Today, we’re going to see why the indirect approach is the easiest way to improve your paintings, especially if you’re painting complex subjects, like faces and human bodies. Basically, there are two schools of thought : direct and indirect. Direct is another word for alla prima, one layer in one go wet on wet and indirect is a technique in which the painting is constructed in multiple layers, wet on dry. You can do some wonderful things with the direct approach but for a portrait, sometimes, a single layer doesn’t quite achieve a satisfying result. That’s why we’ll see how to let the painting dry and improve it wet on dry with a couple of very simple techniques.
In a previous video, I showed you how to paint a portrait and how to use light and volume to make it look more artistic. I ended up with this… It’s alright, the model is nice so the result is satisfying. By the way, if you’ve missed the video, I’ll put a link in the corner there, or in the description below so that you can watch it first. Today, let’s call it part 2, I want to show you how you can get an even better result easily. By the way, if you want to see the complete, real time version of this demonstration, it is on my Patreon channel as well as hours upon hours of real time content and commentary, so if you’re interested, make sure to check the link in the description.

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Chapters:
00:00 Intro
01:40 Observe and Plan
04:18 Thickening the highlights
05:21 Scumbling
07:05 Glazing
08:49 Sfumatto

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I am an artist living and working in France. I learned the techniques of the Atelier of the Nineteenth century and now I try to share some of my knowledge with the rest of the world, because I think that beauty still has an important role to play in artistic creation. I do mostly drawing and oil painting, and my goal is always to provide techniques, thoughts and explanations that can be useful to anyone, from beginners to more advanced artists.


The material I use most of the time (not necessarily in this video) :

Drawing
Equipement
✓ Kneaded eraser
✓ Plumb line
✓ Small mirror
✓ An old synthetic brush
✓ Masking tape
✓ Cutter
✓ Sandpaper or sanding block
✓ Mahlstick or Hand rest (DIY)
✓ Level ruler
Graphite
✓ Pencils 2H, HB and 2B
Charcoal
✓ If available: Nitram charcoals (H, HB and B)
✓ Square charcoals
✓ Natural charcoal box
Black and white chalk
✓ Sketch pencil Conté white
✓ Square Conté noir : HB and 2B
✓ Chalk or pencil holder
✓ Pencil sketch Conté Pierre noire : H and HB
Sanguine
✓ Sketch pencil Conté : Blood and blood Medici
✓ Crayon Polychromos Faber-Castel : sanguine
✓ Sketch pencil Conté white
Oil painting
Palette
(Extra-fine paint, recommended brands depending on availability: Lefranc Bourgeois, Winsor and Newton, Royal Talens Rembrandt)
✓ Titanium white PW6
✓ Yellow ochre PY42
✓ Burnt Sienna PR101 or PBr7
✓ Venetian red or English red PR101
✓ Permanent Alizarin crimson (Attention: do not use the traditional pigment, which is not very light-fast) PV19 or PR177 or Quinacridone Rose PV19
✓ Cobalt teal blue PG50
✓ French ultramarine blue PB29
✓ Raw umber PBr7
✓ Burnt umber PBr7
✓ Ivory Black PBk9
Brushes
✓ About ten filbert hog bristle brushes sizes n° 4, 6, 8, 10 and 12
✓ Some flat brushes
✓ Round sable brush or round Kolinsky sable n° 4, 8, 10, 12 (from the size of the nail (about one inch) or synthetic imitation
Medium
✓ Linseed stand oil
✓ Odourless mineral spirits
✓ Safflower oil
Surface
✓ Linen canvas, fine grain universal coating
✓ For studies : Canson oil-acrylic oil paper Figueras
Others
✓ Palette
✓ Foam and spalter brushes
✓ Palette knife in the shape of a water drop, no souldering
✓ A few small pots, containers, jars...
✓ Paper towels

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#art #painting #inspiration
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Thanks for watching !

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