The painted ones on the right were hard because it seemed to take most of the time just to find the paint! Using oil paint on sugar paper was interesting as it completely sunk into the paper. and there was no time to spare.
The lower painting was on prepared paper, covered with burnt sienna mixed with turps and linseed oil, then drawn with a rag.
I then added white paint mixed with paynes grey fo add contrast to the translucency.
Drawing on the right was done in 20 minutes. The drawing to the left was done on prepared paper,drawn with graphite, then covered with a thin glaze of linseed and zestit. Drawn again with graphite and painted with white oil paint.
Lower painting was done on a shiny card, prepared with dark green acrylic paint.
I then put a glaze of burnt sienna on. The palette was limited to
burnt sienna, raw umber, paynes grey and a mixture of flake white and titanium
white. The reason for mixing the whites was to get the translucency
and softness of flake white with the brightness of titanium white.
Also to use the paynes grey next to the raw umber made it appear more blue and the burnt sienna appeared more red.
The painting on the right was a longer pose and adding cerulean blue and alizarin crimson to the palette. Again it was over a green acrylic ground, shiny card and a thin glaze of burnt sienna over it.
The last pose was two hours and in some ways was harder because of thinking there was plenty of time. The initial gesture and dynamics was lost for a time.
Because the spotlights were on the model, the other lights were dimmed and it was like painting in the dark. When the lights came on it was quite disturbing to see what colours i had actually used.
No comments:
Post a Comment