How NOT to Use White Oil Paint & more - Ep.20 Oil Painting Q&A with Mark Carder
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- Опубликовано: 2 июл 2024
- If you have a question for me, post it in the comments below. I'll answer as many as I can in the next episode. Here are links to each question answered in this video:
00:04 - a lesson on how to use white oil color properly
06:00 - How do you light paintings in the home?
10:49 - How do I make Geneva Paint more transparent, or thicker if I want to paint in an impasto style like Van Gogh?
12:11 - Why does it matter what type of canvas I use?
17:11 - What type of varnish should I use, removable or permanent? How long should I wait before varnishing?
20:16 - Should I stain my canvas even if I am going to be painting white roses?
Hi Mark! I just want to tell you that I improved tremendously after watching a lot of your videos. I'm so thankful for your teaching. You are truly a good man for sharing your precious knowledge to the young artists. I love your work, keep it up.
you have said everything I wanted to say. Every time I watch one of Marks videos I seem to get the answers to the questions that have nagged at me about painting.
For example, having so many tubes of paint in front of me is just too over overwhelming. So the limited palette makes so much sense to me in alot of ways. Much easier to control those subtle color graduations needed.
Having worked in the printing industry most of my life. I can say that almost all commercial printing is achieved by the primary colors.
I did two small paintings in the last month and I have already seen so much improvement in my work following your instructions and videos.
Possibly the most helpful advice I've received. Still think about this every time I paint. Don't mess up your darks people!
Does apply for skin?? Fisrt stage could I just go color for values? I hate the milky look... lack or tones
Thank-you!!!!
I am a new painter at 50 and the first thing I did was buy myself was the most ginormous tub of white I could find and had myself a heyday with white and the magical power of it. I don’t know why I just thought white was my best super power. I had a great laugh at myself watching this video...
I naturally lend myself toward free form, and am a mystical spirit, which is exactly why I need a teacher like you, (and then other ones who are just really encouraging. )
I also learn something new and helpful from you. Thanks for the black (and white ) on it all!
Many thanks to your teaching approach Mark. You and Paul Foxton (painting cubes and cylinders) have helped me finally got over the hump and improve my still lifes tremendously. I very much appreciate your color checking style and your step process. I have watched your videos time and time again. I am amazed at how much darker my shadows are when I do the color checking. I am amazed at how much more toned down my colors are and how much more beautiful they are. It's all about that color checking! And taking my time with simple still lifes. Thank you a million. (from Arlington, VA)
Hey Mark, just wanted to say I really enjoy your videos. Always down to earth, clear, understandable and relevant.
I’d forgotten the rule about white! Thank you so much, I can see where my painting went wrong and hopefully will be able to correct it. Very helpful, thanks again!
this has answered a problem I've been struggling with for 2 years now. thank you!!!
Probably the most important lesson ever. It changed my paintings and tattoos forever.
Thanks once again, Mark. It WAS the answer I was looking for about lighting. I've been waiting and being indecisive, but I feel better now moving forward to getting those spot lights installed in my living room. I am totally convinced of all you have said about making oil paintings relatively dark so that the darks are rich. It does require them to be lit well, but then they look so great. A.D.
Thank God so much for sharing this! Love your paintings! I'm self taught but still learning,this is a big lesson on the white paint! Ty
I LOVE this channel!!! Thank you!!!
Gee I have never even thought about that. I am always using with white and my colors look very bad. I am definitely going to try your technique!
Thank you so much for explaining and insisting about using as little white as possible. I found that with time and more experience I have come to use less and less white as if a sort of natural evolution drew me away from relying too much on white to create the lighter colours. I also remember my teacher using absolutely no white to make a lighter red.
I love these in depth videos
Hello. What painting presented the biggest challenge of your career? What specifically do you find the most challenging thing to paint? I find water so intimidating and I find it very difficult to get the right value and hue and highlight. Are you ever intimidated? You have my sincere thanks for your videos. I've watched many of them and I really appreciate your very detailed answers to questions that often seem like it's rudimentary and then when you expand on your answers I find that I'm learning so much more.
