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i prefer the underpainitng, without further passes. The paint is liscious and your technique leads to a beautiful, expressive painting.

Looks great! Thankyou. Using that method works for outlines. But how is the best way to fix large areas of shading?

seems like it would make the most sense to find the lightest and darkest parts of the painting and label those first and work your way towards the middle

WOW, I just came across this video in my YT feed and I'm so happy! Thankyou for a wonderful and concise video about your painting process. It was exactly what I was searching for. New subscriber here :) Incredible skills!

Would you name the colors on your palette, please?

Wow. Real women. Your work is stunning. Thank you.

Breath taking !!!

Oh my God is this even real

I still don't understand why the majority of hobby artists paint (after) photos? Several factors play a major role here. Firstly, 99.9% of these creative people have no idea what a really good photograph is, and secondly, how are they supposed to turn this amateurish photo into a work of art? According to Adam Riese, a poor template plus amateurish execution does not produce a good result! But even if the photo was taken by a master photographer, I still see no reason to paint a photo! (to copy) Excuse me. That's completely illogical. It's not just you, but thousands of creative people who want to show off their skills on the Internet. But in the end it would be the same as if I, as a layman, were to copy a Stradivarius violin, or as if you tried to paint a landscape that you see outside your window through a dirty window. Do you amateurs only do this to show off your craftsmanship? Or out of boredom? I would rather advise everyone to ask themselves what this has to do with art? Try to read as many books about art as possible. And always remember! You always learn best from your enemy! A friend only flatters you! But to satisfy your ego, ok.

Interesting. I dont know why but it reminded me of the brightness and opaqueness of high quality gouaches

I save my scraped paint into a small glass container to make neutral grays or mix with gamsol or gel to prime the next canvas or paint the edges of my canvasses. Didn't know that about the clove oil. Will do some more research on that. Cheers.

Great explanation

That’s a great idea thank you

Very, very helpful. I'm doing a portrait for the first time in years and it's of a retired principal of my school that will hang in the library next to 3 others painted by my predecessor and Art teacher. No pressure!

I try to use inorganic as much as possible for lightfastness. Inorganic is basically rock or metal. They are permanent no matter how many years or exposure to light. Organic is like a flower or plum. They can biodegrade or bleach out. However, modern science adds stabilizers in attempt to preserve them. The biggest downside for me is their opaqueness. Where a shadow is not an object. Rather a shadow is suspended light and you should be able to detect the object beneath. The other problem is that most organic grounds are tiny mostly rounded particles as apposed to inorganic rock and metals are jagged, odd shaped, glass like particles that reflect light in multiple directions. Where the more opaque reflects light basically back in one direction. While Titanium white is fantastic for brightening hues, because it is a super opaque cool color it tends to change the original hue. So your original hue rarely perfectly matches your lightened hue. Some ultramarines, it will even turn them violet, yellows turned greenish and so on. There are other whites such as Lithopone ( mix of of Barite and Zink) that will hold the hue perfectly while lightening the colors. Except the Barite also causes more translucency and slightly less "rich" color. However, most art does not use all that much pure rich colors, other than pop art or other gleam art. Most rich color gets toned down and the paintings have sparse amounts of rich color and highlights in perfect contrast to their large amounts of toned down colors. I always have an opaque white on hand as well as a translucent. On the opposite, a warm black is rather useless for me. It's basically the darkest mud. Probably why for years art teachers said to avoid using black. But cool blacks can make some of the most beautiful grays with the tiniest bit of blue or violet in the mix. If you're stuck with only Titanium white, try mixing a tiny bit of Naples Yellow into your blob of white. It will keep your cad red from going too violet and gives a much richer pink and will also balance the vibrancy of your violets. I do an equal amount of landscapes and figurative abstracts. The fault that I see in a lot of abstracts today is they lack depth because the artist have not learned to handle translucent color properly. Of course, many abstracts are meant to be flat 2 dimensional statements.

