Online Art Classes and Videos. Sadie Valeri is an award-winning classical realist painter and instructor based in San Francisco, California. She offers art instruction in traditional realistic Painting and Drawing techniques online at sadievaleriatelier.com
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May I ask, what pencil are you using?
I see your using stedler pencils for shading but what is the pencil applying the dark tone? Great work
Tombow Mono brand pencils. My full materials list is in the description beneath the video.
Can I ask which pencils you use?
All my materials are listed on this page, in the graphite list: www.sadievaleriatelier.com/materials-lists
I love your drawings!!!!! What pencils do you like to use?
Thank you! All my materials are listed on this page, in the graphite list: www.sadievaleriatelier.com/materials-lists
Sadie - I'm a brand new student at your atelier and I have to say it's really cool to connect with your ways of thinking about things. I love your perspective. It's nice to work on assignments for your Classical Sketchbook class while I'm listening to this podcast. =)
Thank you for commenting, glad you enjoyed it!
Maravilloso
Thank you!
What brushes do you use? Sorry if you're talking about that already somewhere on your social media.
All my materials are listed in detail on this page: www.sadievaleriatelier.com/materials-lists
@@SadieValeriAtelier Thank you! My dream is to join your online atelier. I'm trying hard to save money at the moment. I love your work ♡
The 'H' pencils are useful when it comes to adding details and a slight and subtle tones. Btw,amazing drawing!!
Thank you!
Do you have a Bougereau master copy course on your website? I looked but did not see one. When you do, I will sign up in a heartbeat.
Not yet.
Excellent mastercopy, thank you for the demonstration 🔥
Thank you!
The values are not good. Especially the shadow areas under the eyes and the shadow areas of her left cheek.
Haven't seen anyone copy this one better than I did here, especially as a single-session alla prima, but have at it, let's see how you do :)
Now that’s just awesome!!!
Thank you!
This is what great artists draw
@29:22 That's exactly it. When it's ai, you don't have to be responsible
This ep was so fun. Related tangent: when I was 16, I told myself I was going to be the kind of person who regularly watched the price of gold on the morning news. Haven't done it once as an adult
Glad you enjoyed it, thanks!
👍
Thanks!
Very beautiful !
❤
STUNNING! What a few brush strokes of lead white can do! The eyes do all the rest!💝
Thank you!
How do you use pastel pencils? I tried using mine and all they did was make indents in the paper :(
Might depend on the brand? Also the paper. The materials I use are in my "chalk and charcoal" list on this page: www.sadievaleriatelier.com/materials-lists
Good skils in drawing 👏....but , to really copy a Rubens....you must have the right paintig mediums.....He uses transparent and semi transparent colors over opaque bases = preparated panel and first layer of human skin represented .....For opaque oil layers he use only oil to mixt with pigments... For transparent layers he uses HIS MAGIC MEDIUM 😊...that allowes the colors to fix quickly ... AND HIS HUGE TALENT, BEST SKILS,.. He did not mixed 3 or 4 tube colors to find the right tone, little by little adding the white ... as You did....but he used OPTICAL MIXING with diferent layers of transparent ,translucent oil colors... The secret is his medium , his working oil
I teach the exact technique you describe in my Glazing and Scumbling course: sadievaleriatelier.net/courses/glazing-and-scumbling/
Except for the "magic medium'". My blog post on mediums is here: www.sadievaleriatelier.com/post/master-your-mediums-a-guide-for-oil-painters
Baroque painting : transparent shadows and more thick opaque light
Why is this called pineapple time. Are you swingers or something? It makes me very uncomfortable.
😂 No we are not swingers. The explanation of the name is near the end of Episode 1
Thank you so much for this video, VERY helpful.
Glad it was helpful!
Stunning , beautiful!
Thank you so much!
What an interesting discussion! Your final subject has motivated me to send out a newsletter since I haven't done that in over a year.
Absolutely spot on about groups. Near impossible to have a constructive conversation, which for me is 90% of the point of being in a group...to learn.
Love this discussion. I'm sure you've heard of "Enshittification" (the wikipedia page on it is especially illuminating), I love how you go through basically every single platform over the years, explain what was great about it, then explain how it got "Enshittified", and then how the audience moved over to the next platform, and the cycle repeats. A few notes about artstation. So artstation is mostly for concept art and production art for the entertainment field (primarily films and videogames). There are some fine artists, but very few. However, a few years ago the platform got sold, and since then there has been a really big push towards AI, including a ton of AI generated products in the marketplace, a bunch of AI in the posts, and very little to protect their large database of imagery from being scrapped and put into datasets. So basically it has trapped its user base, since there really isn't another game in town, but its being used far less than it used to be. The audience I suspect would love to jump to a new platform, at least for a few years until that platform gets ruined. I feel like we're all running away from a giant fire that follows us and burns down each new town we escape to. We run to a new town, but the fire keeps following us, destroying everything in its path.