This is absolutely priceless advice Thanks!!
You offered better advice in 22 mins than I received in 4 years in art collage back in the 1980s.
Thanks for your wonderful lessons!!!
Wonderful!!
I have to watch this video about once a month to remind me to NOT get to the white too fast!!! Thank you, i really appreciate your informative videos!
This was so helpful. I’m just starting to paint and have been using white to light my shades and it’s made everything almost chalky. Thank you. You’ve sold me. I’m buying some paints from ya!
Your videos are fantastic thank you for making them you rock
Thanks for sharing your wisdom.
Thank you for your advice!
Thank you ,you are great teacher
i would like to see demonstration for that. even small one it will be helpfull to understand it better.
+Celine Haya
Yes! You can read or hear tips, but you understand better when you actually see it done.
like another poster said, I would like to see a demo on that. I can see not using black but not white. I find the chalky look comes more from too few value steps and using a heavy titanium. a short video might explain more of what I'm not understanding! but thank you, I love your videos.
Comunque, magico il tuo modo di dipingere!!!
So happy I found ur channel!
Thank you.
Love your videos I watched all, thank you for sharing the knowledge it helped me a lot.
This WHITE PAINT he has invented has TRANSFORMED my art - been looking for an opaque easy to paint with white for 20 years .... I recommend it.
Is typical titanium white not opaque?
my greatest suffering as a student has been trying to paint light fabrics...I've even painted the shadows on top of the whites. I would like to see this topic again with more depth and visuals of good and bad paintings. Thanks.
Thank you!
Such good advice
Sage advice here, on using white. I picked up some of your brush dip and it does a good job keeping my brushes alive, since I only paint once a week
thank you, very informative
Thank you
Hi mark, where is your torso and how are your hands floating? Does this make painting difficult?
Everyday Bodybuilding You must have a very dark screen...
Adjust the brightness setting on your monitor upward until the sweater is clear.
r/woosh
😂😂😂
Thank You
Great comments about white, couldn't agree more. I've learned the hard way to avoid white until all else is complete. Big mistake if done otherwise.
James Barton.... I find otherwise, especially with oil paints.
Gamblin's Cold Wax Medium could be used to thickened the paint, although it makes it matte.
In most pieces, I use titanium white as frosting on the cake. It causes a chalky effect in my experience. Or, it can look like fireworks popping off the painting🌠😁
I like soft mixing white
flake white
unbleached titanium and yes, even zinc white on the palette in progress.
I love titanium white so much that I save it for the last twinkling details🌟
(Would I use titanium for tint/mix out of convenience or necessity? Absolutely. Sparing, no blending)
@Mark Carder and @DrawMixPaint have transformed our painting experience to a more efficient, *healthy* and productive level🙂
Hi Mark, I'm a artist and videographer - thanks for the incredible videos, really helpful. Mic pointer - you can pinch the fabric of your shirt and clip it there - so its not distracting to your viewers, but it was really clever on the glasses. :)
This problem is helped a lot by using lead white.
That makes sense, i use white to lighten, thank u Mark! ill do what u say.
I seem to recall somewhere along the line being told to start with an intermediate value and then think about the darks and lights which never worked out. I think I've done how NOT to in all ways possible in all media although it's harder to go wrong with black ink, which is the one thing I'm very good at.
I have a collection of unfinished paintings I knew weren't worth going on with. I only knew enough to know something was terribly wrong with them. Which was probably a good starting point. My latest attempts are going much better thanks to your demos and those of other artists willing to share what they know here on youtube. My old paintings can possibly be finished because I know now the what TO do.....and I could probably finish those paintings (I think, delusional, perhaps, oh, for the shoemaker's elves.......) in five minutes except I'm so damn tired and old and procrastination has it's hooks in me. Tomorrow's another day.
Thanks for the concise commentary in this video, very informative.
