Pitcher With Flowers

[Richard P]

Beautiful painting Bill!

Do you know how long it took you to paint it all?

[WFMartin]

I think that on this forum, there is a great misunderstanding about what [B]glazes[/B] are.

[COLOR=”Blue]For me, all paint layers applied in a [B]transparent[/B] way (whether they contain transparent pigments or opaque pigments) are, what I call, glazes.[/COLOR]

Yes, for me, as well.

Mostly it is done with transparent pigments, but you can also apply opaque pigments in a transparent way.

That is exactly the way I see it.

I believe Bill calls [B]all thin layers[/B] to be glazes, no matter if they are transparent or opaque. But he’d better explain it himself (maybe he already did in the past).

Gosh, I believe you explained it very well in the two comments above.:) And, I totally agree with you, because that is exactly what I do.

A whole difference, when talking about [B]glazing[/B].

Some may see it that way, but apparently you and I agree upon the factors that you mentioned.

wfmartin. My Blog "Creative Realism"...
https://williamfmartin.blogspot.com

[TWAdair Art]

Thank you for your comment.

The concept of using a grisaille (gray) underpainting at the beginning is as follows:

Color has 3 attributes, or dimensions. They are Hue, Value, and Chroma.

Hue is the identification of the color, eg.: Blue, Green, Red, Magenta, etc.

Chroma is the grayness (dirtiness), compared to the purity of the color.

And, Value represents the lightness or darkness of any specific color.

The concept of painting a grisaille underpainting first is that once it has been completed in as accurate, and as detailed a manner as possible, one dimension of “color” has already been solved, and the only things that remain is to apply the last two dimensions–Hue, and Chroma. That truly makes it super easy, and straightforward.

I always tell my glazing students that once you have completed a very accurate grisaille underpainting, the rest of the painting nearly paints itself, it is so easy to accomplish, by glazing over the gray underpainting.

Thank you Bill. That makes a lot of sense. I may give them method a try. Working up a heavily detailed underpainting can be time consuming in of its self. Then by time you get to the color your painting is fairly thick with blacks and grays.

I think that on this forum, there is a great misunderstanding about what [B]glazes[/B] are.

For me, all paint layers applied in a [B]transparent[/B] way (whether they contain transparent pigments or opaque pigments) are, what I call, glazes.
Mostly it is done with transparent pigments, but you can also apply opaque pigments in a transparent way.

I believe Bill calls [B]all thin layers[/B] to be glazes, no matter if they are transparent or opaque. But he’d better explain it himself (maybe he already did in the past).

A whole difference, when talking about [B]glazing[/B].

Thanks for clarifying that. I’ve always considered glazes to as transparent layers as well.

I will look into this grisaille method. It may be my preferred way. who knows!

Tylor W. Adair
www.twadairart.com
https://www.youtube.com/channel/UC7fB8ceva2DaxXfbD0_Nedw?view_as=subscriber
Comments and Criticism always welcome!

[WFMartin]

I love the simplicity of this. But your colours are really harmonious. Bill can i ask if you’ve tested your ‘trick’ highlight thang on objects that are cool in temperature? Ie. You say to put a bit of the locals complimentary colour into the white to make the highlights sing. So putting a warm colour into the white rather than a cool. I’d be interested to see if it was just as successful as this?

Yes, I’ve used that “trick” with highlights, making them appear whiter-than-white, when surrounded by a cool background color. I will choose a comparatively warm color to add to my white when painting the glistening spectral highlight.

I always ask that others keep in mind that the amount of color added to the White is very, very minimal. You do NOT want a “Blue highlight”, or a “Yellow highlight”–you only want to add enough of the complementary color to the White to create a very slight, visual reaction against the complementary color of the background upon which it is placed.

There are those who disagree that this concept works at all, and they are entitled to their opinions, claiming that White, itself, creates the brightest highlight that can be attained, without any additional color being added. However, I have found it very effective, and something that I believe may be worthy of some experimentation, before dismissing the idea as nonsense.:)

I am not one who enjoys employing concepts that don’t work, generally.:)

wfmartin. My Blog "Creative Realism"...
https://williamfmartin.blogspot.com

[AllisonR]

Very nice as always Bill. Your flowers really pop, being next to the more muted greens of the background.

Being born places you at a greater risk of dying later in life.

http://www.artallison.com/

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