In this video entitled "Oil painting palettes and what is the best palette" viewers will learn a lot of useful information that they could use in painting. Among the topics tackles would be glass type palette advantages, the use of "reminders" in the form of post-it's and notepads, painting and relationships, as well as ways on how to avoid wasting paint . Different palettes such as travelling palettes and the use of hospital tables in painting would also be given to thought in this video and also the "painting process". CLICK HERE: oilpaintingworkshop.com/DVDs.htm Painting Tips and Tricks by Artist Daniel Edmondson go to Oil Painting Workshop site to subscribe! Daniel Edmondson explains the different palettes and why we use glass and covered palettes in the studio. To get more tips like this one at oilpaintingworkshop.com thanks for watching. Viewers could learn more about oil painting by visiting the link presented in this description. Learn to oil paint through a master artist today!
Praxis is a process-based work made in 2011 by artist Keeley Haftner, the content of which is a nude self-portrait of the artist. Each nude image was painted in oils on the same freestanding false wall in succession. Between each ‘rendition’, the previous painting was painted over using white latex primer to make way for the next in a video-documented public performance. These performances took place in different settings, beginning with the intimate space of the artist’s studio and progressing to a downtown storefront. A trace of the previous painting inevitably remains as a ghost image underneath the subsequent renditions, but as the work continues to layer, the process of ‘painting over’ consumes the initial paintings.
I created this painting demo to help students with mixing flesh tones. I am painting over a dry, scraped out, quick 10 minute demo from a previous class to help students understand how to approach a painting on the second session, how to rework a previous painting, and how to adjust anatomy/composition during the painting progress (especially notice how the left eye had to be moved considerably). This painting is a self-portrait, painted from a mirror (real time - approx. 30 mins).
PALETTE (counter clockwise from bottom left corner of palette):
- French Ultramarine (FUM)
- Alizarin Crimson
- Cadmium Red Light
- Burnt Sienna
- (Raw Sienna - missing in this video... I ran out of it, but usually it's there)
- Yellow Ocher
- Naples Yellow
- Raw Umber
- Burnt Umber
- French Ultra Marine (yes, again... I keep FUM next to my Aliz Crimson for violets, and also next to my Burnt Umber for blacks)
- Cobalt Blue
Regarding different skin tones - I use the exact same palette, adjusting the ratios of color for all skin types.
- Cobalt Blue and Vermillion for shadow colors
- Alizarin Crimson and FUM for very deep shadows
- Adding Burnt Sienna creates "sun kissed" tones
- Adding a hint of Cad Red Light to light flesh tones "rosies" them up
- Use all ratios of colors. "Swirl" paint on palette, adding a little of this and that, until you find the color. Also, while the paint is wet mix on the canvas. Avoid using a palette knife to try and make the "perfect" color before you paint.
- Use lots of brushes. Wipe your brush off a lot. Avoid too much thinner.
- Darks are always darker than you think they are.
My medium is 1 part Damar Varnish, 1 part Stand Oil, and 2 parts Turpentine (or other solvent - students must use Gamsol).
I am using soft, synthetic, white-hair brushes.
This painting is painted on a cheap, store bought canvas. I only use these for class demos. To learn how to build, prime, and stretch a canvas, go here: vimeo.com/sarahstolar/stretcher
Videography by Jeff Medinas
Editing by Sarah Stolar
Music by Thievery Corporation