding a glaze to dry painting
Rocks.   BSie+SapG.  No white. = golden Gr
Shadow. UMB + BSi
Small amm W at a time on knife WAVES
Lay down light G water / go over with white

Marge Kinney. Paint beach and Seagulls part 1/2/3 
Sap G BSienna. Liquin = golden glaze  Sea
Glaze over lighter colors only. 
Sap and Virginian = bright Green glaze
B Si. UMB dark glaze on rocks
To bring water in over rocks first wet area with eg Vir Then add White and work it in

Plein air. Tom Hughes  UK Bristol. 

Distilled turps + cold pressed linseed oil  - 7 to 1
(= refined poppyseed oil. M Hardy 250ml)
Siccative  60ml bottle    Use 5ml in mix.  Fast dry
Minimum Colours. T White.   Bismuth Yell.  Naples Y.  Cad red.      Viridian    Ultra M.     B Umber
Boards.  2mm. MDF. Precut. 
 Trixoptic  alkyd  primer white  one thick coat
Damar retouching varnish can breathe  / 2 weeks 
Other Colours
Bright white mix = TW+bisY+CadYdeep+CadRed
Very like Naples Y.       Opaque
Cad Y deep is a powerful orange
Cad Red is opaque
Bis Y  very bright / electric
Per Aliz Crimson. Transparent
Sap Green. Foliage
Viridian. A great mixing colour 
Cobalt Blue           Ultra M Blue
Burnt Umber = dark orange (his only brown) Warm
Use to warm anything up. He adds Brown to most mixes to desaturate a little- grey it out
His black is 60%UMBlue+40% B Umber

Andrew Tischler             https://youtu.be/34V7VFOX7ow
Uses Olio gel as a medium
Paints the sky first usually plain and simple  - UMBlue B Umber  touch of Cobalt Teal. 

The violet from UMBlue+ QMagenta great for atmospheric perspective

Distant hills need to be slightly blue to violet to achieve perspective.
  Erosion on the hill/ rock / Warm Grey
Don’t have sharp edges in the distance - blend
Don’t use Yellow in the distance - instead Cobalt Teal will give a Blue Green for perspective
Dagger 2 ideal for trees using the point
Tree highlights. TW + Cad Y+ >UMB
Synthetic round for grass/highlights
https://youtu.be/34V7VFOX7ow

Looking towards the light the main contrast is at the horizon - so the space sense is lessened/flattened.
You only get the illusion of deep space when looking away from the light source.

So to create the greatest sense of depth using atmospheric perspective, decrease the contrast in the four aspects of color – value, hue, intensity, and temperature – 
as you move from foreground to background.

Indian Yellow, one of my favorite colors, is a strong dye color that can be used to mix incredible yellows and oranges.

More vibrant paintings
Use a limited palette
By choosing a double primary palette, using a warm and a cool version of each primary plus white, you can mix the full range of hues.
Ultramarine Blue
Phthalo Blue
Alizarin Red is cool
Cad Red is warm
Yellow Ochre
Lemon yellow
Titanium white

 Blue.      UM Blue has purple tinge
                 Cobalt blue is neutral
                 Cerulean and Phthalo blue have green tinge

                                       ANDREW TISCHLER tips
Distant landscape Colours - if distant hills are too blue grey them with BUmber/TW/
Bright fields in the distance YOxide/UBlue/lots of TW and QuinMag(complimentary opposite
CadY for foreground only    YOxide for distance
Foreground pine trees = depth of tone by UMBlue+BUmber
CobaltTeal + YOxide mixed in to provide the highlights

For distance perspective pay attention to TONE and SATURATION 
must be balanced carefully
VF Start with that which is furthest away - mountain shadows - he is looking for a violet colour. UMB+TW+BUm.    Add Cob Teal + Quin Magenta
HL Colours in the mountains which are trees in light   TW+UMB+ > CTeal
As mountains get closer add YOchre 

To create teal, combine blue and a very small amount of yellow. This will create a blue green, a sort of turquoise. Then add a touch of orange, just a whisper! This will quiet the color.

You can’t beat Quinacridone Magenta (mixed with either of the Hansa Yellows) for creating clear, clean, bright oranges, with a beautiful transparency perfect for glazing. 
For your coolest orange, use Quinacridone Magenta and Hansa Yellow Light. Quinacridone Magenta is actually one of the most versatile and cleanest reds for color mixing. 
Naphthol Red Light yields more opaque, dark, dense and warm oranges.

                               

Phil Starke   on Tertiary Colours for Landscape
Phil Starke on tertiary Colours 
“How and why use colour schemes”. YouTube

YO + 2 split complementaries >BG and BV
(YO = yellow orange.   BG = Blue Green     Blue violet)
Get picture of colour wheel

Setting up the palette.  Kline Academy
From left TW. YOCHRE. CAD RED LIGHT. BLACK
With those 4  we can make many Colours 
Opaque Colours first then transparent >>>
All Crimson. UMBlue. Red oxide (=transparent brown)
Pre mix some Colours eg YOchre + TW =   Naples Y
Eg. For shadows. Black + CadRed = brown 
       > Portrait shadow / add TW
Nickel Y is a cool that can be used in the distance
Aliz Crimson can tone a Green into a Teal Colour
UMB + CadY light = green
Best olive G is YO+ Black.  Cool it with touch of TW 

 

Shane Harris.    *W&Newton oil based primer to prime MDF boards
Paints on 1 to 2 aspect ratio x MDF board Eg 8x16
Soft cheap bristle brushes better on the MDF
Medium - 5 turps / 1 damar varnish/ 1stand oil = gloss
Base of a tree is warm / gets cooler on way up

                          Artists that make colours sing ...............     
Malcolm Dewey       Bill Inman         Richard Chamberlain          
Malcolm Dewey tips   (Works with Skillshare)          Kevin Mc Pherson
Very little if any  50/50 Linseed/w spirit
Use LOTS of paint esp. in bright near areas
Use a LARGE brush
Don’t use turps It dulls the paint - only use it to clean the brushes 
Use separate brushes for warm and for cool colours
Burned Umber Can mess up the other colours
Malcolms pallette has a lot of warm colours and just a few cool colours 
cadmium red light    Scarlet Lake . Alizarin crimson
Yellow ochre     Cad Lemon Light.      Cerulean blue. 
For the lower sky he uses titanium white    
Cerulean blue and a touch of yellow ochre to warm 
Thick buttery paint in the light
Don’t blend away

Comments

Post a Comment