I’m really appreciating your clarity. I like that you explain what you’re using and why. Nice work, thanks for sharing your skills with us!!!

Hi Daniel I've been learning to paint for about 3 years now and I've just come across your content which is perfect for where I am on my journey right now. Thanks you so much for the detailed, technical explanations they are an absolute godsend to me. Keep up the great work. Thanks again.

Thanks for including the art history of painting methods and technology of light manipulation. Well done!!

Q re: #1 drawing self portrait/Venetian Glazing. Your instructions are the best step by step instructions. 1) how do you decide the size of the grid in relation to size of the model? 2) is it possible to show the measurements you mark out on the canvas instead of trying to visualize your hand placement? Big Thanks for helping my ability to paint. It has helped me tremendously! Oops…Sorry for 2 posts with same question!

this is so perfect.i really cant say how much you make things clear for me.thank you so much for creating these.

thank you so much for these videos. you have helped an incredible amount as i've been learning portraiture in oils solely through online learning and you have among the best in information and teaching techniques

This is really encouraging to listen and watch you paint. Great job for this who know and understand the process. Blessings and be safe.

Great video , this is the venetian techniques i use . From the block in or drawing , to grisaille where charoscura separates light and shadows. Then the many layers of glaze. Good stuff . And we also incorporate the fat over lean rule when using this classical technique. Great video.

I'm just starting to learn glazing, and my studio only lets us use transparent paints* like Indian yellow, alizarin red and good ol Prussian blue (it's so fierce and overpowering, but such a great color) for the glazing layers, so I'm very interested to see how you're working with the cadmiums and other opaques at this stage. So much to learn watching you, from how you're using your hand as a mahlstick to the way you're applying the paint to when you go ahead and take in some white/opaques.Also loved the sanding tip. Thank you so much for sharing your extensive experience. I'm so pleased to find some people still teaching glazing- my first exercise was a struggle, but now that I've been tasked with copying some Chardin still lifes for practice, I'm beginning to understand why the old masters used it! It looks amazing (as does your canvas, even at this stage.)

Wonderful demonstration

Thanks a million for this great and useful demo! It helps me to complement my art work mastery. All the best for you!!

This is a beautiful painting. Thanks for sharing.

You are so informative, thanks.

Fine work/excellent video. You speak my language. Thanks.

Like your work. You've got a great website. Trying to use the grisaille method with tempera grassa medium. I'll probably take your cue and use burnt umber as the base. (In my case, I use 50 percent oil added slowly to 50 percent egg yolk, mixed with just enough water to make it swish in a vial.) I like the overall composition you demonstrated with. It sees fairly simple and easy to use. But I'm not sure how I'll adapt tempera grassa as it dries rather quickly. (I'm relatively new to painting, and I'm not sure how I ended up choosing this medium, but it seems to work best for me.) Thanks for sharing your work.

Incase anyone needs to know... (although I prefer lead white) zinc white is the most transparent of the whites. But there is a caveat: it is a more fragile paint film, maybe good for a veil.

Thanks for helping hone my amateur skills

Best video on glazing that I have found. I do wish you could speak more about your color mixing (we cannot see your paint wells when you grab paint) Otherwise, this is fantastic! It was nice having your finished painting (on instagram) to look at while you did this. It would also be nice if the cam were just slightly closer to the canvas. Again, great video! Would it be possible to include a flattened perspective shot of the painting as you finished up today, so we could get a great view of your "finished" work?

I see the answer in your video ! Oops hadn’t gotten there yet!

Thanx again

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This is so helpful! Do you oil the portrait before you start with your glazing ?

Venetian painting #1 (how to draw portrait onto canvas) You have a most useful way of explaining your step by step instructions. Thank You, It’s improved & made my abilities much stronger.I just need clarity on the following: 1) I would appreciate your measurements for the single size of the grid and how to determine what size to use. 2) trouble visually understanding where you are putting the face markings. Is it possible to see them actually on the canvas as you place them? Again much thanks!

Hi Daniel, is it also possible to add white (in the light areas) during glazing? Or that's something you would do only during the scumbling process? Thanks for clarifying this and keep up the good work!

Hi Daniel, the problem you're trying solve by sanding the surface can be solved by rubbing a little powdered chalk over an area that's too slick. Sanding lead white pigment is not a good idea.

Is it alright to distress canvas? Because the substrate is woven I am worried it might cause cracking or damage the weave. I'm going to try it lightly and see how it goes.

I thought glazing was only used for temperature change over dried opaque colors? Such as using a reddish glaze for areas of the face or hands where blood vessels are close to the skin, blue glaze on areas where blood veins are near the surface, or maybe a warm glaze where the sunlight touches the skin.

Just a suggestion for future vids, the angle that you use to show what you're doing is just useless for us viewers to see the "light" quality reflecting from the glaze. I use glazes in my work so I'm familiar with the technique, just a suggestion mate. Nice work.

Why wouldn't you have thin layer of oil drying with no paint mixed into it? What I mean is, does it have a negative impact on the finish of the painting?

Palet note cad lemon, cad medium, ndian yellow, cad orange, pyrrol orange,cad red medium, quinecridone rose or alizarin crimson permanent or just pure quinacridone, phtalo green, or ultramarine blue, yellow ochre or transparent yellow iron oxide, burned sienna, cobolt violet ( light) ivory black, lead white 🎶🧡🎵😀

Really nice painting! I love glazing, although I use acrylic paint, sometimes finished with oil, and a slightly different technique. I love the freedom of being able to build the layers slowly.

be nice if the guy talked about the colors he’s using in each brush in…😢

What's with the word cadmium. V green is insane.

Poor and misleading demonstration!

Often I wonder why videos like this are made and placed here. Technically and artistically speaking, I must refute everything "taught" here, as being incorrect, desultory, and ultimately unhelpful to create good paintings. I do not accept that any of these methods were used by the Masters. Everyone is free to disagree with me, but let's just say that I have immeasurably more real experience in painting than the "teacher" in this video.

I always find it funny how lay people imagine and think how the great masters of the Renaissance and Baroque would have painted. Ok, it's not funny, because this unbelievable overconfidence has become fashionable today and every housewife and wannabe creative thinks they have to make a contribution too.