Burnt Umber Pickout

[k4pka]

Can anyone offer any insight as to this technique?

Im not talking about the burnt umber and white direct painting, but the pickout method that is used at the various ateliers?

Thanks in advance =)

[tinyhands]

You start by staining the canvas with a wash of burnt umber, and then pick out your lights with a rag/q-tips/erasers etc.. And you build up the painting in reverse so to speak. The wash establishes your mid tones right away and whats left is the lights/darks, accents etc, to paint in. Its really just tonal drawing in paint. Hope this helps.

-tiny

[loomer]

I teach this method to alot of my oil painting students...so perhaps I can help. I'll try and be as clear as possible.
What you need:
RAW umber (not burnt - Raw umber isn't as warm, and provides a more neutral ground)
Cold Pressed Linseed Oil
Turpenoid (or turpentine if you don't mind stink)
Rags - cut-up old white t-shirts work best. Besides...they probably have yellow stains in the armpits anyway.
A quality sable brush (or synthetic - keep the $$$ down) - should be large size - Big enough to varnish a painting if you wanted to.
Canvas (works better with a quality linen) - don't use canvas board- they suck

Ok - get all materials and here's how I teach it:

1.) Take your rag and apply a small amount of linseed oil to it. Next rub all over your entire canvas - a very fine coat of the linseed oil. It should be a VERY small amount. A good test is to rub your finger on the canvas and if your finger has just a slight sheen to it- your canvas is ready to go. If your finger is really wet with linseed oil...wipe some of the excess linseed oil off with a rag. Again, - just a little amount .

2.) Next step is to apply a raw umber tone all over the entire canvas. There are a few different ideas of what value to do this. Some think that it should be the value of the halftone of your subject. Some think it should be the general value of the shadow of your subject. You'll be okay if you choose a middle value tone. Nothing too light, nothing too dark.
To apply, mix some linseed oil and turps with your raw umber on your palette. Try and get a wet, buttery consistency...it should not be stiff. The technique will not work if wet. Take your big, soft brush and coat the entire canvas with the raw umber. Spread it out, so it is just a thin layer of paint - a little will go a long way. Remember this is an oil painting - and the rule is thick over thin or fat over lean . This is your first layer, so it is going to be very thin. If your paint isn't thin enough, just add more turps and/or linseed oil. It'll take practice before you get a consistency that you really like and can work with to your needs. If the paint is running like watercolor and dripping down your canvas - it's probably too thin. Just add some paint dude.

3.) Next is the drawing part. Here's another spot, where different techniques may confuse you. Some do a charcoal drawing first (before any paint is applied. I draw with paint, over the toned canvas. I usually just use a #4 flat bristle brush, and get the basic shapes I need down. I usually just dip my brush into some raw umber and aa tiny bit of cobalt blue to put the lines down. Not alot of detail is necessary at this point. If you wish, you can make very detailed underpaintings...that's all preference.

4.) This is the fun part. Now that you have your umber canvas, with the basic drawing it's time to add some lights and darks. This is kind of an adding and subtracting method. Any area that needs to be darker on your subject, apply more raw umber. Any area that needs to be lighter on your subject, put the rag over your hand, and rub away with your finger. You can achieve excellent transitions between light and shade with this technique, and can reach an entire range of values. By applying different amounts of pressure you with the rag, you will take more or less paint off. You can always brush in more paint if needed.

I hope this helps a bit. Perhaps, I should take photos and show ya what I mean. If you need more help let me know, and I'll do my best. Good luck!

[k4pka]

Wow, thank you so much for the detailed reply. I have very little in the way of being taught how to paint here in rural england. I had read how this was a good transitional stage of painting, more tonal than colour, making it simpler to go from drawing to painting. Thank you for sharing your teaching methods!

I will be trying this out either tuesday or wednesday night, and will post my results.

Incidentally, if you have the time and urge to do so, posting some pictures to compliment your technique breakdown would be an incredible idea =) Upon doing that, the tutorial could hopefully get put in the tutorials, tips and tricks sub-forum.

Thanks again!

[MadSamoan]

The 'pickout' is covered extensively in Richard Schmid's Alla Prima: Everything I Know About Painting.

[k4pka]

Id love to add that book to my library, but am having problems getting the cheaper soft cover version over to england. Anyone have any good links, or have managed to get a copy across the pond?

[loomer]

Geez- I agree, great book - but fuckn' expensive.
Perhaps over the next few days, I can whip up a quick tutorial for ya.
I'm not saying I'm the leading authority or anything, but I may shed some light on the subject (bad art pun - i'm a dork)

[Elwell]

Marvin Mattelson has some demos on his site that start this way...
here (http://www.fineartportrait.com/workshop_demo_1.html), here (http://www.fineartportrait.com/workshop_demo_2.html), and here (http://www.fineartportrait.com/workshop_demo_3.html).

[tinyhands]

I just checked out those links. I guess if your just starting its good to see a process, but those are pretty rocky paintings if you ask me.

-tiny

[k4pka]

I appreciate the link, seeing the progress is useful, but i cant help agreeing with tinyhands somewhat...