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Hang on Studio Wall
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Denise Cat

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Posted
Thanks Paul and Hilary. I was quite pleased with how the background turned out also. I didn't expect the transition of colours to look so soft as the under painting, the background contrast was very harsh.

Edited
by Denise Cat

This post has been removed as it violates our forum rules and guidelines.

This post has been removed as it violates our forum rules and guidelines.

This post has been removed as it violates our forum rules and guidelines.

Lisa Shearing

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Posted
Apologies Denise, I feel rather silly as I have obviously posted my work in progress on your forum post, note to self not to post late at night!  I will try to remove it tomorrow! 

Denise Cat

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No apologies needed Lisa, I must say, you are doing a grand job by the looks of it. I only wish I could help with the skin tones. There are many who will be more than happy pointing you in the right direction. I'm new to oils so obviously my advice won't be much cop but there are many who will give you great advice.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Denise - you've told us, I think, that you've not painted in oils before?  Nor in much else, is that right?  I can only say then that you have a natural talent for colour and its application (there's nothing wrong with your drawing of the pear, by the way!  Pears vary!).  This is a splendid example of glazing in oil of which many of us would be quite jealous.  I don't glaze very much, but it is a fascinating way to paint, and you've encouraged me to have another crack at it, this is so good.   Subtly evening out the harsher contrast in an underpainting with glazing (or scumbling: that's another one for you!) isn't easy, and is worth it.  The richness that can be achieved is remarkable. Scumbling, by the way - as you know and have shown, glazing is normally the application of a darker transparent colour over a lighter base; scumbling on the other hand is the application - usually quite roughly - of a light colour over a dark: a technique you might employ with painting reeds, grasses, and so on.  The added paint can be opaque, and is probably better if it is - you can scrub it on, eschewing mediums but employing stiff brushes (as the word sort of implies). While I think that most painters are best advised to pick up the very basics first, I'm perfectly sure that with your triumph over glazing, you could do scumbling justice.  Wish I could find a painting of mine to demonstrate it, and one would have done quite well - but, I sold it years ago, and I've lost all track of it because of my lousy record-keeping.  But plenty of examples on the internet. 

Edited
by Robert Jones, NAPA

Denise Cat

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Thanks so much for your encouraging words Robert. You are right, I started with watercolour in April, then got some acrylics and it was Alan's demonstration that prompted me to try oils. I only  started drawing at the end of October on the sketching forum. I had no clue about any of it before this. I really enjoyed the glazing and I'm just in the process of doing another one. Just basic but with a couple more objects so I can use more colour and see how it's all working. In fact, I love painting this way even though I need to learn a lot about it still. I like the effects of scrumbling and it is on my list. I paint most days now because I have loads to learn.

Denise Cat

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I've been glazing this all week and I should be finished tomorrow. It didn't go exactly the way I wanted it to, so when I put it up tomorrow when I've completed it, maybe you could all give your opinion on what I could have done differently to improve it. I think the colours started going wrong. I think it was the background colours. Maybe I've gone wrong with the colours on the plums. I didn't put the stages up in case people got bored. I'll post them all at once when I finish tomorrow, then someone mmight see at what point I went off track.

Denise Cat

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Here is the finished painting. I'm not happy with it. Then again, when you are learning you just have to keep at it. I know Hilary was interested to see how it developed. I glazed it six times. I will continue to do them, I will try a different scene next time and see how I get on with that. All opinions and criticisms taken on board as I will learn from them.

Hilary Pearce

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Posted
Thanks for put this up Denise.  Excuse my lack of knowledge but do you choose a glazing colour and go over the whole painting or does each piece get a different colour glaze?

Denise Cat

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Each piece gets a different glaze, there are maybe four or five colours on the apple that are built up with each glaze, the vase has two colours and so on. You adjust the glaze as you proceed and as the colours are developing. I'm still leaning about it all.
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