Dig this. I use painters tarp -- you know a canvas drop cloth that house painters use. A very rough canvas. It has a lot of "tooth". Very fun to paint on and cheaper than anything I've found. And then, it's funny to talk about a painting lasting "hundreds of years". How many of us really think that our work will be seen a hundred or even fifty years from now? The idea is to paint. Hey, nothing is permanent and besides how many really great artists were NEVER discovered and yet still worked. One paints because one can't not paint -- proper English or what. If you paint, make art what difference does it make if it lasts a hundred years? Besides in a hundred years there may be a way to preserve paintings, or we may have destroyed ourselves and no one will give a crap. We'll all be too busy trying to find food and water... or dodge a bullet. Love yu.
I thot i was the only one using painter's tarp!! It is high quality. Don't tell anyone we're doing his or the manufacturer will raise prices!!
Me Too!! Know what? Your canvas painting can be relined easily a 100 years from now. I like the tooth, bec. its easy to make smoother or just leave rough.
Sorry but this is so stupid for so many reasons I won't even get into. Yeah lets paint on a shitty, uneven, super porous surface with all kinds of irregularities in it that sounds fun. It won't save you money either as it will drink the gesso and anything else.
@@satchelyork Have you tried it? Probably not. That's my guess. One can make it smooth as silk if you like it that way and don't use gesso. The manufactured crap they sell is basically latex paint with filler. Make your own. I do. Sounds like you look at painting as coming from a tube, or jar from the "Art" store. When you've been at it as long as I have you learn tricks and strategies and it just isn't as easy as opening a jar of gesso and a tube of Cad Red Medium. Have you ever been to a museum? Look at the art and read what it say's for medium. It never say's Windsor Newton oils. It's not all from a tube or jar from the "art" store. I'm sure you know Pollack used house paint. Don't be afraid of some work, or dare I say it, creativity. You'll probably never hang in a museum anyway, so try something new.
@@gloobnord Do you have a recipe for making gesso?
thank you
thank you.
Richard Acevedo-Torres A
First I want to tell you that you have been clarifing many of my questions and problems that I have doing my paintings. Thank you for your wisdom. I have started to buy some of your products. My question for today is do you know what kind of light I can have to mimic moon light in the room?. Thank you
Moonlight can look warm or cool in temperature. It's the surrounding colors that would make it look like moonlight. The value of the surrounding colors would need to be darker in value. If the surrounding color's darker value are a warm hue, the moonlight and it's reflection would look cooler. If the darker value of the surrounding colors are of a cooler hue, the moonlight and it's reflection would be warmer. The same is true of sunlight.
I always use white last. It's opaque enough to cover any other color if the underlying color is dry to the touch. Except I paint the sky color early in a distant landscape, because the atmosphere created by the sky in the distance, which influences the local colors of hills, mountains, and trees that are far away. I never paint a close up color mixed with white onto another color until it's dry to the touch. Not only is white very opaque, it takes a very long time to dry, so the least amount of white used the better in my opinion. Saving the colors mixed using white to blend with other colors mixed using white, until after the darkest darks, and color blocking is dry to the touch. I only then add pure white for highlights.
Wow, thank you so much for this video, I was watching it during a copy of a baroque painter and imediatly I put away the white paint my workflow improved so much! I have a question about your slow drying medium recipe, can change OMS to odourless turpentine? I don't have an acces in my country to oms, instead I can buy turps, white spirit, odorless white spirit, some odorless thinners from maimeri, "eco thinners, vegetable thinners, rectiefied turpentine, winsornewton thinners. I've read that oms really makes the difference.
Funny that you mentioned Rembrandt paintings. I did a 16x20 portrait of Rembrandt where he is sitting with a fur on one arm, coat collar turned up, has his beret and his hands are holding each other. I used dark colors like he did. I don't have museum lights in my home and in fact, I don't have lights over any of my paintings. Just the lights on a paddle fan in the living room where this particular painting is. It's hard to see the painting in this light. The light casts a glare on the painting and the only good way to view it is to keep the light off and just have the light from the front window.
You are right about putting paintings online. No one comes into my house so no one sees them in person. However, they are online and occasionally I will post one or two on Facebook.
Great lesson - learned that by experiment many years ago - I do not even have a T.white oil - only have a Zinc white - good help!
