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WIP. Verdaccio started in oils.
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Message
Posted
My book is being delivered tomorrow Robert. Thanks Gary. I've spent the afternoon completing the jacket. It was painstaking. I'll let it dry and take another look at the jacket tomorrow. It may need a little more work. Again, it's constantly looking at tones and values. Once I'm happy with the jacket, I can continue on to the colour stage of the painting before putting the final details on. I will be using glazes for the colour.
Posted
Thanks Sandra. Yesterday I mixed my palette for skin tones. Titanium White, Lemon Yellow, Yellow Ochre, Cadmium Red, Alizarin Crimson, Burnt Umber, Ultramarine and Cobolt Violet. I then mixed my light, medium, dark and mid tones.
After spending four hours on the face, I needed to take a break from the face and started building colour up in other areas.
After spending four hours on the face, I needed to take a break from the face and started building colour up in other areas.
Edited
by Denise Cat
Posted
Is that Liquin I see before me on your palette, its mephitic stench reaching me even through a screen? Very useful stuff for this technique though, if you can bear its delicate perfume.... it really comes into its own with glazing. But then, so do you! I think you must have been Titian, in a previous life; people argue about whether artists are born or made, and on the whole I think they're made, but you've advanced so far, so fast, that there's obviously more to it than I ever supposed.
I like the way you've taken the trouble to read and learn about techniques which, pre-Impressionism, served generations of artists very well - I know of a very distinguished artist who passionately believes that Impressionism led us all down the wrong path; indeed, he's written a book on that premise (and a very useful book it is too, for those who wish to learn the pre-Impressionist approach) - I don't want to spark any controversy here, obviously that's a very narrow point of view and not one to which most of us will subscribe. Nonetheless, there was a lot of throwing the baby out with the bathwater - and you've gone back, for specific paintings, to nurturing the baby. I applaud that - going backwards to move forwards appeals to me very much.
Posted
It is liquin Robert. I have linseed and stand oil and seem to return to liquin. There is not much difference to the consistency of a glaze depending on which one you use, though, I tend to find the stand oil a bit sticky. I think the reason I keep returning to liquin is the fact that it enhances drying time. Monet, Pissarro and such, are major contributers to the evolution of art and where it stands today. For me personally, not knowing anything about art when I started, I felt it was important to read much. I didn't realise it at the time, I thought I was just looking for a brief overview of things but I have realised now, it's more of a deep understanding of the processes involved and how those processes evolved. How art has changed through history. Many questions, so I read a lot. That's how I came across Verdaccio and I thought, right away, I'm going to do that but I do my homework before the paint hits the canvas but I'm still never sure, how it will all work out. I know one thing, Verdaccio and chairascuro are definitely for me. I read the book you recommended, it came the other day. The section on Terre Verte was interesting. There are other sections that are very useful.
Posted
No doubt you have less time available than most of us, but it would be wonderful if you could teach as you are learning. Many of us in NW London are gagging for a quality oils tutor. So many can teach the basics, very few can show as you experiment. You don't need to be a master to teach. But then again, you might treasure your own time above all.
Posted
Denise is successful because she takes her time to study the subject or techniques and doesn’t rush to get a finished painting . It so important to study the subjects that you want to paint or sketch as the more you know about it shapes, use , history and have a understanding of how it was made or constructed the better your work will be .
I known what I have said if obvious but unfortunately sometimes we just rush in and do it and wonder why it’s not looking so good . When you look back over the last three or four years at how Denise has developed as an artist it’s amazing but it’s down to her hard work and dedication to learn that has achieved her goals , it hasn’t come easy or naturally.
Without offending other people I hope , I personally think she is one of the best artists on POL , no need to put a cheque in the post Denise I say this for free.
Posted
I don't think I would know where to start Norrette. I hope by putting a WIP such as this, might inspire others to have a think about a certain process. Or maybe have a read on a certain technique and even have a try themselves. It's highlighting a topic you might not necessarily come across. Paul, that is very kind and appreciated. I never measure myself with other artists. I believe in hard work and that anyone is capable of achieving their goals through dedication and hard work.