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  • Hai Chinasky1976, Im actually new to oil painting especially on the usage of different mediums but I however am very excited on the old masters technique. Would you mind telling me the difference betweeb Umbra underlayering and Dead underlayer..Some of the other videos said that during Umbra you can use Either oil or acrylic...Is this true? Thank you for your time and Im so happy that you made this video, Its absolutely great for young artist like myself to make it as an inspiration..

  • You can use acrylics for umbra layer but then you have to isolate it from oil with, for example, a coat of a light varnish (I use liquin thinned at 50% with petroleum essence).

    Thank you for your appreciation :)

  • Dead layer: it cover the lighter areas, it could be done with a complete sequence of different tones of grey (from black to white) or thinning and blending only one (or few) light tone.

  • Umbra layer: it's made by one earth colour. To achieve different tones you have to thin or blend your paint, don't mix it with white or opaque colors in general.

  • Chinasky1976 Thank You - exactly what I needed, old Masters technique exposed...

  • fai paura Pt 4...AMAZING!

  • amazeing, im planning on doing a painting in this style for my art exam thats comeng up ... the problem is that i only have 12 hours to do it in ... will the under layers dry within a day?

  • @theTRUE1414 Every layer must be dry before the next layer. In 12 h it's not possible even with liquin or other siccative. The only way is a mixed technique. Could you use tempera or egg tempera for the under layers? If yes, I think you can achieve a good result...obviously tempera is not so versatile like oil but dry fast. When you have your underpainting you can paint with oil colors to finish.

    Thank you:)

  • @Chinasky1976 thanks for your reply

    im very new to oil so im not sure what tempera is

    i was thinking if it work work if i did a detailed pencil sketch and then added a thin down layer of oil on top to make the under layer .. and then painted the colour layer over that.. would that work?

    thanks again ^_^ ...

  • really impressive, work of masterpiece, if you can do, i can do too, that is my phylosopy of course w hard work and more practice, thank for sharing....sincerely this technique require more time but here is the deal, a master piece cost too much, time,hard work, patience and money..!! The result is wonderfull.

  • @nickfingers Yes, your philosophy is right!! This technique require more time than "alla prima" but you can control quite better your work. "Tone" and "Color" are separated in this technique. About money...the Old Master technique is the cheaper way to obtain the best result with just few colors. There's no wasting of color because there 're very few mixtures, there're a lot of glazing (especially in the colors layer, where the pigments at that time was very expensive) instead "impasto".

  • Wonderfull technique, do you teach?? I would like to know, what medium used on each layer, does any layer need to dry first? So, liquin medium is necessary right for drying..!!

  • @nickfingers Thanks!! I use only Liquin and every layer need to be dry but this happen in 24-48 h.

  • BEAUTIFUL :)

  • This is a brilliant painting love it screw tonchititio

    

  • This is a brilliant painting love it screw tonchititio

  • The technique is as of the great old masters. But the composition is hideous.

  • @tonchititito

    Hideous? Please, can you explain why?

  • @Chinasky1976 First of all, I want to congratulate your impecable technique. Well the elements of the composition left nothing for the viewer to think about or complete. Everything is already there. There are three instruments, that solely can let the viewer know this is about music, so placing Music notes sheets is overdone. I had a hard time looking at the vanishing points. Sometimes it feels like going to the candle, sometimes like going to a point in the far right sometimes to the center

  • @Chinasky1976 of the violin. In general it looks like a musicians table who is showing off his instruments. I am certain this theme could have included an antogonist figure.

  • @tonchititito

    Thanks for your appreciations but there's some rules in a XVII century still life and this painting follow all of them. Anyway, I make this painting but the subjects, the composition is copied from a photo, you can see it clicking on the link in "more info" section, I think that the photographer who made this shot is a master of Still life because he know very well the Old Master's painting. About perspective you can read what he said in the description of his shot, take a look.

  • Anyway I want to say that my intention in this painting was experiment the old master technique with a coherent subject. It's just a copy, an exercise. To be an Artist you have to been an Artisan first, in my opinion. All that things you say are missed are "out of theme" in a old still life painting of that century. Have you ever seen something about Evaristo Baschenis? I think that it could be a good example.

  • @Chinasky1976 I just checked the two links! Incredible stuff. Well some of those paintings are believed they were painted with the help of lenses. In that period that seems very logical. However they would not transfer every single detail, Dutch Masters would paint some things out of focus, so the viewer could complete the composition in his mind. A Master in this matter was Vermeer. I totally agree, artisan first, then artist. Photography is a big help, but in order to assist oil painting

  • @Chinasky1976 to assist oil painting, it needs the hand of an artist, not artisan here. So changes are applied from the picture to the canvas, so the trick is done and effective. Anyways, as an exercise like you call it, I believe it is outstanding! You had achieved the Masters level, which requires a lot of work and study.

  • @tonchititito I am experimenting with same technique (imprimatura, burn umber layer, cold gray layer, etc.and was wondering of you thought that the same technique would be also effective with landscapes or is it primarily for still life's..beautiful work..if my work looked as good..I would be very pleased...