Your advise is the best. When will we have your paints in the u k? Thank you
I just ruined two paintings today with white. Ready to try again now that I saw this video
I have never painted on an oil primed canvas and what it costs to buy them I may not ever. Any chance of a video demonstrating how to oil prime a canvas instead of a gesso primed canvas like most hobby stores sell? Thanks for sharing all that you do.
So when you add white the color becomes more milky.
And when you add red the color becomes more cherry
and when you add green the color gets more leafy.
btw, I also have the same feeling about Burnt Umber
so true
Restored Rembrandts are pretty bright. Many of the old ones are dirty :)
Thanks for your great teaching videos! I want to stretch my own canvases, but can't afford to buy a whole roll of canvas yet. How can I buy smaller amounts of canvas? Also, have you ever created your own stretcher bars? I would like to do that too if it is feasible.
In one of the Q& As I wonder about drying. I have an herb drying setting on my oven(140degrees) and have used it to dry a painting when I needed it finished in a hurry. Never seemed to be a problem. What do you think?
so this is JUST the way to do it :)
Nylon has huge stretch - maybe a polyester weave?
Main problem with cheaper prepared canvases from budget shops is the poor quality of the priming(s) - they have to be sanded down to get rid of as much of the cheap priming as possible, and then covered with a better quality gesso.
From DrawMixPaint.com: If you buy pre-stretched canvas, I recommend Centurion brand primed linen canvas.
If you're going to be stretching your own you'll need to buy canvas and stretcher strips. For canvas, I recommend either Claessens Oil Primed Linen #13 or Centurion brand primed linen canvas rolls. Both of these pull the paint out of your brush better than any others I have used.
thank you for this video, however i would have loved some application, with a specific example. take care
Hi Mark, thank you for excellent information! I have a question regarding canvas and mixed media. When I go to exhibits, I see many new-to-me artists show bare canvas edges. It provides a neat effect, collage-like and spontaneous. I wonder whether there is a way to protect un-gessoed canvas from oil paint that won't show? Would a matte varnish do it? Second, I see the same artists produce large (read: expensive) canvases, and to cut costs, they underpaint in acrylic, or even in old, leftover house paint. I have a lot of sympathy for trying to save money on materials, but would a piece of art with mixed media like that last as well as an all-oil or an all-acrylic piece? I know house paint has its limitations, so... would that be an anti-selling point?
Try to paint in room with relatively dim light. It helps to paint in bright colours and have better control of values.
how can I use the colorcecker standing opposite the light coming from the clouds? when I am trying to match clouds colors my paint fall in darkness due to the light transmitted from theclouds
Hi Mark....every teacher of oil painting, every other word is about color temperature. This is cool, this is hot, do you see the temperature of this ad nausium.
Yet I've never heard you talk that way in your teaching, can you enlighten me?
I hope this makes it to you I tried to get you latest Q&A in hopes of you seeing this. I really hope to hear your take on this issue of temperature, how important is it and what part dose it play in painting successfully?
Your the dog Mark keep teaching us!
Hi Mark, In this video you stated that your paint white the canvas before you stain it with the background color you wish to use, but I don't recall you mentioning the fact that you apply a white paint to the canvas. I also looked at your Draw Mix Paint online class , specially the "Step 3 - Preparing your canvas", and no mention there either. Please clarify.
Sounds like the Biltmore Estate in Asheville, NC.
I would like to hear your opinion in using the most simple possible three colours plus white palette and using regulary phtalo blue paint as primary.
How do you decide which details are essential to capture and which are too insignificant to be worth resolving? Squint test?
I am a faithful watcher of your tutorials. Can one mix your paints with normal oil paints ?
How do you decide on the color of the background?
Can you talk about the portrait that you make of Bush?
I wish I watched this before I ruined one of my paintings
I just painted a plein-aire landscape composed mainly of white buildings. Even though many of the structures were in shadow they still contained white, so I found it nearly impossible to keep white off the canvas until the very end. My painting ended up pretty chalky. How would you approach a scene, landscape or other, which is comprised mostly of white or light areas?
