Garth, what's a "velatura"? And how would you say that was different from a glaze or a scumble? Thanks!

velatura
 

Hi Michele:

My understanding of a velatura or my understanding of a scumble may vary from others in this forum, because I have seen a number of posts that seem to lump the two together as the same technique. I do not have an art dictionary in front of me to back me up, but here is what I think I was taught at PAFA: We all know what a glaze is, usually a somewhat transparent thinned pigment in more medium overlaying a lighter underpainting layer. For me a velatura is treated the same way, except that it is a translucent lighter colored pigment suspended in medium over a darker underpainting layer. Velatura is equated as a "veil", putting an atmospheric haze over the painting. There will be a cooler color temperature shift, varying in degree according to how thick the veil is. One can think of it as the same effect as flakes of cereal in a bowl of milk; the brown flakes suddenly appear blueish as they dip below the milk.

Using only white in a velatura may make the painting more blue than you need. It is amazing to see how one can use a light orange tint (as an extreme warm example) over a darker brown, both being very warm colors, and acheive a sort of cool optical gray effect when covering the darkest values (actually, if the orange is intense enough it will effectively be a cooler chromatic yellow). If this veil is thicker, then it will be more orange than gray. Over white, of course this velatura would then be like an orange glaze. I am not really advocating the use of "orange" in a typical velatura. This is an extreme example, and there are a whole range of subtle possibilities in between. A velatura just may need to be formulated warmer than your target color you are looking for. If a painting becomes too dark and too warm, in its color effect (like mine sometimes do), or the contrast is too strong and jumpy (or too photographic), then a velatura may be the remedy.

For me a scumble can have a similar effect as a velatura, but I think of a scumble as a drier, more opaque consistency of paint being dragged over the texture of the canvas.

Hope this helps!

Patricia,

Thank you! I am in awe of your comments.

For some reason, I think the painting looks much better when viewed firsthand in the gallery than it looks in the posted photographs. This is probably true of everyones posted photos. Some qualities get lost in the translation.

I am as awed as you when others post their works, and I am hesitant to post mine because their photos seem to look better. I wonder how much better their works look in life. I guess the grass is always greener on the other side.

By the way, you sure can draw!

Thanks, Garth, that was very helpful!

Hi Garth,

Did you know that Velasquez used the velatura a lot ? Using white or light grays to unify his colors.

Allan.

Allan, That must be true. Many of the color effects he acheived are impossible to arrive at without the use of velaturas.

Thanks!

Garth,

I am so happy you're posting here at the forum. Your work is a joy to behold. I love this one and am studying it!!

Denise

Bravo Garth, I can honestly feel the sun the pavement when I look at this. I also love how you have broken the composition predictability with the ladies feet.

And the edges...well that is another gushing story! :thumbsup:

Thanks for the closeups Garth! They are fascinating. I'll print this one out for future reference. I love this painting, it's so inspiring to see all the new talent here, glad you joined us.

Jean

Garth,

Amazing,original, daring and beautiful!
I was up in Boston today arranging for a piece of my work to be exhibited in a portrait show. From what I could gather it was going to be same old, same old, figures with vase of flowers and other old chestnuts. I wish your painting was going to hang there!
It would make me work harder.

Sincerely,