Value Misconceptions & more - Ep.11 Oil Painting Q&A with Mark Carder
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- čas přidán 29. 07. 2015
- If you have a question for me, post it in the comments below. I'll answer as many as I can on next Thursday's episode. Here are links to each question answered in this video:
00:04 - a lesson about misconceptions about value in paintings, specifically the overall "exposure" and what happens to colors that are "overexposed"
15:45 - Do you feel that artists like Sargent and Repin, who painted quite loose, worked more rapidly than you?
19:01 - I paint full-time and have pain and swelling in my hand after long days of work. This this normal? Do you have any tips on how to avoid this?
20:31 - Have you found a certain size painting sells better than another? Do galleries tend to prefer larger pieces to showcase?
21:57 - My studio has a very low ceiling, so my light is coming from behind my right shoulder. What do you suggest?
22:38 - What are your thoughts about color charts? Are they really useful or can I match my color by using just the color checker?
I know you posted this five years ago, but this was extremely helpful to me today. Thank you.
thank god finally an oil painting video that isn't clickbait junk like most of the stuff is uploaded nowadays.
A statement if I may ; I think you help people more then you realize. Your use of a pulley system when you damaged your shoulder was excellent. I also damaged my shoulder, the pain was very bad, I used a brace from the floor to support my arm, did not work that well,. Hopefully I'll not need it again, your idea would have saved me a lot of pain. I had a commission to finish so waiting to heal was out of the question . With your vast audience I would think there's someone who can use your idea. Thanks
Mark - i have watched all of your videos and also pulled as much info from every available source - and i have to say that that what you impart is quite unique, fulsome and delivered in a thorough forthright and unpretentious manner. please accept my thanks - and please keep it coming!
This is really awesome. Thank you for taking the time to sample all of the different spots to demonstrate.
My go-to online painting teacher. Thank you for making these videos.
As someone whose vocation involves teaching people, though not necessarily painting, the way you present things are incredibly helpful. Several people below commented on this, but I just want to reiterate that I think that what you are doing is having such a positive effect for so many people. It certainly is for me, and i hope you realize this...looking forward to future videos!
Hi Mark, John Singer Sargent is spoken of throughout the lectures by Paul Ingbretson, a teacher of the Boston School of Painting. I think if you google him and take a listen, you may find him facinating. He is old school, and teaches painting at his atelier in New England that I had attended for four years. He comes to us as a student of Gamel. In his 'Talks about painting #5, he mentions Sargents watercolor technique. If you haven't discovered him yet, I hope you enjoy what you find. And thank you for all of your wonderful instruction.
Thanks so much for your time and experience I live a small town not available to much in a way of workshops you have been a great help!!
Great advice. Great delivery.
I posted this on another Draw Mix Paintr video, but I wanted to post here, too, because watching this video helped me so much, and Mr. Carder is right, value is so important: I’m getting back to oil painting after a long hiatus. I took some lessons from a local amateur artist and came away very frustrated. I had so many colors on my palette that I was confused and my paintings looked garish. After watching the videos about using a limited palette and following the steps to create the value steps for a painting, my painting improved immediately. The colors look more natural, and it was much more fun to lay the colors down on the canvas. Thank you, Mr. Carder.
Not a question, just a word of appreciation, there is always something of interest and value, and I think it is brilliant that you do this, so thank you.
Great tutorial on overexposure and loss of color. Rushmore rules! Thanks again for being a truly excellent teacher, for free. You are the best, Mark.
Nuff respect bossman i just love how you take the time to explain things so clearly.LOVE your videos many thanks for sharing.
this was by far the most helpful video. the color checker method was just what I needed at this time. thanks!
24 people couldn't afford Geneva paint. This guy has taught me more than my professors! People tend to take things for granted. Peace!
Well it's overpriced... Why would a paint with medium be mixed cost more than one with just pigment and oil... A tube of the most expensive oils like Blockx, Isaro, Schminke, Williamsburg, Old Holland, Michael Harding, M Graham are cheaper and have more pigment. I love the videos but these paints are for people willing to pay more for a shortcut they are not superior. But I can see why some people like them as stiff paint takes time and effort to configure.
