Oil figure sketch on 12 x 16 oil primed linen canvas. This was my first time painting on linen and I have to say, it was incredible! It was just the right texture and smoothness that I wanted. Erasing on oil primed surfaces is a dream, compared to the acrylic primed canvases that I have used in the past for sketches. The acrylic primed canvases soaks up the oil, thus making it difficult for making corrections. I have tried Arches Oil Paper for doing sketches, but they are even worse than acrylic primed canvases. Once the pigment is laid down, there is just no removing it, unless you cover it up with another pigment, which is fine if you are sketching with multiple pigments.
However, oil primed linen are expensive! I have decided, however, to use one oil primed linen canvas solely for the purpose of doing sketches. I will simply sketch, take a picture, and erase when I am done. I plan to get a lot of mileage out of it.
Your questions and comments are always welcomed.
Still life tonal underpainting of pear. Terra Rosa, thinned with 50/50 Gamsol and linseed oil, was used for the lights. A mixture of Terra Rosa and French Ultramarine Blue was used to establish the form shadows. A mixture of Burnt Sienna and French Ultramarine was used for the cast shadow.
I started out blocking in the simple lights and dark forms, including the cast shadow. I then proceed to incorporate the reflected lights on the form. What is not seen to the right of the pear, is a gold plate that reflects the primary source light coming from the upper left back in to the pear. Their also light bouncing off the table into the bottom left of the pear.
The blocking-in went rather quickly, since I had already demarcated the lights and darks in the underdrawing phase. I chose to use Terra Rosa as my hue for the underpainting because the pear overall color is reddish-brown. The background was a mixture of French Ultramarine Blue and Burnt Sienna with a touch of White. The next phase is to do the overpainting, the completed painting. However, as to what style to paint the pear in, impressionistic or realism, I am not too sure. I guess we will see, won’t we. 😉
Mixing complementary colors: ultramarine blue and burnt sienna.
I hate doing color charts. It is difficult for me to stand their mixing paint, without actually creating anything. However, I do see the benefit of doing them, and I need more practice mixing colors, especially understanding how to create neutrals from mixing compliments.
I was inspired after reading Betina Fink’s blog on the subject matter.
I totally enjoyed painting this apple. I like how the tonal progression turned out. My color matching is improving, the colors were pretty spot on.
The white you see on the halftones and dark areas of the apple surface is the light reflecting of the wet paint. Just notice the apple stem does not go all the way down. I should fix that :0