Painters Online Logo

Login/register

Studio

Landscape.

Welcome to the forum.

Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.

Make sure you sign in or register to join the discussions.

Hang on Studio Wall
Showing page 4 of 6
Author
Message

Sylvia Evans

  • Prestige User
  • Reputation: 15301
  • Last active:
  • Posts: 4131
Posted
Looking interesting Denise.   Impressed as usual.
DSCF4152

Anonymous User

  • Esteemed User
  • Last active:
  • Posts: 1263
Posted
A lovely calm atmosphere, Denise.

Denise Cat

  • Prestige User
  • Reputation: 5884
  • Last active:
  • Posts: 2197
Posted
Thanks Sylvia and Carol. I have to say, I had no idea how a green glaze would work but I have to say, I'm chuffed. It has worked how I imagined it might.
DSCF4152

Anonymous User

  • Esteemed User
  • Last active:
  • Posts: 1263
Posted
Always good to experiment, Denise, we all learn from posts such as this.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

  • Prestige User
  • Reputation: 20438
  • Last active:
  • Posts: 7167
Posted
I wonder what gave you the idea for the green glaze - apart from sheer inventiveness on your part.  A gentle glaze, or even two or three, is a very good way of modifying a light colour that would otherwise stick out a bit too much: rather than laboriously painting it over and over again, your paint getting thicker all the time as you try to modify your original colour: you probably know that by now, but it's useful to keep it in mind. 

Denise Cat

  • Prestige User
  • Reputation: 5884
  • Last active:
  • Posts: 2197
Posted
Well Robert, I always knew I wanted to mute the colours somehow and yet retain the rich earth colours. I know when I've glazed before I have used a similar colour to that of the object, to make the colour more vibrant and add depth. Here, I am kind of working in reverse of that. I'm sure you or Alan or another member could have told me that if I had asked but I wanted to figure it out myself. I'm not sure how dark I will go with the glaze but I might go very dark. I just figured green was probably going to do the job.
Entwined, abstract

Sandra Kennedy

  • Forum Expert
  • Last active:
  • Posts: 277
Posted
I did wonder Denise how green would go over your sky colours. For me it has worked, just given the sky that extra "something" that really lifts it. I also like your distribution of light and dark in the foreground, I'll be interested to see what happens there.

Alan Bickley

  • Prestige User
  • Reputation: 9103
  • Last active:
  • Posts: 3443
Posted
Excellent idea Denise… glazing is often overlooked but can be a simple way to alter whole areas without having to painstakingly rework them, which is pretty much what Robert has said! Scumbling is another technique that is often overlooked… Turner used both to great effect (well of course he would) being a genius! The vibrant sunset on his most famous piece, The Fighting Temeraire, was achieved by repeatedly adding glazes over repeated areas of scumbling.  You’ve achieved quite a Turneresque looking sky here, mainly by keeping your layers of paint translucent. He often kept foreground detail such as figures and animals to a minimum, relying on the viewer’s eye to fill in the detail…

Denise Cat

  • Prestige User
  • Reputation: 5884
  • Last active:
  • Posts: 2197
Posted
I agree Alan, they are overlooked. I don't know if you remember the pear I did, when I first tried glazing and built up the colour with glaze from monochrome. From that point, I knew I wanted to include glaze as part of the process in oil painting. I think this year, most of any oil painting I do will include this process now, in various ways. Of course, I am still learning tons of stuff every day and try to apply myself in all the mediums I use but I do think I am beginning to favour oils a little more than the others.

Alan Bickley

  • Prestige User
  • Reputation: 9103
  • Last active:
  • Posts: 3443
Posted
I do remember it, if I’m not mistaken you started to experiment with glazing after reading my article on scumbling and glazing in TA… I could be wrong… Both are a good technique to have in your armoury!

Denise Cat

  • Prestige User
  • Reputation: 5884
  • Last active:
  • Posts: 2197
Posted
You are quite right Alan, It was your article on scumbling and glazing that prompted me to try. It was also your demonstration that first got me on the road to oil painting. As you know I was a complete novice and I've learned a huge amount in three years from you, Robert and the members on here. I know it's still only a fraction of the knowledge I wish I did have. It's all about hard work and keeping at it. I'm committed to it because I love it.

Edited
by Denise Cat

With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

  • Prestige User
  • Reputation: 20438
  • Last active:
  • Posts: 7167
Posted
Right there is the value of a really good article in the magazines - and it must be very pleasing for Alan to know that he's helped you, as I'm sure he's helped others (including me).  
Showing page 4 of 6