I am using Dura-lar film matte surface as my substrate. It has just enough tooth to hold the graphite. It is difficult to get rich dark marks with pencils, however you can use other media to achieve that. This leads into why I love using this substrate. You can use multiple wet and dry media on the surface, like oils, gesso, and acrylics. I have not tried pastels, but I don’t see why it wouldn’t work. I look forward to experiment more with this surface and sharing my results.
A captured moment of serenity in the mix of chaos.
Greetings everyone! Hope everyone is having a wonderful afternoon. I will be continuing the facial feature study from yesterday. Stop by and say hello on Twitch!
“Don’t bother about whether or not you have it [talent]. Just assume that you do, and then forget about it. Talent is a word we use after someone has become accomplished. There is no way to detect it before the fact … or to predict when or if mastery will click into place.”
These are on my easel for the next few weeks.
Today, I am posting my oil painting grisaille study of Cornelis van der Geest, by Anthony Van Dyck. This has been a three week study. I don’t consider it a successful study, meaning that I am not satisfied with the results I am seeing. I am going to shelve it for awhile. To be honest, I feel I am slowly ruining the study: my values are shifting all over the place with each pass that I do and I am slowly loosing the likeness as well. So, it makes sense to walk away from it for awhile and return to it with “fresh eyes”.
My process is very standard. I do a drawing first on the panel, then I seal with a mixture of 50/50 Dammar Varnish and Odorless Mineral Spirits(OMS) with a hint of burnt umber to create a wash. I let lit dry for about a day.
Here is my initial drawing using a graphite pencil. I try to keep the drawing loose and to include only the essential marks that will help me with the underpainting. Sometimes, I tend to include too much detail which eventually get obliterated when I start painting. Do not spend too much time in the drawing phase, especially for just doing an oil painting study. If you are just starting with oil painting, the goal is to get comfortable with medium and learning various brush handling techniques.
I sealed the drawing and did a light wash of burnt umber. Some of my initial drawing was lost in this process, which is okay because I can find the forms again during the underpainting. You still have to draw, even if you are painting! Your ability to draw is essential.
This is my first pass. I am loose with the values. At this point, I am just establishing the relative values I see at first glance so to speak, they are not accurate. I am also doing some form modeling, establishing my lights, darks, and halftones. Regaining the forms that I lost during the umber wash. I am using a 2 to 1 mixutre of OMS and linseed oil (lean medium) to thin the paint.
I believe this was my second pass. Here I am refining my forms, and doing my best to accurately depict my values. In addition, I am using a mixture of 2 to 1 mixture of linseed oil and stand oil (fat medium).
That’s it so far. Stay tuned for another study, this time it will be Gustave Courbet, The Desperate Man, 1844-45
Greetings everyone! The purpose of this study was to get familiar with oils, understanding its nuances. I did not do any preparatory drawing, just took my brush and burnt umber and started sketching. Earth pigments tends to dry fairly quickly, and Burnt Umber is no exception. By the next day I was ready start another layer of painting. Since this was a short study, I did only two layers, thinly. My goal is to post more of my burnt umber underpaintings. Any feedback/comments/ suggestions are appreciated. Until next time, then.