+Dina Azarkman Mix your values and colors right to begin with, then do not blend at all until the very end if any.
Sir, your all methods - from studio set up to painting - resemble those of the Academicism . Did you study the latter ?
What will you advise for plein air painting?
Mark, is there any way we can watch ep.1? I would like to see your comments on several of the subjects you have listed as being discussed in that episode.
Hi Mark, I really enjoyed your video about the white paint , if I may ask you to mix my colors for the shadows and for the half tones I always add some white the question is maybe I'm adding too much white to the mixture of the shadows and halftones how much white is it too much ? without making a chalky that will be my question thank you
Do you mix from your elemental paint selection as required or is it more advisable to mix all colours and shades for the entire painting?
I believe if you keep a painting in the dark the paint darkens as well? particularly if linseed oil is involved.
You dad a spot of mixed colour onto a photo of the subject. in order to preserve the photo/wipe off the paint, for future 'matches' do you laminate it or cover it with glass/plastic?
David
Thankyou!! But what type of inexpensive canvases you recommend ?
Mark i think i made a big boo-boo I did an underpainting which has taken me weeks but i did not size the canvas with rabbit glue before putting on many layers of gesso only to sand them down for a nice flat surface. do you think i should size the back of the canvas to stop the degrading of the linen canvas instead.. thanks for your videos by the way they are very pro...Excellent!
Hi Mark, first of all, I have to say that I discovered your channel a few weeks ago and I cannot stop to be amazed by the quality of what you offer. I have always been passionated about art (my all times favorite painters are Sorolla, Manet, Ingres, Bronzino...) but I had not found the ressources to begin to paint in oil myself.
But now, everything is different, I learned so much through your website and watching literally all your videos. I am already painting my first one.
Regarding that, I have a question to ask you but I'm not sure if it is the place to post that. Anyway, it is hard for me to find Clove oil around here and as I guess it is an oil that is supposed to delay the drying, I was wondering if I could replace it with Poppy oil in the recipe you provide on Draw Mix Paint.com
I would be very happy if you could answer that.
Keep up your amazing work. Regards from France. (By the way, please be indulgent with my writing for it is not my native language.)
Thanks
Dear Sir;
I would like to know from you the following please:
how do we avoid using black or white when painting; any other alternatives?
how to lighten red without making pink.
how to lighten blue or purple.
what is your first brand name choice of medium to use for fast drying oil painting?
how are oil glazes applied?
Thank you.
Fernando
Hi Mark, I cannot get the artificial light fixtures into my apartment as I am too space limited. Therefore I am painting near a big west-facing window. But then the light changes as the day progresses so it's challenging. I keep to small still lifes that I can do quickly. Any suggestions? Thanks, you are by far the best online teacher I have had.
I think I just found my answer in your 'color checker basics' video. Thanks.
what about portraits where you have to set the base of the skin?
The darkest darks should be dry to the touch first, and on a portrait only the lighted skin tones have white mixed into them. Once all colors that don't need to be mixed with white are dry, the remaining colors that are mixed with white can be blended. In areas where a color suddenly moves from a lot of white to very little white, try to lay the colors side by side rather than blending, or work on other areas of the painting until the color using less white is dry to the touch. I hope this helps.
The Boston Museum of Fine Art is a major museum, but its lighting problems are nothing short of ludicrous. It’s designed so that a very large percentage of their collection has so much glare bouncing off the painting surfaces that you literally can’t see them properly from any angle in the room-not at all from some angles. I’ve seen RUclips videos literally a hundred times better lit. Like this one.
I agree!
What are your thoughts on painting from a photo that is on a screen/monitor as compared to a printed photo?
i had my artwork shot and noticed patches of shiny and dull surfaces. How should the lighting be placed to counter that snd should I use a specific varnish? also dust particles are really visible and my paintings are on panel and very flat.
For a second I thought it was a floating head lol
what do you think about keeping lid on white untill the very end of painting, that way you not going to ever use white till highlights.
Mark, How do you take your system outside with !limited palate space