Good question! This answer is from the FAQ on my website: Q. What is the difference between Direct, Indirect, and Alla Prima painting methods? ​One way to understand the distinction is to think of making a painting in 6 hours (Alla Prima), 6 days (Direct method), or 6 weeks (Indirect method). In this program (www.sadievaleriatelier.com) we use the term Alla Prima only for a painting completed strictly all in one session, with no touch-ups after the paint has dried. We use Direct to as a relative term, referring to a painting created in just a few sessions, with only two to five layers. Alla Prima and Direct methods are generally done on a textured support, like canvas or linen, to better grip the wet paint and emphasize texture and brushstrokes. We reserve the term Indirect for a highly refined method of creating a painting on a smooth wood panel over the course of many weeks, with as many as 20 layers. The smooth surface allows for a finer level of detail, minimizing brushstrokes and texture.

I have not found drawing a square [or more commonly, a rectangle] around your subject to be helpful. It makes you "stuck" on the aspect ratio you guessed first, and it's usually wrong, so you end up forcing your drawing to conform to your first, incorrect guess. Better to mark just one dimension - top and bottom, or left and right, whichever is longer, and then allow the other dimension to stay flexible until you have drawn more information.

@@teporeliot If it's about 2.5 inches in diameter, it should take about 6 hours to complete accurately. You probably won't be able to do it that slow your first time, just go as slow as you can!

Thank you very much.

@@grufflegirl7841 I have a video on my channel showing how I sharpen, let me know if you need help finding it, should be near the top of my videos!

@@maitev-p9582 Thank you, it's a deeply emotional process for me 💗

@@cuetka I don't like walnut oil because it takes too long to dry, and it does not make as strong a film as linseed. Linseed oil based paintings have lasted 500 years, not so for walnut oil. Linseed oil only yellows if the final painting is left in the dark. Even then, if you expose it to light, it will lighten again.

@@HazyKilla Email me at [email protected]

Thank you!

Yeah that’s a lot of shading and it looks just like the drapery hanging there!😊

@@abrahamgarcia8739 This is a pastel pencil, the brand is Fabre-Castel Pitt Pastel. You can see all the materials I use on this page, the Pitt Pastel pencils are listed on my Charcoal list here: www.sadievaleriatelier.com/materials-lists

@@SadieValeriAtelier thank you so much!

Tombow Mono brand pencils. My full materials list is in the description beneath the video.

All my materials are listed on this page, in the graphite list: www.sadievaleriatelier.com/materials-lists

Thank you! All my materials are listed on this page, in the graphite list: www.sadievaleriatelier.com/materials-lists

Thank you for commenting, glad you enjoyed it!

Thank you!

All my materials are listed in detail on this page: www.sadievaleriatelier.com/materials-lists

@@SadieValeriAtelier Thank you! My dream is to join your online atelier. I'm trying hard to save money at the moment. I love your work ♡

Thank you!

Not yet.

Thank you!

Haven't seen anyone copy this one better than I did here, especially as a single-session alla prima, but have at it, let's see how you do :)

He's not entirely wrong, although it could have been worded better. Your values are a tad darker than the original and if my observation is on point, you seem to have used a slightly more orange-ish red tone instead of a orange-ish yellow? I could be wrong so you can correct me on that! Either way, your copy is still gorgeous nonetheless! I hope to reach that level someday!

@@Sephylis-tl4ll I'm using Boug's pigments. There is a lot of variation in different ochres and umbers, they are dug out of the ground, not created in a lab. It would be easy to mix modern colors together to match the colors exactly, but Boug is using single-pigment colors and my goal is to follow his process. I don't copy masters just to make an exact replica of their final painting, I copy so I can learn from their methods and materials and process. The way to make an exact copy would be to mix up color swatches in advance and grid up/trace the outlines. But that's just copying a painting. I copy so I get better as a painter and I can learn and apply the method for all my future paintings.

