Dan

[Chuck Yokota]

Karin,

What is the point of underpainting if you paint opaquely on top of it?

The main goals for me for attempting an underpainting were as you stated:

To clearly define areas of general light and general shadow and to determine composition is the main purpose in an underpainting.

With your help and guidance, these goals were achieved far more than I had hoped, and the resulting painting enormously improved over where I might have taken it otherwise. Being somewhat single-minded in focus, I am concentrating on learning about these basic elements of every painting. Glazing seems like less of a foundational skill, and one I planned to put off learning until a future time. Applying what I am learning about value grouping and composition to my next painting would be, in my judgement, of more value to me than further refining of this painting.

I am sincerely grateful for your advice and for all the time you have taken with me. I hope it does not sound ungrateful to say that I am now moving on to my next project.

[Karin Wells]

Just in case I didn't mention it somewhere Chuck, glazing is only to be done on a DRY surface.

Peter:

It could be that we do not disagree on the basics...there are many, many, many valid ways, techniques and methods to use in painting. I am trying to simplify this and encourage Chuck to explore yet another way to neutralize an overpowering color with an opposite color glaze.

Since there is so much room for discussion on this topic, and since you are such a skilled artist, I would like to invite you to submit a subject-specific demo to show us some of your successful technique.

[Mai Ly]

Hi Chuck,

It is interesting to see how you focus on the objective you set for each of your learning process.

Personally, I find that one can learn different skills, techniques at various stages in one painting, even if you do have a certain objective in mind. For example, at the planning stage I would focus on massing values, colour co-ordination, and composition as a whole. At the execution stage, I would still keep my objectivity in mind, but also focus on my texture and brush strokes, colours etc. And at the final stage, I would try and see where I can proofread my painting, manipulate edges, brushstrokes. This is by all mean, a discussion, and I am not in anyway criticising your way of experimenting your work.

I look forward to seeing more of your work.

Mai

[Tito Champena]

I have a question about the application of glazes.
Do you have to oil out the dry painting before applying a new glaze?

[Timothy C. Tyler]

Chuck, painting from life will give the artist most of these answers re; color and tone. If an artist paints from life for a couple of years, then paints from photos they can better "get" the right colors. If it's in front of you, you just paint it. This method is addictive and the results are powerful.

[Karin Wells]

Tito: I don't know. Experiment.

Tim: Even though I use reference photographs, it does help to know their limitations.

Did you know that the human eye can discern over 2000 shades of the same color - whereas photographic film can record less than 30?