Solid intro, especially for beginners. One of my favorite uses for fan brushes is for splatters, if you want a nice, evenly distributed splatter for snow or stars or what have you. One can just load it with some fluid/thinned/diluted paint (this works in acrylics, oils, watercolors, etc.) & then take another brush, or a pen, or something else oblong & rigid, hold them crossed ~5-12 inches above the surface, & gently tap the handle of the fan brush downwards against the other object, lightly, like shaking puffs of confectioner’s sugar out of one of those meshed containers. It can take some practice to mask the areas you don’t want splattered, & to get used to the size & shape of a given brush’s pattern at a given height & tap intensity, but I’m very satisfied with the effect. Also, for the kind of effect I’m thinking of, I’d say you generally want the paint about as fluid as you can get it without losing opacity. You don’t want to dilute a heavy bodied paint so much with water that all you get are faint, transparent marks (unless that’s what you’re going for- but that can also lead to adhesion problems as the binder gets broken up in too much water), so with acrylics, paints that come already in a very fluid form, with less binder & a high pigment load, such as fluid acrylics, high flow acrylics, acrylic inks, which don’t need much or any water added are ideal. But in general, I’d say if you can get close to the consistency of watercolor or gouache that’s been diluted to the “whole milk” or maybe a light “cream” consistency, that’s pretty ideal, unless it’s opaque/pigmented enough [as with high flow or fluid acrylics, or acrylic/other inks] that you can go closer to a watery “tea” consistency while retaining the saturation & opacity you’re looking for. Obviously, what kind of ground/surface you’re painting on also affects what kind of consistency will have what kind of results when dry. If it’s very absorbent (like a “light molding paste” or an absorbent ground, or heavy watercolor paper, then you can probably go for a more watery consistency, because the drops will absorb smoothly in place. Gesso with a tiny bit of light molding paste mixed in is a really nice middle ground & very effective for texturing the surface of a canvas in fine detail, close to the surface (it remains considerably more absorbent than gesso on its own, but it isn’t going to suck it all up if you splatter puddles onto it). If you use watery paint on a less absorptive surface, like a hard/heavy molding paste, hard gesso, or something you’ve already painted with an acrylic gloss or glazing medium, then the drops are just going to sit on the surface until they evaporate, & that can leave weird ring-like residual forms instead of solid, even droplet marks, so maybe someone could have a use for that, but it’s not going to be the same kind of snow/star effect. There’s also the opacity of the pigment & how well it will stand out against the background color to consider, but I’m sure people can figure out the rest with a few minutes of experimentation. In oils I assume you’d need to use a significant amount of a relatively fluid medium like walnut oil to get fluid enough paint for fine splatters on later layers, & it still will be more globby than water-diluted acrylic or watercolor paints (so a more rigid-bristled brush would probably work better & if you really need to atomize the paint even more than tapping will accomplish, a bristle flicking technique might work better. You could probably do the tapping technique with paint diluted with turpentine, but I don’t know how much point there is in doing effects like that in the underpainting that will probably inevitably get covered up by subsequent layers, unless you’re leaving negative space where the splatters were. But using volatile solvents instead of water I think you’d get more of a weird residual evaporation pattern in that case too, instead of clean splatters. Not sure.

Thank you

Hi? What did you put in the canvas before paint or before sketch? And what did you put in your underpainting? Thank you.😊

What is the advantage or reason you prefer oil ground vs gesso?

I think I found I gem of an art youtuber. I hope you start creating again. Really enjoyed these videos.

You mentioned that problems occur with the wrong ratio of paint and mineral spirits. How do you know the right ratio? I tried this... After it dried, the paint just rubbed off! I removed all I could get off so I could try again. I don't know for sure what I did wrong.

can i use normal linen cloth for making my own streached canvases??...is it gonna be good enough??...will i have to use gesso before painting on that canvas??...<3

Just wanted to say, great content Nicole. You don't see much on here (so far) in this area of contemporary art, keep it coming!

Would putting the paint in the freezer not create skin on it?

Would you be willing to share what weight/style of linen you’re using here? Thank you!

what canvas material, what thickness are you using? Is it linen? Is it cotton? Can it be white? Or does it have to be this yellowish colour? Thanks, great video btw.

thank you

Lovely work and honest and to the point advice. Thank you.

I did a cuinaquidrone under painting for some reason... I don't know if i can fix it now, every skin color above looks grey. What would be your wise advise? Thank you 😊

Can imprimatura choose other colors, besides earth colors?

Nice

My canvas was tight when i tightened it and then overnigt it became loose and wobbly around the sides. I sorated water, it becamr tight again but once it was dry it was loose all over again, any tips for longevity in the tightness of the canvas. Don't want to have to water it like a plant every day

nice

Cad red wash, or burnt sienna works well. As does an ivory black+yell ochre+white mix (olive green) as a tint to build flesh tones upon.

hi! what paints are you using for the fluorescent colors-the pink, orange, yellow?

Just stumbled on your channel. Such a pleasant surprise! Subscribed.

There's so much fat in your paint that I'm going to fast for a whole month. I hope I don't find you on RUclips anymore

Absolutely stunning! I would love to see your work in person. It’s magical on screen.

That was a great tutorial, incredibly helpful. Thank you :)

That was amazing to watch! Very interesting and learned a lot about your use of colors for the shadows. Also watch you paint in real time was interesting, I often paint to fast 😅 Curious to know, did you only used two brushes? And you didn’t clean them in between the colors?

Excellent, such clear explanation and nice demo. Thank you!

Very helpful thank you! so you apply size to the linen before stretching? how? and why do you not size it once its stretched? Thanks so much!

I like the technique of your painting.Leo

veery good videos serie about brush, and the best advices on YT ! thank you nicole

Wonderful video and gorgeous work! Thanks so much.

Wow wow wow

Very useful

nice video, thankyou. May i ask what do u think is a good brush for painting on outlines of shapes initially on top of a ground. I want to do a landscape painting and want to paint in the outlines of fields, farm trees etc ljust ike a drawing first,,, but in paint.

I am curious as to how these paintings will look in a few years, since I know fluorescent colors aren't lightfast. Aren't you worried the underpainting will fade, effecting the layers above?

Does it matter in which order I do the mixing? Does it always have to be hue, value, chroma? I feel like a lot of the times it would save time (& paint) if I start with value for example, if I can see that whatever I'm matching has a high value, I just throw a lot of white in there. Or when it's something of very low chroma, I throw in the complement right away and possibly even do the hue at the end. I think my formula would be "identify predominant variable (hue/value/chroma) and start working towards that" But idk if it makes sense to do it like this...