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Message
Posted
When I thought about this a bit longer, I was struck by the things you lot notice! Especially the collar points - I'd noticed the rest (the nose, the cloudy eye) myself: but was blissfully unaware of the collar..
Alan: yes, you can paint with oils over acrylic, although I do have a slight concern there over long-term adhesion - not that I think this is likely to matter in a painting's first 100 years, by which time I shall be rather less interested in it; but I'd still like to think I hadn't left a problem for others down the line. My real feeling though is that I prefer to start with one medium and carry on with it - adding other media strikes me as perhaps undertaking a rescue mission, if you see what I mean. Besides which, as a devotee of acrylic I may feel a slight reluctance to cover it with oil paint.
Heather: I have made some substantial progress, but am going to be very careful with that mouth! I have totally lost a likeness before by just one almost imperceptible slip - I think acrylic does have something to offer here (whether you overpaint with oil or not) because once it's there (and of course, if you've got it right in the first place) you can get it back should you lose it: until the paint dries hard, of course. I'm using a lot of glazing in this one - generally avoiding opaque paint on the facial features so far as possible.
Would it be easier in oil - blending would be easier. But it would be a different picture - I don't want to make a habit of painting young Jezzer, but I must say I'd like to have another go at him in oil paint.
Posted
One quick note - the adhesion of oil over acrylic: I wouldn't worry at all if the surface were rigid - stretched canvas is a potential problem, because of the very different drying rates of acrylic and oil. Truth is though that we've only had acrylic for less than 80 years - not long enough to form a conclusive opinion about its longevity, especially not in combination with other media. But it's also possible to worry much too much about this ... I shouldn't wish to dissuade anyone from mapping out their painting in acrylic first, if they want to.
Posted
I can appreciate not wanting to change medium at this stage, I entirely agree with that. I hadn’t realised it was on stretched canvas.
As for the longevity issue, that wouldn’t concern me as my work is never going to be of any significant value, well I don’t think it will be but...
Anyway, Hockney’s acrylics will be, well they are now of course, he’s obviously not concerned about this longevity issue!
Edited
by Alan Bickley
Posted
So I’ve been reading my new book on painting portraits in oils, by Rob Waring. He recommends painting women full face and men from the side or threequarters. He thinks that full face does not look strong enough for men! He interestingly tends to use a mix of raw sienna, crimson and white for flesh tones as opposed to the yellow ochre in the Zorn palette.
Edited
by Linda Wilson
Posted
I saw this book advertised on here and thought about buying it Linda, so would you recommend it?
I love using the Zorn palette for portraits, it really makes you work hard at your colour mixing and I enjoy the challenge!
So, I’m wondering why change two of the colours out of four, albeit not significantly!
I use Cadmium red and YO but I’ll give his combination a try later today on something I’m currently working on.
Edited
by Alan Bickley
Posted
The book has lots of pictures, including models from various ethnic origins. The portraits have a light feel to them, probably through avoiding black pigments and using blue instead. They also have an American look to them. There are only 160 pages, most of which covers basics, which I don’t think you need. The main Chapters are: Working from life, Planning your paintings, Achieving a likeness, The sitting, Going Further. I was going to post, the full contents page, but that would probably breach copyright. I will drop any other jewels of wisdom into the forum as I read. I don’t think it will take me very long.
Posted
Raw Sienna and Crimson are (or should be) transparent - so would lend themselves to a glazing approach, whereas the Zorn palette is composed of opaque vermilion/Cadmium red, Yellow Ochre, also opaque, black and white - both opaque. I don't see therefore that this palette is in any way comparable to the Zorn, even if it only uses a few colours. Though now I read Linda's post again, i.e. properly, I see she doesn't actually say it has anything to do with it - still, while I have adjusted my thinking while writing this paragraph, I think I'll keep it! Because perhaps it makes the point that there's more to adjusting a palette or painting theory than just changing pigments.
I haven't encountered Rob Waring's book - it's of minor interest (mostly to me) that when I've painted men, they have been three-quarter views; and women more or less full-face ..... I don't know why that is: I suspect I'm just a dull conformist!
Posted
By the way Alan - I think at least some of your paintings will continue to excite interest long after you have been lifted to the realm of the Choir Invisible. Self-doubt is the curse of nearly every artist (you have to wonder if Dalí ever really doubted himself, though: precious few signs that he ever did); sometimes the doubt is fully justified, but not, I suggest, in your case.
Posted
Just to make Robert’s hair stand on end, Rob Waring paints the whole of his canvas with pale grey acrylic, (a mixture of orange and blue) first. Then he sketches in charcoal and fixes it with hairspray, before blocking in with the darks in oil paint. He paints alla prima, so none of this time consuming glazing. By “American”, I meant glossy/Disnyesqe. Always having the inky-dinky light reflecting on the eyeball and a shine on the nose. He is actually from South Africa, which would explain the lightness, as they have dry winters and are closer to the Equator than us. But I am looking forward to reading the bit about colours he uses for black skin.
Posted
Well you may be right there Robert, I’m sure a few will live on and be appreciated.
I don’t have self doubt, never have had, but it’s more about being realistic. I like very few of my paintings, I don’t have a problem with that, because if I did, I would stagnate and wallow in my own self admiration, and I know many that do!
I know where I want to get to, and I’m some way off but enjoying working towards it - if any of this makes sense!
I only hope I’ve got that amount of time left...
Edited
by Alan Bickley
