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WIP. Saint Matthew and the Angel
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Message
Posted
You already have considerable depth and richness of tone, and yes, I can see the work you've done on refining fingers and toes - the challenge remains great, but the comfort with this sort of painting is that you've done the really hard work; there will be adjustments to come in the glazes, but for the most part you can apply them at your leisure.
You'll be wanting to use mostly transparent colours, but remember that most colours can be transparent if you apply them thinly enough - they may need some rubbing back with gloved hand or lint-free cloth, but there's no need to restrict yourself to just the obviously transparent ones if you feel you need a colour that would be the right hue but is labelled as opaque. I learned that when someone suggested a Zinc White glaze - I didn't have any Zinc, and anyway very rarely use it, but a thin smearing of Titanium White (this was oil) worked just as well.
Posted
It has been an undertaking Marjorie, one I hope will serve as a learning exercise with techniques I will continue to carry forward. I've got some refining of the chair Robert and also the wing. Some small areas, probably not worth bothering about but I won't be happy moving forward until I've done them. I'll have a full day Saturday and Sunday to work on the darks and lights, so maybe it might be ready to start the next stage as early as Monday.
Posted
I always value your opinion Alan and I didn't think I would be capable of painting such, when I took it up four years ago. I think it was one of your demonstrations that I first tried oil paints and with the guidance, it certainly gave me the confidence to continue on with oil painting. I'm looking forward to finishing it but I'm in no rush, It's more important to try and get it right and try my best.
Posted
I’m probably repeating myself when I say that this is exceptional Denise!
A labour of love indeed - it’s a fabulous process that is used less and less these days.
I’m hoping that Dawn will feature it as a WIP when it’s completed, I’d like to see the different stages of progress in a single article!
Let me know how many stages you have please, and the resolution of the JPEGs. I’ve got something in mind, but they would need to be fairly high resolution images.
You can email me on my private email address if you want, I don’t want to display it on here, but Dawn might give it to you, failing that, Paul has it and I’m happy for him to pass it on to you!
Edited
by Alan Bickley
Posted
I've been continuing to work with the glazes. Today, I have been concentrating on the faces a bit more and have started defining the large wing. For the skin tones, I have mixed a Yellow Ochre, Cadmium Red and Flake White. For some of the darker tones a mixture of Burnt Umber, Raw Umber and a slightest dot of Ivory black in this mix. Then, I will mix it with the various lighter tones, to get the mix I want. Paint to medium ratio is very fine at the moment, making the glaze very translucent. So, the glazes are starting to add more structure, depth and definition to the painting. Here are the paints I've used so far and it's unlikely I will need to add more but I never say never, I'm just seeing how it all goes along. I have also started taking photos with my camera rather than on my phone, so the picture quality should be better. Although it is a detailed and rather difficult piece to paint, I really look forward to working on it, every chance I get.
Posted
It's a long process: but then, it always was. I would like to tempt you away from Winton paints, though..... you'll get far better results (though not necessarily any more speedily) with a higher grade of paint: Michael Harding, Wallace Seymour, MAYBE Jacksons' artist quality, though Alan B knows far more about them than I do.