Wow! Thanks for the input, sir! I was wondering about ArtStation. There were several speakers at Unreal Fest last year that were straight up endorsing ArtStation as a great place to share content. I made a profile just to put a link to my short on there but I'm definitely glad to not have invested much time in it! It definitely feels like there's a desire for a place for people to post their stuff, but I think the overhead cost of hosting all the stuff and running the service is so high they're all trying to monetize and that effectively ruins the platform. Our site had to shift to Amazon Web Services to host our students' uploaded images because they were bottoming out our server space. It's a much better solution for us but I can't even imagine what server space looks like cost-wise for ArtStation, Spotify, Instagram... I think the solution is to pass the hosting cost onto the person posting the work but that doesn't seem to be part of the conversation just yet.
I really appreciate this content and enjoy your conversational style . Many thanks 😊
Glad you enjoy it, thanks for your comment!
This is a great discussion - I appreciate this so much. I am the same age as the two of you, and my experiences and history with social media and the internet almost exactly correlate with yours.
Thank you!
What kind of chalk are you using, what is the difference between chalk and marble dust? There is a lot of different chalk out there.
Don't be chep : BUY PROFESIONAL PRODUCTS......Natural Pigments sels good products
All the materials I use and why I use them are listed in my blog post on mediums here: www.sadievaleriatelier.com/post/master-your-mediums-a-guide-for-oil-painters
Jacked calves from San Fran walking.. or more like hiking lol
Thanks for this. My first studio was literally a closet that was big enough for a drawing board. Now I'm in half of a one car garage, about 120 sq ft that I share with three tables and a big flat file. There's barely enough room to turn around and the lighting is south light w a skylight, so I'm always fighting the light. It's freezing in the winter and boiling in the summer.Hoping to move to a quiet, big space with beautiful north light...someday!
South light is tough! If you want some advice, I've found it helps to hang a sheer white curtain over it to at least diffuse the harsh sunbeams.
Great discussion on studio spaces. Having a "room of one's own". is absolutely essential. I liked the notion of setting and addressing subject matter in limitations. Having a set plan is helpful. Good luck to you both in the coming year.
Thanks for watching! I think we could do a whole episode on creative constraints.
EXTREMELY grateful for your videos. I’ve learned way more from artists like you on KZread than I have/do in college.
Thanks for listening! We're happy to share our experiences, glad you are finding it helpful!
I related to so much in this episode! I would be very interested in your thoughts on student vs professional art works, and how to make the transition. Thank you both!
That's a great topic idea, thanks!
Ok
I wanted to make an observation on what I see as one difference between art and music. It’s not a big thing, but is still curious to me. That is, why do a number of artists (not all of course) make an effort to log the number of hours it takes to complete a painting (1 hour, 5 hours, 10 hours, 50 hours, etc etc)? They would say “it took me x number of hours to do this painting.” And, I feel, that when I make art, I too often log hours on a single piece. However, it seems that musicians do this “hour logging” far less (maybe they do for practice sessions, but far less for a complete piece of music). For example, if a musician was learning a new piece of music or song, it might take the person 1-2 months (or more)to get it to a level they feel satisfied with. It, might then take them say 60+ hours to get it to a nice level. That might be comparable to many more finished paintings. But, you don’t see them relating to others the number of hours it took to get there. It could be because music is less “tangible”, in the sense that you are not creating a physical object, as is a painting. So, maybe because you could always endlessly improve your musical interpretation of any given song or piece, logging hours might have less value (maybe a recording session is different) for a musician. Of course, a painting could always be improved too, but artists will stop (usually) at some point with the work, and move on to the next one. It seems that music has far less of a “it is finished” aspect, compared to drawing and painting, as if it could almost go on forever. Any thoughts on this difference?
Great observations! Nowell and I have been talking about your comment, we might do a whole episode devoted to the idea of creation time in visual art vs music!