@@satchelyork haha this comment is stupid. If you have done your research, you would know this paint is actually significantly cheaper than Winsor Newton- and to. Uy all the ingredients and make your own slow dry medium is also quite expensive. You act like he just thinned it down with straight linseed oil or something. Winsor Newton sells 37 ML of cadmium yellow for almost the same price as 100ML of Geneva and its not anywhere close to the same purity level- and they also don’t offer a larger size of their cadmium. Geneva paint is not only the most pure pigment wise, but it is actually less expensive than even gambling because you don’t need to buy medium, and it remains workable for about a week! If you wanted to make your own slow dry medium it would an annoying and toxic process, and also cost way more than just buying Geneva paint. NOT TO MENTION THE FACT THAT IT IS TOTALLY SOLVENT FREE AND ALLOWS FORNA SLOW DRY TIME OF 1 WEEK WHILE GIVING YOU A TOTALLY NON TOXIC STUDIO. Over priced? Definitely not. Undervalued? Clearly by you.
You are a genuinely knowledgeable and learned teacher, I am now beginning to understand the entire art process so much better and in a vividly easy to paint from now on kind of way. Thank you :)
MASSIVELY helpful. I always struggled with value, and watching your videos, and learning to not only use a color checker, but to know how the same color looks different depending on the surrounding color, just WOW! Saved me HOURS of frustration, just by understanding the concept technically. I always tended to make the photos that I worked from TOO BRIGHT and didn't realize it. Going dark, and THEN light makes such a big difference, WHO KNEW, LOL! I've been painting most of my life (I'm 57) and I'm learning more from CZcams and your videos than I EVER did in art school! Thank you Mr. Carder!
Excellent .....! Probably the best commentary on value I've seen. Your examples on exposures is spot on.
hey thanks for all the free tips and tricks, thats awesome to see in world full of marketing BS everywhere. I know this is an old post but oh well, better late than never! Any painting that any person paints is more likely to end up in a home rather than a museum so why not paint to accommodate a lower light setting, like a living room? And if one were to end up in a museum, they could just not over light it. I hope i don't sound like I'm nit picking anything here, you're logic to complicated subjects is so painfully obvious it's great! it's also why I shared my logic on that. thanks again, cheers!
Thank you Mark for this video. As always, your explanations are both common sense and a revelation.
Color, color balance. perception and lighting are all so highly variable that it is impossible to define a "correct" combination. Mark's instruction to watch this vid in full screen is a small example. The color and tone of the area surrounding any picture/photo/painting/space can greatly effect its appearance. Light intensity and color balance and even direction add more variables. Etc., etc....... Consider how art was lit prior to the invention of the incandescent bulb. Candles, oil lamps and sunlight come to mind. This is a complex subject and thanks Mark for bringing it up, and thanks for all the other awesome inspiring videos!
glad you're putting out more demo videos. i've learnt so much just from the metal cup video. it really made a significant difference in my latest painting to the point where someone i paint with every second week questioned if i really did it
Great episode! I so admire anyone who is a great explainer. The use of the Wes Anderson frames was very revealing -- simple and concise. And I liked the story about the milk jug & pulley system, a good practical solution.
I want to say thank you for your time and effort. Your videos and advice are invaluable. I don’t even use oils yet and find this channel more useful than any.
That you took the time to make these vids, I'm so thankful..!
Thank you very much! After years of acrylic I have ordered geneva Oil Paint and listen to your videos . Great job!
What an excellent study to share. Thanks.
What a fantastic video! Helped me so much... Thanks Mark.
Great video again Mark, thanks!
Mark , awesome videos , very helpful.
I am started water color from photos. Though always when dry look washed out, but likely the pictures are over exposed. Thank you for the insight.
I'm a retired inventor for hire, balance of creativity and detail so comfortable with chaos in the middle. That isn't water color.
Having trouble with getting value understood. I know you say stick with one method. Invention starts with knowledge. This is what I am looking for. I add together snippets.
What I discovered in 40 years of being dropping in an area I know nothing about is that the professionals instinctive knowledge is going to flow out. It isn't text in their minds. I envy teachings for their capacity to do as well as they are.
I am not dealing with teachers. Impossible to get sufficient knowledge from one, but you will get insights from many that has let me solve a problem they're too close to.
Thank you so much!! Greetings from Brazil!!
Wow this was so incredibly helpful.
Excellent video!! Very clearly explained in all details.
Great video! thanks!
Lol, love the pulley story ;D I am binge watching all your videos and I am learning a lot. Thank you so much.
Thanks for clearing the concept of exposure. I was really stuck with it. 😃
thank you so much for sharing this.