@@Sephylis-tl4ll Here's my blog post listing the pigments: www.sadievaleriatelier.com/post/master-copy-bouguereau-s-sketch-of-a-young-woman

@@SadieValeriAtelier I see! I never heard of Boug before! I'll have to check it out! Shows that I have a lot more of grinding to do during my own art journey! Thank you!

Thank you!

This ep was so fun. Related tangent: when I was 16, I told myself I was going to be the kind of person who regularly watched the price of gold on the morning news. Haven't done it once as an adult

Glad you enjoyed it, thanks!

Thank you!

Might depend on the brand? Also the paper. The materials I use are in my "chalk and charcoal" list on this page: www.sadievaleriatelier.com/materials-lists

I teach the exact technique you describe in my Glazing and Scumbling course: sadievaleriatelier.net/courses/glazing-and-scumbling/

Except for the "magic medium'". My blog post on mediums is here: www.sadievaleriatelier.com/post/master-your-mediums-a-guide-for-oil-painters

Ha!! No! We explain it in the first episode, it's just a phrase we use to say "stop talking to me, I need some quiet time".

Glad it was helpful!

Thank you so much!

Wow! Thanks for the input, sir! I was wondering about ArtStation. There were several speakers at Unreal Fest last year that were straight up endorsing ArtStation as a great place to share content. I made a profile just to put a link to my short on there but I'm definitely glad to not have invested much time in it! It definitely feels like there's a desire for a place for people to post their stuff, but I think the overhead cost of hosting all the stuff and running the service is so high they're all trying to monetize and that effectively ruins the platform. Our site had to shift to Amazon Web Services to host our students' uploaded images because they were bottoming out our server space. It's a much better solution for us but I can't even imagine what server space looks like cost-wise for ArtStation, Spotify, Instagram... I think the solution is to pass the hosting cost onto the person posting the work but that doesn't seem to be part of the conversation just yet.

Glad you enjoy it, thanks for your comment!

Thank you!

Don't be chep : BUY PROFESIONAL PRODUCTS......Natural Pigments sels good products

All the materials I use and why I use them are listed in my blog post on mediums here: www.sadievaleriatelier.com/post/master-your-mediums-a-guide-for-oil-painters

South light is tough! If you want some advice, I've found it helps to hang a sheer white curtain over it to at least diffuse the harsh sunbeams.

Thanks for watching! I think we could do a whole episode on creative constraints.

Thanks for listening! We're happy to share our experiences, glad you are finding it helpful!

That's a great topic idea, thanks!

Great observations! Nowell and I have been talking about your comment, we might do a whole episode devoted to the idea of creation time in visual art vs music!

I have come up with one potential answer (does not totally answer the question though): with regards to realistic art, to make something look “real” (with form, 3-dimensionally), I think artists know that for the objects in their work to really have that nice sense of form, it takes (x) number of hours to get there. So perhaps on a decent size piece, they know that if it takes 60-80 hours to get their objects (or humans) to have that sense of dimensionality, then they know it takes a minimum of (say 60 hours, as a random number) time to get there. So, logging hours might be like a way of getting a solid sense in their minds of having the destination in sight, like knowing the finish line of a marathon. A marathon runner, in the same way, has an objective endpoint, that roughly 25 miles that is the finish line. Artists (representational ones at least) have a similar end target, and logging hours might show them where exactly in the marathon they are, and so acts as a way to pace themselves. (However, the more impressionistic or abstract one gets, this analogy I think breaks down a bit, as it gets more subjective). Musicians, by contract, I don’t think have such an objective benchmark. Yes, getting the correct notes with good intonation and good tempo could be seen as objective benchmarks, but to make a piece or song “beautiful” seems far more subjective than making your painting or drawing “look like the thing.” So maybe THAT is why artists log hours. But then again, the answer could also be somewhere else. But, I enjoy thinking about these things, as I love both art and music! Daniel