Quick Tip 153 - Painterly Painting

in a comment section one of our subscribers said this it said that painting loose and painterly is more realistic than painting tight would you please advise if this is true and why and how we can paint in a painterly style I have a few ideas about math [Music] well first of all let's let's talk about this business of always painting loose and painterly or loose and painterly as being more realistic than painting tight what about Andrew Wyeth Andrew ones painting seems very tight and yet there's no question he does beautifully realistic work it's highly expressive and so many people aspire to paint like int or what so that kind of discounts that does it well then we can go further than that what about Salvador Dali you don't find loose and painterly in Salvador Dali well you might know the painter Michael parks the same thing you don't find that loose and paint area but what you find are exciting paintings in all these and I could go on and on a number don't spend entire quick tip time but just those are just examples know that business of your painting must be loose and painterly that's really a myth now painting with confidence is not a myth so a lot of times that some people think that the being able to paint loose and painterly is a sign of being confident well not necessarily but let's say it wouldn't hurt for you to be able to paint with confidence but you could still keep your painting more defined and that's tight so let me show you an idea well first of all let's look at some things that you can do I think what this person is really asking is how to paint more painterly or how to paint with more confidence or more life in the painting now we see that in Sargent an awful lot we are in though in the actual faces of his portraits you said very tightly done but in the dress and in the fabric and in this around as you'll see brush strokes just quit brush strokes so I think this is the kind of thing that people are talking about is having life in the painting ways to have life so here are some things I have learned over these several decades of teaching learn that helps to us if they can practice them to actually paint with confidence which is exactly what we're talking about here one paint with your arm and shoulder action not with wrist and finger action now the difference when you if you're this kind of painter if you're the kind of painter that squeezes way up on your brush and you're using finger strokes this is not going to be loosened painter that's going to continue to be tight but if you can develop develop a process of allowing the strokes to be made with the movement of your shoulder shoulder your into our arm your shoulder and your elbow some wrist movement like this then you will find that there painting will be much looser and much more confident looking holding the brush again if you hold the brush right up next to the bristles that doesn't give very much room to to work in the further down the handle you can hold the brush the more control you're going to have in it and the more expressive your work can be in the long run so move your hand down the handle as long as as far as it will go in order to in order to work and if you could go all the way down the handle and still have control that brush you'll be surprised at how much painterly quality your painting can have load the brush with lots of paint there's another place where people it's work tightens up because they don't put enough paint on their brush don't be standing lots of paint on the brush and then choose a brush size as large as possible to get the job done people will start out a lot of times with these tiny tiny little brushes and they'll be struck in the Dickens out of a painting and it's going to be tight and it's it's going to feel a little bit on the amateur side now there's a little exercise that I love that I found that really really helps people to get into this habit of doing loose and Peter they are loosening up they're painting the painting habits are getting their muscles in there and their process of painting loosened up and so it's a little exercise I call ten quick strokes so take something simple in this case I've taken just a coffee mug as you see here go ahead and set up a drawing of whatever in a space no larger than five by seven I've used a five by seven space even if he gives it to small it doesn't work so I find that five by seven or maybe six by seven or five by five nothing in small inspired by five though in order for this process to work to do for you what you wanted to do mix your colors that you'll need you're going to do they don't have to be exact because this is an exercise so mixed colors that you'll need and mix them in a large amount and then the idea is you're going to do a complete study of this subject ends background in ten strokes or less we define a stroke by this from the time the brush hits the canvas until at the time the brush lifts up from the canvas so ten strokes that's a lot of space to cover in ten strokes now there's a good place where it's a good idea to start with the largest brush that you have that will get the job done so I will start with a relatively large brush in order to get started and show you what I mean by this exercise alright so seeing that here in the background I've seen the background is relatively none definable the especially I'm seeing that it is an and a lighter value and it's some what somewhat diffused the shape simple somewhat confused and somewhat I want to do there is I'm just going to load my brush I'll just pick up a lot of white here I'll load my brush with a warm color and this is going to be the first stroke now I want it to be because I know that I can put color a little bit darker on one side than on the other it's going to do that get as much pain as I can't on that brush and then here I go with my first stroke I remember a stroke is from the time you put the brush down until you pick it up so this can be a stroke I'm just gonna work my way around I haven't picked a brush up yet you see I'm still moving around not picked up the brush yeah I'm still moving around not picked up the brush right so you see this really can't count as a stroke because I haven't picked up the brush yet I'm still moving around and I still have paint in the brush so I can keep and you see how this can work and do it as fast as you can without messing around and once I pay I have to pick up the brush at one point or another because they let skip shapes if I go into from one shape to the other or if I run out of paint no you don't have to go beyond that let's let's do that's the first stroke now let's go in let me keep counting others just one ways you one way you can keep count of the strokes is simply to make a mark that's the first one so I'll just make a mark here that was my first try now the second