Partial solution to wrist pains is to do a warm up for your wrists. I play guitar, do a lot of touch typing and such activites can give you pain in wrists (painting never did). Just search on youtube different warmups, try maybe a warmup for guitarists, and then stick to the one you like, or even combine different ones.
As a post-warmup do the same routine. Aditionally, fill some kind of shallow container with hot water, but not too hot, so you can submerge youd hands up to the wrists and hold them for few minutes. The hot water expands blood vessels, which increases blood flow in hands and this really helps.
Obviously if pain keeps coming back stop the thing that you doing and go to a doctor, wrist injures can get very bad and they heal slowly, so be careful.
Excellent info! I definitely struggle with painting from bad photos and now I know why overexposed simply doesn't work. I had no idea so much color information gets lost that way.
Thank you for your teaching videos. I have been painting for a few years but I know that I need to learn more. Your videos have been a great teaching for me. I never went to a fine art school in my life. I have struggle to learn on my own, and am still learning. I want and need to improve my painting because painting is my passion and I always wanted to be a good artist. At 69 years of age, I might not become a master like I have seen on books and even in You Tube, like you, but I will keep on trying. I am not giving up. My favorite master is Rembrandt, there are other masters that I admire so much, but Rembrandt is my favorite. I don't know about the color checker, because I don't know the price I can afford, but I will continue to follow your instructions and see if I can accomplish my dreams. Thank you again for your videos. I see that most of the comments on this videos are a year and two years old. I don't know if you would look into my comment, but I admire you very much, you are a great teacher and painter. Thank you for your kindness.
Thanks for mentioning Sargent.He studied a lot in Paris and from what I've read he said to place your colors where they belong &leave them.
Great advice, thanks. I'm a beginner and trying to learn as much as possible before picking up a brush
Great explanation thanks
Excellent. Thanks a lot.
Genial explicación, muchas gracias por tu generosa información, era algo que antes no entendía .Saludos desde Argentina.
Thank you so much!
I had this idea(with the sunset issue you talked about) that bringing a mirror and turning your back to the light, you could hold the color checker up to the mirror, and color check that way. I've never tried it, it just came to mind a few episodes ago.
Wonderful video. I'm just a beginner, but I'm finding already I know that to my eyes my attempts are over exposed looking (and that's before I'm even beginning to grasp perspective for realism) This will help me to focus on the important things gradually, and hopefully improve with my paintings. Thank you so much :)
I artificially doubled my ceiling height by placing my 5000 k light behind me on the floor and reflecting it off the ceiling with a space blanket which I taped to the ceiling. I blocked out the direct glaring light from the source using cardboard.
Mark, thank you for everything you do. Until I came across your free class all I could do was admire those who painted. Now I feel I can go for it. Thank you, thank you, thank you! In the event you can get to this question.... how does one figure what size canvas to use? Do we measure the still life, the shadow box? Help. Getting ready to start painting in a few weeks (waiting for my color checker and getting all my supplies, etc.)
Again, thank you.
You are very cool professor!!!!!
I have learned so much from you. god bless you sir
omg so useful!
Well, don't think you can't do it, lol! Wow, that was wild how you built that elaborate sling, well done!!
I love your series. I'm just starting to try oil painting after painting with acrylics.
I did The same thing recently in college n I love Art n Mark's videos I spent over two hundred dollars worth on acrylics ultimately I do plan on trying oils thou very soon..
Great video
Thank you so much
I was hoping this was going to be about pricing(value) misconceptions. Still really informative. Haven't seen rushmore in a long time.
Wonderful video. As a digital artist I must say this helps me a lot to keep my values and colors in check. Simple and easy way to remember.
I do think you should also mention on future video (I don't know if you've covered this yet or not) that when portraying an art piece, weather it is traditional or digital, to keep in mind how different screens, projectors and monitors can change the way your image looks, in some instances drastically. I've had many issues in the past when my images fell apart as soon as it was displayed on some one else's computer. Where more than ever, values come in to play because even if the colors might be off from what you saw on your screen, if your value structure is strong enough, the image should still look good even when displayed on a lower quality screen.
I consider you to be one of if not the most knowledgeable art gurus. After painting some 1000 models from life early in my artistic endeavors I learned there are no easy answers. It could be exposure, lights etc etc etc.
I always found paint gets darker as it drys. One or two shades darker even when I used professional quality paint. Why do I never hear about this and then if you know this paint the value lighter taking this into consideration.
you sir are a boss!
Love you Mark and savour every word and piece of knowledge that the angels allow from your superb mind.
