I created a short video that addresses some of the questions that I receive regarding the differences in process between the my alla prima studies and my more resolved/refined works. The short answer is that my methodology stays the same—(with the exception of my adaptations for the “constricting factors” that we place on the alla prima challenges. My “regular” alla prima studies (like the one shown in this video) are much more similar in dynamic to what I carry out in small sections on my high-resolution pieces. I hope you find this helpful!
I loved your little vid explanation of how you work. One of the things I always take away is that you are consistent in your work, ideologies and beliefs:) and so, unlike other work I am seeing lately, yours has a more refined look in the end… which I like:
Even though this video tutorial on alla prima painting is a bit older, I decided to work with it as I explore setting up an efficient process and find the techniques and mediums that suit me best for both brushwork and painting mediums.
For my first attempt at the apple, I didn’t use any medium and worked directly from a reference photo. After finishing, I used an image editor to identify areas that needed improvement. Then, for my second attempt, I followed along with the video in more of a step-by-step approach. My main goal this time was to adjust the values. I used a bit of aspic oil for initial blocking and added a touch of standolie as needed later in the process. This felt much better than working without medium!
However, I’m still finding the light areas too bright compared to the reference. I’m undecided about either redoing it or painting over this version to adjust.
Any feedback or tips would be very welcome! Thank you!
Deciding on whether or which mediums or oils at add into a painting process can take a good deal of experimentation.
When I am painting, as you can see in many parts of this video but especially towards the end—I approach paint application and manipulation in a manner that holds much kinship with dry media. I did write an article that touches on this here if you are interested:
As to redoing it or painting over this latter version to adjust, it depends on what you are trying to elicit from the exercise. Generally speaking practicing “starts” are very important—but I find that more often than not, problematic efforts are abandoned too quickly. They can be lost opportunities. If this was an exercise in my studio I would urge you to try and fix the one that you are unhappy with so as to develop the “error-correcting” measures that serve all skilled painters again and again!
Thank you so much for your advice! It’s true—I hadn’t looked at it from that perspective, and understanding how to correct my work will definitely be valuable. I’m going to go back to that little painting and give it another try. I’m determined to become a skilled painter!
Your approach of painting like you draw is really intriguing to me. I read the article several times to really absorb it. Funny enough, believe it or not, I’ve always wanted to paint the way I draw! I think that once I start working on the painting module in the LOP program, it will help a lot—or at least that’s what I thought while working on this apple!
