Direct Painting, Pt. 3
Added 2020-04-01 13:54:42 +0000 UTCThis is the 3rd of 3 parts and it goes through the tools and concepts I am using in the final stage of this project. I am painting on a piece of linen mounted onto an archival hardboard panel. My palette here is Ivory Black, Raw Umber, Alizarin Crimson, Vermillion, Yellow-Brown, and Flake White.
Audio Start Times- 00:01, 59:30, 1:59:29, 2:59:25, 3:44:04
If you have any questions, just leave them in the comments!
Comments
This is from a company called Beckers.
Stephen Bauman Artwork
2022-09-10 08:57:29 +0000 UTCHi Stephen, truly fantastic work! I'm wandering what brand of paint is the raw umber you use? and the other colours, what is your preferred? many thanks
Stevie J
2022-09-10 03:34:06 +0000 UTCI think that I answered the other posting of this question..
Stephen Bauman Artwork
2020-05-07 21:14:06 +0000 UTCI almost always wait for it to dry even if I am not oiling out. Nothing like a semi dry layer to make the painting day harder than it has to be.
Stephen Bauman Artwork
2020-05-07 21:13:31 +0000 UTCI definitely freeze them overnight! I usually switch between blick synthetics and bristle, rarely do I use sable because I don't take that good of care of my brushes. The blick brushes are nice and soft and hold their shape well considering how cheap they are.
Stephen Bauman Artwork
2020-05-07 21:11:09 +0000 UTCThanks again for access to your amazing process! I wrote yet another question that didn't seem to post so will try again: about the Blick brushes you seem to favor -- what are they? And do you ever use sables? I think I saw you using bristles. Also interested to know how you clean your various brushes, and how often. Do you ever freeze them overnight? Many thanks in advance :)
Lauren Gabor
2020-05-07 20:27:58 +0000 UTCAnother question: do you always wait for the paint to dry between sessions -- even if you are not oiling out? I often wonder what the Old Masters did -- assuming they were painting on a deadline. If you MUST go back the next day, without oiling out, what are the risks you try to avoid? I cam compelled to continue day after day on a painting, and notice the paint sometimes seems a bit sticky, but with added medium eventually softens and blends pretty well (granted, "pretty well" may not be good enough for you!) My greatest concern is brushstrokes in the darks, and unfortunate bumps at light transitions... but sometimes that effect can be interesting.
Lauren Gabor
2020-05-07 20:24:48 +0000 UTCThank you Stephen for your specificity in this tutorial, it's amazingly helpful on so many levels. From a practical, technical standpoint regarding your paint application, could you tell us which of the Blick brushes you are using? Do you ever use sables (can't tell from vid), and if so, do you always clean them after every session? Every freeze them? What do you prefer to use to clean acrylic, bristle, and sable brushes. Many thanks in advance for your reply :)
Lauren Gabor
2020-05-07 20:15:19 +0000 UTCEvery paint brand will have a different recipe- so the brand of oil paint that you use will play a roll as well. The kind of ground that you are working on also is a big part of how the paint will apply to the surface. There are a lot of factors. I would suggest to dip a little bit more into the oil if you need a greater fluidity.
Stephen Bauman Artwork
2020-04-24 22:27:40 +0000 UTCAnother question :) there is a beautiful fluidity to your paint application - could be due to the oiling out, but I also wonder how much medium you are applying with every brushstroke (not seen in the video). Early on you state you only use of couple of drops from your medium cup. Are you dipping your brush very lightly in the cup, throughout the painting process? Copying your example, I only load my brush with paint (which has plenty of medium in it from the tube) yet don't seem to achieve the same painterly quality. Do acrylic brushes hold more paint than sables? Maybe I could upload a sample of my work to show you what I mean?
Lauren Gabor
2020-04-24 20:10:53 +0000 UTCYou’ve got it correct. Practice leads to habits.
Stephen Bauman Artwork
2020-04-24 20:00:49 +0000 UTCHi Lauren, in the case of this question about the development of intention- really it happened for me during years of practice rather than at a particular moment in the painting process. If you want to develop this sense I would recommend making color studies before making a painting. Just dabs of color indicating the color world that you would like to express.
Stephen Bauman Artwork
2020-04-23 21:50:23 +0000 UTCHi Stephen, regarding design of the portrait, can you speak about your choice to push value and chroma a bit farther than the source material indicates? It appears your goal was to create drama and mood, and ultimately a more interesting effect. I assume you photographed the model. At what point you you develop your intention? I ask because I am usually faithful to the form before me, but that can be limiting, and I would like to try to be more intentional, and versatile. Thank you, I really learned a lot in the tutorial.
Lauren Gabor
2020-04-23 21:47:07 +0000 UTCThat's right Shawn, raw umber can be a great "short cut" color, I just dont tend to use it too much when I am getting really specific with color.
Stephen Bauman Artwork
2020-04-20 13:56:11 +0000 UTCStephen, I noticed that there was no raw umber on the palette for this pass. Is that typical for "finishing" stages for your work? Thanks.
Shawn Farley
2020-04-20 04:39:01 +0000 UTCSorry about that- must have pasted the wrong link. I think it is fixed now.
Stephen Bauman Artwork
2020-04-08 17:32:13 +0000 UTCHello Stephen, This video is not 3 hours. It is 32:19.
Lisa Oh
2020-04-08 17:30:07 +0000 UTC