If you wish to provide a black background in order for students to grasp the full effect, then might I suggest that you may wish to upload in 4k.
1080p is not very well displayed on a 4k screen (in full screen), and it's a shame to not see your work in the best resolution available. (I believe I have provided enough facts for you to now be sold on the idea) :)
Thank you for your dedication, understanding, and teachings. Amazing fellow.
I am trying to paint a gorgeous rose from my garden using a photograph and am having a hard time deciding what color to paint the background. Do you have any advice you can give me? Is there a rule of thumb regarding colors that would help? Thank you for all of your amazing videos - - I just LOVE your channel!
Dear Mark, I really like your method. It suits me well, I believe. I was wondering, however, what you think about David Gray's way of painting. His painting technique is unlike anything I saw in the multitude of tutorials I watched online. I am interested in your opinion. Thank you.
As an amateur photographer, with the newer dslr cameras, you can bracket your exposure to take 3 shots of under, middle and overexposure so that you can merge them into software to pull out details from blown out highlights and underexposed shadows etc. Bravo on that still life by the way, it looks like a photo with a slight dream quality.
Thank you so much your videos are so helpful to me when I went to art school they didn't teach me Jack schitt
Cannot thank you enough for these amazing tutorials and Q&A. my question for you is regarding the light box you place above the shadow box. Its not clear if you have fitted a light bulb in the box or does it work by indirect lighting? as in,a sky light or a tangent source of light? As you can see we are all in trepidation for you to appear again here.! regards Leonard
Agreeing with Bill joanitis below - what a touch of genius to rig a pulley and counterweight. I've done this with still-life light fixtures, but wouldn't have extrapolated that to the painting arm. As a left-hander, I've occasionally blocked in using my right hand, finding it hugely looser and at the same time often more accurate than left-hand blocking. Have you ever tried painting left-handed?
I'm just like crow...i love shiny things...i do over on white, even though i really thanks for the tips you gave 🙏
Yeah it’d be awesome to have a subject that would be willing to dedicate the time necessary for a proper painting. I always feel like working from a photograph is much less engaging personally than working from life.
Lol I was racking my brain trying to figure out what muzehn lighting was... until it hit me... he meant museum. He sure has a strange accent very relaxed and musical.
Are the darknesses of colors you end up using for the couch or wallpaper, are those just apparent to you or do you reference it yourself against a lighter color before choosing your final color (or is it a value issue)? Also why can't you choose the brighter alternative?
The milk jug pulley thing is genius, lol
2:04 I'm a massive advocate of neutral color kelvin and lots optional can lights etc. in my living room. Most people think I'm crazy I think just to have those options. Most of the time it's under warm incandescent color spectrum light but when you want it bright it should be bright and neutral. I'm also an electrician lol. Seriously though light everything up because even just being able to see it in the first place is just a stepping stool to... Seeing, and then interpretation, etc...
ty!
Thanks to you, I now know how light and dark mix with paintings. I'm more used to shading with pencils, I'm moving into painting and my paintings look dull even if I add shadings and details. Do you know how to help me with that? I would love tips.
Great episode... disappointed that Q&A will not be everyweek... but excited that we will get to see more painting demonstrations. Still trying to save $100 to DL Mark's portrait painting video... the portraits i have done look pretty good, but I was wondering if Mark blends in portraits at all... and how many different color variations and values he uses... I in particular want to see how he works on eyes... my eyes never seem to be right... He said that portraits are done just like any of his still lifes...paint what you see... many times though, the reference picture is terrible.. and you have to sort of artistically guess the value of a color... I recently worked on a small 14x11 portrait of a famous Egyptian actress... the reference picture was low quality... so when I zoomed in on her face, It was not clear... the painting came out well, I achieved likeness... but when I go to see the work of masters, I'm blown away... but many masters where not using the alla prima method... I live in NY and I know we have Sargent paintings at the MET... so I can't wait to go and check it out in person... as the great master speed says, you must paint from the subconscious - so you have to build your mental database by looking at the masters.
First of all thank you for sharing this tremendous amount of valuable information. I have a question regarding varnishing. I varnished a painting which has been drying for a year with damar varnish. Now almost a week later it's still tacky. It feels dry to the touch initially but when I hold my finger against it for a few seconds it feels sticky and I can see a slight imprint. Is this normal with damar and will the stickiness eventually go away?
How do we know, what is the right exposure ? in that case, what can we do, to made the right decision ?
