Thanks for another great video. Loved the advice about leaving large areas and attention, my jaw nearly dropped, I've never even thought about that. That's some kind of Yoda ninja master level advice going on there, hehe, but seriously thank you
Thank you for this, Marc. Always enjoy your insightful and inspiring comments; perfect compliments to the painting itself. Stape's thoughts do have a way of showing up unexpectedly, don't they?
Thank you. I love your perspective philosophy and mindset on how you approach any project you do. Your talent and skill is unquestionably amazing. Again, thank you.
The camera is attached to the mast in a way that exaggerates the movement. It's not so noticable when I paint. That said, the downside of a lightweight tripod is that it will move more than a heavier one. I'm happy with the tradeoff.
Thanks for posting this Marc; so many invaluable tips (as always). Can I ask what color you used for the dark wash at the beginning (I know you don't use black, perhaps cad orange/ ultramarine)? Great result at the end, it's just full of light
Always in the shade. The painting will be seen inside in the end, so it should be keyed to that light. If I paint with the painting in the sun I'll key it too dark.
I clean them first in a jar of savon noir, it's a French soap made from linseed oil. Afterwards I clean them with soap and cold water. Don't use warm water or it can expand the ferrule and the hairs can fall out.
I have a question . I paint on panels and I was curious to how do you complete the back of your painting once it is done ? do you cover it? Do you sign it what information do you put on it? Please and thank you.
I just leave the back showing. They have a little stamp from Zecchi in Florence. Sometimes I do floating frames these days, where you don't see the back of the panel though. You could always cover it with black paper.
@@MarcDalessio Thank you. I’m thinking a label , stick it to the back with the a brief explanation of the painting. If I cover all my paintings then I would need to buy a frame for every single painting ! that would be expensive. I like to swap my panels out depending on the show that I’m in . So I just have a handful of frames. I don’t have to buy a lot of frames Thank you so much for your time. 🙏
Parallel lines are always complicated to deal with, but there are tons of beautiful streetscapes out there. French and Italian late-19th-century work can be especially wonderful. Edward Seago in the 20th-century.
God I wish I could see what you're doing with your palette. Incredible work.
Thanks for another great video. Loved the advice about leaving large areas and attention, my jaw nearly dropped, I've never even thought about that. That's some kind of Yoda ninja master level advice going on there, hehe, but seriously thank you
Thanks, Marc. Great to see you post again. Cheers from the Hague.
Thank you Marc for your efford for us to learn. Cant wait to met and paint with you in june.
greets from austria.
Thank you for this, Marc. Always enjoy your insightful and inspiring comments; perfect compliments to the painting itself. Stape's thoughts do have a way of showing up unexpectedly, don't they?
I’m always looking forward to seeing another one of your videos. Thank you so much for this.
Love watching these. Thank you for taking the time to record and narrate
What a treat to be able to watch you paint.
Nice work and explanation. Thank you marc for sharing
Amazing work...love being able to see the whole process.
Thanks Marc. You nailed the light and atmosphere
Dude this is amazing!!!
Great to see you back
Thank you. I love your perspective philosophy and mindset on how you approach any project you do. Your talent and skill is unquestionably amazing.
Again, thank you.
Magician
Thank you for a great narrative.....any plans on coming to Australia?
Maybe one day.
I hope I can paint again with you like we did that time in NYC. Did you come back to Portugal or are you still in France ?
We're living in southwestern France now.
Super video, thank you.
How does it not bother you that your easel moves around so much under the brush?
The camera is attached to the mast in a way that exaggerates the movement. It's not so noticable when I paint. That said, the downside of a lightweight tripod is that it will move more than a heavier one. I'm happy with the tradeoff.
Thanks for posting this Marc; so many invaluable tips (as always). Can I ask what color you used for the dark wash at the beginning (I know you don't use black, perhaps cad orange/ ultramarine)?
Great result at the end, it's just full of light
Thanks. It was probably ultramarine blue, cad red medium, and cad yellow medium.
Hi Marc, Was wondering if this was sight-size? If so how how did you orient canvas? Thanks for amazing video and awesome commentary.
Yes. It is sight-size. I just look to the side. There are other videos on my channel with more on sight-size.
Hi Marc,
Great work as usual.
Do you prefer working when the painting is under direct sunlight or is under the shade?
Always in the shade. The painting will be seen inside in the end, so it should be keyed to that light. If I paint with the painting in the sun I'll key it too dark.
Thanks for your videos. Can I ask, how do you clean your brushes ? I am always interested in the different methods that painters use. Thanks
I clean them first in a jar of savon noir, it's a French soap made from linseed oil. Afterwards I clean them with soap and cold water. Don't use warm water or it can expand the ferrule and the hairs can fall out.
13:05 audio becomes bearable again
My apologies. When I set up it was quiet.
I have a question . I paint on panels and I was curious to how do you complete the back of your painting once it is done ? do you cover it? Do you sign it what information do you put on it? Please and thank you.
I just leave the back showing. They have a little stamp from Zecchi in Florence. Sometimes I do floating frames these days, where you don't see the back of the panel though. You could always cover it with black paper.
@@MarcDalessio Thank you. I’m thinking a label , stick it to the back with the a brief explanation of the painting. If I cover all my paintings then I would need to buy a frame for every single painting ! that would be expensive. I like to swap my panels out depending on the show that I’m in . So I just have a handful of frames. I don’t have to buy a lot of frames Thank you so much for your time. 🙏
Don’t you find street scapes have too many parallel lines and right angles? Kind of ruins the comp. I rarely see a street scape I like. I like yours.
Parallel lines are always complicated to deal with, but there are tons of beautiful streetscapes out there. French and Italian late-19th-century work can be especially wonderful. Edward Seago in the 20th-century.
@@MarcDalessio thanks. I will check him out.
You are in Brasil?
This was in Portugal.
*five minutes of talking at the beginning before painting starts.