I have come up with one potential answer (does not totally answer the question though): with regards to realistic art, to make something look “real” (with form, 3-dimensionally), I think artists know that for the objects in their work to really have that nice sense of form, it takes (x) number of hours to get there. So perhaps on a decent size piece, they know that if it takes 60-80 hours to get their objects (or humans) to have that sense of dimensionality, then they know it takes a minimum of (say 60 hours, as a random number) time to get there. So, logging hours might be like a way of getting a solid sense in their minds of having the destination in sight, like knowing the finish line of a marathon. A marathon runner, in the same way, has an objective endpoint, that roughly 25 miles that is the finish line. Artists (representational ones at least) have a similar end target, and logging hours might show them where exactly in the marathon they are, and so acts as a way to pace themselves. (However, the more impressionistic or abstract one gets, this analogy I think breaks down a bit, as it gets more subjective). Musicians, by contract, I don’t think have such an objective benchmark. Yes, getting the correct notes with good intonation and good tempo could be seen as objective benchmarks, but to make a piece or song “beautiful” seems far more subjective than making your painting or drawing “look like the thing.” So maybe THAT is why artists log hours. But then again, the answer could also be somewhere else. But, I enjoy thinking about these things, as I love both art and music! Daniel
Great first episode. I've been a working artist for 30 years and almost everything you mentioned rang true. I also loved that same scene in "Girl With the Pearl Earring", Colin Firth as Vermeer showing Scarlett Johansson how to grind paint.
It really was an inspiring scene, glad you remember it, too! Thanks for listening to the pod!
I am big fan of graphite art, like to the point that I love seeing other artists doing values with pencil. It takes a lot of patience to use circular motions to execute values, I prefer this method over using a tortillon. Thank you for sharing your skill.
I really enjoyed this podcast while I whittled away at a linocut I was working on. It was great to hear your history, Sadie. I basically retired myself from the graphic design business, finally, with the exception of a client I've kept because of the intermittent income I get from doing product renderings (because it comes in handy sometimes). I have the intro drawing course, btw. The conversation about the "War of Art" especially echoed some feelings I've struggled with. How to stay motivated and inspired, and when does working with this sort of conscious discipline actually hinder the creative process? PS; I think the subject of AI is impossible to avoid, and we still really don't know what it means in the bigger picture (outside of the IP issue) for artists, but would love to hear you and Nowell's thoughts on it at some point.
Glad you enjoyed listening while you whittled! I love listening to podcasts while painting. Yes, the idea that conscious discipline leads to true change definitely needs to be questioned. I recently heard the addiction-author Annie Grace say "Change the emotion first, and trust that the behavior will change itself", and I've found that approach works better for me than the top-down, conscious discipline method.
I identify with this talk, and the artist's struggles. I'm still learning basics that I should have been taught years ago in art school. One label it's so hard to get rid of is: you're LAZY!!!
Great idea - I think we could do a whole episode on the word LAZY! Thanks for your comment, hopefully the episode made you feel less alone with your own struggles, that is our goal.
Nowell and Sadie, your podcast was absolutely delightful! You are both creative and so articulate ..with a wealth of interesting experiences and self-knowledge! So unique and fun … but touched many deep cords… I appreciate your vulnerability!!! I can’t wait for the next one! 🍍🍍🍍🍍🍍Thank you and congratulations!!🙌🏻✨💫
Thank you so much, Deb! You are so kind to comment, glad it struck a few chords :)
Awesome talk, thank you! I heard him say turtle environment 😂
How dare you side with her?? 😂
Ha! Glad I wasn't the only one! 😆
@@NowellValeri 😂
@@SadieValeriAtelier 😊
Sadie, your story was so pertanent for me. Thank you! I'd love to see your studio set up, lighting etc!!!
Great topic idea, thanks!
Beautiful. Thank you.
Thanks for listening!
Great starting podcast. Here is a topic for you to consider doing “How music and art training are similar and differ” and maybe you could discuss equivalents in each discipline. For example, if drawing is the foundation for art, what is the foundation for music? Or what would the equivalent of “Underpainting process (ie preparation stage)” look like in music? Other analogies you could look at are the equivalents of scales training in art, what accurate proportions would look like in music, how musicians look at “color”, maybe even how different size paintings could be equivalent of the number of instruments in a piece of music (from solo instrument as small scale still life or a portrait, to orchestra being equivalent to a large figure painting). Or, you could compare the training regiments of art, music, and how one trains for film as well. You could also highlight areas where there are no parallels at all, things that musicians experience that artists don’t, and vice versa (also for filmmaking). Just some ideas.
These are great suggestions! Nowell and I talk about these things all the time, we will definitely talk about the intersection of music study and art study in future episodes.
Sounds great!
This has to be the best block in video I have ever seen!
Thank you so much! I love teaching block-in!
I love how you drew this, how do you decide what details to leave in and what to leave out?
I drew what I feel, I don't copy everything I see 💓
👏 Great work !!