If you use a computer monitor as reference, can you suggest a monitor that would give accurate colors?
After reviewing some Q&A's I would like to pose a question about mixing color. If you intentionally change the light on the subject (natural light or artificial) to arrive at a different mood how will this effect how the piece shows under another light condition?
Really the first step in photographing is to look at the range of value in your metering and see that the values are not too light OR too dark but express a wide range within the image
I love this movie.
It's hard to imagine how Rembrandt or even Sargent could foresee what "museum quality light" was going to look like before electric lights were invented; also, using one movie director's vision of lighting, who the majority consider to be dark and eccentric, is not an appropriate validation of Carder's perspective. "Kodachrome - give us those nice, bright colors" is a commentary, but both digital and film do have far more limited value ranges. Movies generally are very artificial, in the way they use bounce fill, etc. to narrow the range to where the film produces a convincing result. That is the key to painting as well - knowing the range of paint, and not trying to match reality spot by spot; it can't happen except in your own artificially contained studio setups. Pop art commented on the public's addiction to lurid colors, which have pervaded the ways media exaggerate and oversaturate everything, even in the color balance settings of TVs and monitors.
There are photo's of Sargent painting standing near a window. I agree, it's hard to believe he would've chroma'd (?) for museum lights.
Imagine a Renaissance painter, painting in a studio- when the work will only be seen in a (dark) church, under candlelight!
Hey Mark, I am in sore need of new palettes but have been waiting because I wanted to buy yours. Can you tell me when those will be ready and also what the dimensions will be? Thank you!
Mark, would like to know the best way to get a good photograph of a finished piece of art work in order to share online or elsewhere. Thanks for all the helpful videos!
Could you talk about detail in a painting, For example details of linen on a cloth that underlies your still life. Or the peel of an orange. Do you use a small brush to create every dot on the orange?
I would like to add that the colour charts as I know them serve just as a means to learn how colour mixing behave (actual pigment). To get used to how much of a blue and yellow (the ratio) you need to get a certain green on your palette and so on. At least that is the purpose of Richard Schimd's colour charts. It is not for matching any particular subject. I think colour checker and colour charts are two separate tools that doesn't really relate to each other that much. You need your colour checker to know which colour you need to mix, you do colour charts in order to learn how to get certain colour easily (not to chase it for ages on your palette)
Hello Mark:
I was wondering if you could go through the techniques, color palate, and pros & cons of using a limited paint palate in
painting flesh tones. I have looked to several different sources in an attempt to produce life-like skin tones with no
success. Thanks for any assistance you can offer.
Andrew Achmann
As a photographer I found knowing the zone system helpful when painting or simply looking at a subject and being able to notice the subtle differences of light falling on the subject, obviously years of practice did no harm....The amount of light reflection off various tones becomes second nature after years of practice, of course you need to understand the type film your using.
Thank you for sharing such wonderful wise advice. I learn so much from you. May God bless you mightily in Jesus' name!
Part of the digital mistakes made in “correcting” exposure in Photoshop PSD (esp if RAW) is to alter the entire frame equally:: *that will never look “right”- it’s not the way we SEE!
Students using Photoshop or Lightroom (I prefer Affinity) should try raising the “Brightness” slider. Brightness is an *array of variables that add detail to shadows, because there’s a LOT of detail remaining in the darker areas (especially of RAW) images.
Abusing “Brightness” is also possible, of course, and it goes way off-course quickly, especially in light areas, so judicious evaluation is required; it’s best used as a Function adjustment or layer that can rapidly be turned off for comparison.
Further, a mask layer can apply the filter to a specific region. Newer versions of PSD (even Photoshop Express on an iOS device) automatically make an AI figure mask and offer to apply the filter to background only, etc.
A question on color checker: why is the area where paint goes tilted? I would imagine that you'd want the color checker's paint area to be perpendicular, just like the canvas, to match the value that will be perceived when looking at the actual painting.
respect
The only thing we can do to show our appreciation is to buy is paints and products.
Your Q A episode is Absolutely v informed, I live in India, in area of very hot and dry climate, does it effect quality of Geneva paint jars, my daughter sent me from US ?
Very helpful. Now on the same topic of museum lighting if setting up a new space for display or new house living room what distance and format of light would be optimum for say portrait work and art in general please.
I have a video on how to set up an artists' studio. In the list of free videos at www.drawmixpaint.com/
I like to work from photos on my monitor. Can the color checker be used against a computer screen?