struck I want to continue that background with a second stroke and so then what will I do or it's all just come over here and I will and there the paint the brush is still touching the surface and I'm just going to drag it right across here like that so I can keep that as one stroke and pull it down into that kind of shadow area there I'm just going to drag it back in here and take care of this negative area in there and there I have two strokes quickly if you hesitate with this and if you fiddle with and fuss with it it's not going to do anything to remember this is a callus thinning in order to help you to develop better better habits of painting and actually have more expressive and freer painting all right so there's a second strike I got eight to go a long way not far to go and I've got quite a few strokes left and do this stuff by the way it can be ten or less or fewer strokes so I'm going to go ahead with the background and I'm gonna go into a lighter color where that light is hitting that table let's just pull more white over here and get that lighter and I don't have to have it you don't have to measure all this stuff exactly so here we go a lighter color here's my third struck so I'm gonna go right in here I'll go right into the air I'll just put it right down in here all right so I've got lots of paint on this bus and I got this truck so what I'm gonna do is I'm oh well cross all right over here I'm gonna work and get this area right in here and you oh I could cross right there that would have been a good place to cross because they are actually the same area on the side cross right in here I can't work this space right here behind that and there is my third stroke so I marked myself here another struck Mart's I have three made three strokes I have a complete background and I have seven strokes to go how about how cool is that all right so I'm going to rinse this brush am I going to stick with this brush this brush was a a large I brush large enough to give me lots of coverage in that space to be able to load lots of paint and enable me to move through that space in three strokes moving just a little bit smaller brush good one a little bit more controller than that so so what I need here now I'm gonna look the shadow areas first so what I need to do I'm going to I always like to deafen the brush before I start and this is the brush I'm going to be using so you see that brush fits into that space pretty good alright so I'm seeing that so I'm going to go ahead and go into the load that brush with lots and lots and lots of dark paint and put just a little bit of shadow of shallot paint all right so I've got shadow of this side cups and shadow that's the handles in shell the shadow comes all the way around you know see how I can do it so I'll just work that and shout out I don't work it back and forth like this I'm still got the brush all still got the brush on the canvas I'll just kind of say just kind of move that around like that move it around again like that like that I picked up a little bit of that light so I won't worry too much about that come back into this let's see how far does that shadow goes it goes all the way over here like that go all the way into that like that because I see a little bit more shadow coming right over into here you see I had enough paint on the brushes keep pulling it down like that I have enough paint on that brush that I wasn't able to get actually in entire almost an entire shadow area in there so let's get that I know the stroke only made four strokes among us got the brush oh it's got the mud painted so now I'm going to go into a lighter color pick up enough paint so I can move throughout going into a lighter color and let's go let's see you don't need to be that light is it something very dirty so some very low light would help here those let's go into here we will do it again all right I'm shaping the shaping the cup coming down with a brush shaping and shaping with the brush and working with strokes into that lighter area just like that now I'm going to blend it into the shadow area just like that and actually that's all I need to do all right now I have used another few spots trucks now I have five strokes left to finish up this study you see if you if you use the brush that's wide enough if you load it with paint enough paint if you're using this best or this a arm shoulder movement that I'm using here you can get an awful lot done in a small space so what I'm going to do right now I'm going to take one of my strokes to kind of darken and and we're in define more define the shadow a little bit better so Bruce use this and there's one stroke so I'm going to do just another little thing like that let's say I want to shape this a little bit more here two more strokes let's let's write those down here one two okay all right now let's see another struck three here let's see and I'll just come look there we go like that there's three strokes I have two strokes left to finish defining this Cup how are you Sam all right I'm going to use one of them right down here to define that occlusion shuttle right here just like that last one and I'll use the other one up here to define just the inside of the cup so I'll put that one one and I have one more you see if you if you if you are if you do this exercise with abundance of paint and the brush is large enough you can have two strokes left over towards the end to finish up or many four strokes left over well maybe five strokes left over towards the end to shape it the way you want to show so hero I have I can use that last truck shape the inside of the cup so just do it like that I can move and move and move like that and there's my study of this mug done in ten quick strokes or less so if you found this quick tip helpful if you have something this you're struggling with or something that you'd like for me to explore with you just come right down here and leave a comment and we'll put your your suggestion on our schedule and don't forget we have many many many instructional videos on our site dynamize comm even if you just if you if you don't think you're interested let's go up and take a look at the title just read the titles and see if they speak to you or maybe you might find something there that you'd like to and get investigate a little further and there's a quick tip [Music] [Music]

Channel: In the Studio Art Instruction

Views: 66,874

Rating: 4.9414568 out of 5

Keywords: in, the, studio, art, instruction, in the studio, art instruction, with Dianne Mize, Dianne Mize, SauteeLive, quick tip, 153, Painterly Painting, painterly, painting, how to paint, how to draw, art lessons, art classes, `online art instruction, oil painting, acrylic painting, watercolor, palette, canvas, easel, brush, paint, fine art

Id: EVZ8d13kO78

Length: 15min 11sec (911 seconds)

Published: Wed Feb 21 2018