Todd thank you for sharing this practical yet very useful process. The result is beautiful. I appreciate that we can hear only your voice in the video, all the screen's format is full with palette and painting surface and there is no loud music to distract us. Thank you for the quaility overall.
Thank you so much. This series of videos really help with process. Like the whole series, the rubbing out of the light dark and mid tones is my favorite. This has really been helpful. Cant wait to watch the video on color and how to tell the value of color. All the best and many thanks Christine
I just found you looking for bistre underpainting techniques and I'm getting so much more here from this series - I'm a new subscriber now! I'm still working my way through it, but my question at this point is how you apply it to plein air work. I'm considering entering a plein air event where you spend 5 days painting exclusively en plein air and I'd like to give your technique a try, both in the studio and entirely en plein air, but can that be done?
Thanks Jim, I sure appreciate the kind words and I’m glad you’re getting something from the series. With regard to plein air; yes! It can definitely be used outside. I would practice quite a bit before you take it to a plein air event so that you have a system somewhat down. Plein air is different than studio work of course, because the changing outdoor light Creates the need to strategize your approach to accommodate those moving shadows and subtle shifts in color temperature. Strategy #1: if your timeline warrants it, the best case scenario is to have two sessions at the same location. The challenges is returning at the same time of day, similar light and weather conditions for consistency. Although, I completely understand that we are poets and not reporters and that artistic intent supersedes our need to replicate exactly what we are seeing. In short, on day one you simply execute a monochromatic underpainting. On day two, apply your layers and glazes. Strategy 2: execute your monochromatic underpainting using raw umber acrylic paint. It will dry instantly. You can layer and glaze in oils over acrylic. (you cannot do the opposite) Good for you my friend. Feel free to email me privately to keep me posted on your efforts. I’m happy to communicate with you regarding your outdoor experiments. I am always interested in how to use this outdoors more effectively. These days, I rarely do the above suggested two techniques anymore. I have been going right to value color when I paint outdoors. In other words, instead of using raw umber, I simply go for the value color. The temperature can be a little off but i’m comfortable adjusting that in the middle part of the painting. Definitely reach out. I teach this in an outdoor class here on the Maine coast. You should join us sometime.
@@toddbonitafineart1584 Great information - thank you for your generosity in sharing it! I'm in Canada but if I lived in Maine, I'd be in your classes all the time. That event is a couple of months off so I have some time to practice your method and then take it outside. Now that the Canadian winter is finally letting go, any excuse to go out is good, and painting is the best!
Todd thank you for sharing this practical yet very useful process. The result is beautiful. I appreciate that we can hear only your voice in the video, all the screen's format is full with palette and painting surface and there is no loud music to distract us. Thank you for the quaility overall.
Thank you for the series!
I commented on the lack of paint mixing in your concluding finished painting video. So sorry I missed this video. Great learning process. Thanks.
Lol! Excellent! I’m glad you found this one. Appreciate all your kind words. Happy painting to you my friend.
Thank you so much. This series of videos really help with process. Like the whole series, the rubbing out of the light dark and mid tones is my favorite. This has really been helpful. Cant wait to watch the video on color and how to tell the value of color. All the best and many thanks Christine
Hi Christine.
Thank you so much for your kind words. I’m glad to hear you found something of value in it. Happy painting to you
Great demo, love the series. Interesting and inspiring. thank you Todd
Thanks K
I just found you looking for bistre underpainting techniques and I'm getting so much more here from this series - I'm a new subscriber now! I'm still working my way through it, but my question at this point is how you apply it to plein air work. I'm considering entering a plein air event where you spend 5 days painting exclusively en plein air and I'd like to give your technique a try, both in the studio and entirely en plein air, but can that be done?
Thanks Jim, I sure appreciate the kind words and I’m glad you’re getting something from the series. With regard to plein air; yes! It can definitely be used outside. I would practice quite a bit before you take it to a plein air event so that you have a system somewhat down. Plein air is different than studio work of course, because the changing outdoor light Creates the need to strategize your approach to accommodate those moving shadows and subtle shifts in color temperature.
Strategy #1: if your timeline warrants it, the best case scenario is to have two sessions at the same location. The challenges is returning at the same time of day, similar light and weather conditions for consistency. Although, I completely understand that we are poets and not reporters and that artistic intent supersedes our need to replicate exactly what we are seeing. In short, on day one you simply execute a monochromatic underpainting. On day two, apply your layers and glazes.
Strategy 2: execute your monochromatic underpainting using raw umber acrylic paint. It will dry instantly. You can layer and glaze in oils over acrylic. (you cannot do the opposite)
Good for you my friend. Feel free to email me privately to keep me posted on your efforts. I’m happy to communicate with you regarding your outdoor experiments. I am always interested in how to use this outdoors more effectively. These days, I rarely do the above suggested two techniques anymore. I have been going right to value color when I paint outdoors. In other words, instead of using raw umber, I simply go for the value color. The temperature can be a little off but i’m comfortable adjusting that in the middle part of the painting.
Definitely reach out. I teach this in an outdoor class here on the Maine coast. You should join us sometime.
@@toddbonitafineart1584 Great information - thank you for your generosity in sharing it! I'm in Canada but if I lived in Maine, I'd be in your classes all the time. That event is a couple of months off so I have some time to practice your method and then take it outside. Now that the Canadian winter is finally letting go, any excuse to go out is good, and painting is the best!