  • @WDAVID002 I like the technique of the painting as well! well the umber layer was essential in most paintings so the death or cold layer is. Still lifes, landscapes and of course portraits.

  • @WDAVID002 In a landscape (for example a country-nature sunny day), I prefer avoid the dead layer because (like for wood objects) just the burnt umber layer on a imprimitura gives a beautiful result, in my opinion there's no reason to add a dead layer. In some others cases like a winter landscape full of fog, snow or in a gray street view with buildings & cement a "dead layer" could be at the same time a "color layer" too.

  • @Chinasky1976 thank you for helping me to understand the purpose for each of these layers. I am a novice and am experimenting with different techniques and styles. It is very helpful and thank you for your kindness. You do beautiful work and should be very proud. I have developed great admiration for artists like you who can turn a blank canvas into beauty. I hope to join the ranks some day.

  • @WDAVID002 Thank you! Please to help you! :)

  • @tonchititito I am seeing something beautiful.

  • @tonchititito ..... ??? Its better than the portrait of alizee you took 4 months on. PFFFT. Jealousy.

  • @Jcsharitz Not jealous at all. I paint in between my free time. which is almost none, because I work in restaurants like 60 hrs a week, If you would have read my comments I said I love the technique of this painting, however I though the composition is hideous. First the painter kept telling me about the picture itself and blah blah and that you have to be an artisan and blah blah. ok none of that is achieved here either. This "technique" is been put by antonov the russian painter...continues

  • @Jcsharitz Antonov is a master painter! by the way, it is been a while since I paint the alizee one, I did not know many things back then, but still was not surprised by the artist big words such as bitumen...(sold in stores as pardo van dike jaja) liquin original and details. If you are a serious painter you know that those mediums are only ocasional helpers, there is no mention about hand-made mediums. My alizee is painted with three dif handmade mediums. and I was a first timer!

  • @Jcsharitz but what's most important is that when you paint from a picture the result is a picture. when you want to paint an actual oil painting, there is a lot more than just transfering a drawing with graphite paper into the canvas. Anyone can do that. That is why I said the comp, was hideous. ok I did the same with Alizee, i copy and paste from a picture. The result is not that bad either, but from that painting I would not call myself artist neither artisan.

  • that video was so great and helpful^___^ amazing work, really inspiring!

  • Great video! Thanks for posting it!

  • ohmygod....

  • This has actually been one of the most helpful demonstrations on this subject that I've seen. Other videos seem to not full describe it the way you do. Well done! I can't wait to try this out.

    One big question. How much time do you wait in between each layer/glaze?

  • @bluefuzecom Thank you! :)

    I used Liquin (by W&N). No more drying problem...this painting was made in 16 days.

    My layers are very thin, after 24 h I can paint on them. May be if your paint is thick you have to wait more. Bye :)

  • @Chinasky1976

    Curious if Bitumen goes by another name? What kind of color is it... like a dark grey?

  • @bluefuzecom Bitumen = asphaltum. It's a yellow/brown transparent hue color. You can find it in Talens Rembrandt Oil color catalogue. :)

  • @Chinasky1976

    Ah yes, cool thanks. It almost looks like one could substitute Burnt Umber & Raw Umber -- just trying to figure this out if using a different brand of paint without that color in it's selection.

  • @bluefuzecom Yes, the most used color by old master to underpainting is burnt/raw umber. I have bought many type of brown oil color because they look so different to a brand to another, I found that Asphalt by Talens Rembrandt and Laque bitume Vibert by Lefranc are my favorite, in my opinion they are more transparent and warm than umber. :)

  • Beautiful, it's really a masterpiece! It's rare see an artist that still use this great technique today. The indirect painting was a procedure that all the Great Masters used, that's why those paintings are so amazing, real and touching.

    Here in Brazil, very few teachers of painting know this technique. I'd just learnt because I read a lot and research, so I tried the grisaille for twice, and even without much practice I could see the difference.

    Hope to see another works of you. ;)

  • it is amazing!!!

  • Thanks, very helpful, beautiful composition and technique, take no notice of the youtube dorks who criticise out of jealousy, boredom and ignorance. Your painting is a masterpiece.

  • Wow! impressive work! What is a light dead layer?

  • Thanks :-)

    "Dead layer" is a layer of neutral gray tone, usually it cover all, from shadows to lights;

    in this painting there's a partial "dead layer", only for lights area, shadows and middle tones are left in "umbra layer".

  • great work... kudos!!!

  • Masterpiece!!! Thanks 4 sharin.

    Appreciate it mate. Cheers!!! ;)

  • 1) If you don't understand it could be your problem, not necessarily mine.

    2) This is what I can do with some shots and some notes, nothing more. If you can do it better...better for you.

    3) On the right, you can found more info, there's a thread on WetCanvas: try to read... sometime....

    4) I made these slide to SHARE what I have learned buying and paying many videos and books, just for...nothing!

    Thank you for your appreciation! ;-)

  • Impressive

  • very nice job...

  • Bravissimo!

  • wonderful!

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