kingfisher – working clair-obscur, oil painting time lapse

kingfisher – working clair-obscur, oil painting time lapse


hey everyone! I’m Faenimh. Today I’m back with an oil painting made in a technique called clair-obscur it’s a technique that results in a very strong light contrast it starts with an imprimatura
that’s black or almost black and then the entire paint is painted with various
layers of white after the entire painting is done in black and white colors are glazed on top of it and sometimes there’s even some opaque color
added and that results in a painting that’s very much focused on the light
and usually has a very dramatic lighting I’m starting my painting with an
imprimatur that isn’t exactly black instead it is a burnt umber because that
has excellent drying properties and mulled in oil it gets so dark that it actually looks like a warm type of brownish black rather than a dark brown and the great thing about an umber is that it’s a very stable pigment so when I want to paint
my layers in white it doesn’t bleed through and also I really like the warm
look of this brownish black that background layer is completely covering
the gesso that’s on my linen and it has had quite some time to dry before I
started using the white I’m using titanium white for this first white
layer and it’s mixed with some chalk paste to thicken my paint and make it dry faster and this first layer was actually really a struggle this first layer in
white is really rough and I’m painting directly with light instead of first
establishing my shadows normally I paint from light to dark and even if I work
from colors that range from dark to light then I still first establish my
shadows and then fill in my highlights but in this case I need to start with my
highlight because I’m solely painting with white,
all my dorks and all my shadows are already the background and the only way I’m making different tones is by using the paint thicker or thinner there’s no mixing in any way so it was quite an opposite world to paint like this to me it was at least and I would consider this a very ugly fase so to guide my painting I worked out my idea and Photoshop first so I would have
an idea where I would put the light and how far I needed to push my mid-tones so I was really glad that I had my sketch as a reference after I finished that a
titanium white layer, I give it a good time to dry and my second layer is with a
different type of white called the zinc white zinc white is a very cool and
transparent white and I mainly use this to paint my mid-tones my brightest
highlights are already there and I get my shadows from my background layer so the mid-tones are the colors that need to be pushed and this layer is not as
rough as the first one so I’m softening up all of that roughness from that first
layer while I get even more light into this painting I also lighten the
background because I don’t want it to be a hundred percent black and I’m just
ignoring her hair at this point because her hair is way too fine to paint in
this fase it’s still pretty rough because I’m working from big shapes
towards more detailed things it’s quite funny that because this is such a cool white if you put it on such dark background it looks almost like it’s blue rather than white on such dark background you can really see the
differences between cool and warmer whites and after I finished that layer of zinc
white, I let my pinch and try entirely again before I move on to the next white so this is the third and last layer in white and I use this layer to go
even further with my mid-tones as well as some highlights and the white that I
used for this is known as kremer white not a mistake with the kremser white
that’s a completely different color kremer white is called after the German
manufacturer and it’s a very pretty white that can go very transparent but also a quite opaque and it has this really nice and warm glow to it if you see it in powdered form or if you see it next to a titanium white it’s almost like a greyish white it’s not bright white and that’s why it’s
actually a color that I really love using because it’s not as harsh as the
titanium white while I’m painting this I’m really thinking about the colors that I
want to have in the end and I make it slightly lighter so that’s why my background for instance gets actually very light I’m going to glaze on top of
all of this and a glazing layer always takes away some of the light and besides that oil paint has a tendency to suck away some light while it dries so if you paint in thin layers especially, your layer can look super white while you paint it and after a week, when it’s been drying, it turns way darker and that’s just a
property that oil paint has the drying of the oil paint itself, as well as the fact that I’m going to glaze on top of it, is going to make a darker so since I still want a lot of light in my painting I paint it lighter then I actually
intend it to look in the end so after I’m done with all of my white
I’m not yet ready to move on to my color before that I first want to paint in some
of the hair and some of the dark details so they can get glazed with the rest of
my painting and it will look all nice together and when I’m painting my dark
over my light you can really see that this color is actually a brown rather than black and when I’ve painted in those dark details I let it dry again the drying time inbetween it’s really really important once oil paint has dried you can’t reactivate it anymore, which makes layering very easy and that’s really important when you want to add colors especially when you move from layers in white to glazing in colors, it’s really
important that your white is dry a tiny hint of white can really influence your colors, making them more opaque and just giving it a weird look in general I’m keeping my painting horizontal while I’m glazing a glazing layer contains a lot
of oil and gravity can pull your pigments down so to keep my colors where
I put them, I paint on a horizontal surface and I’m also letting it dry
horizontally in this glazing layer I’m using all of my colors transparent so they glide on like a transparent and glas-like film the tones I made in
previous layers in black and white will actually determined how bright a color will look it looks and feels as if I’m coloring an old photograph which actually looks quite weird especially when some parts haven’t got any paint yet in the end every part of this painting needs to get a little bit of color even the shirt even though I intend it to be white shirt and when the entire painting has got a
layer of color actually everything seems to have sunken into the background there seems to be still this grayish film on it and it looks like your colors black
and white photograph rather than a painting so after my glazing layer has
dried I’m going back in with some opaque color and I’m hitting just the spots
that need to be on the foreground there is a big optical difference between
opaque color and color that has been glazed on top of something and to pull attention to the places I want people to pay attention to to really create a
difference between the foreground and the background I come back in with some opaque color and make some parts light up and stand out and one that opaque layer has dried and
sunken in a bit I go back in one last time to fine-tune everything to give it the colors that I actually want it to be and with that we come to the conclusion
of this painting I hope you’ve enjoyed watching this very traditional technique it was super new to me and it was a lot of fun to do so if you want to try it
yourself I definitely encourage you to do so if you’ve got any questions or
comments please leave them in the comment section below the music in this video is by Echolox and you can find his link in a description and there are a lot of videos in different techniques coming up so if you’re interested in that hit that subscribe button and turn on your post notifications if you like to share this please do so using the link thanks for watching and I hope to
see you in my next video. Bye!

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