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Practice 02-2008 stages by ~mleiv:iconmleiv:


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Submitted: February 20, 2008
File Size: 337 KB
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Resolution: 600×1899
Comments: 4
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Artist's Comments

I really only took all these pictures because I typically ruin a painting part-way through, so I wanted to make sure I had a picture before I screwed it up. :P

This is a very traditional method for painting, with an monochromatic underpainting and color glazes. It was done in acrylic on 11X14 paper.

#1) A light pencil drawing straight on the paper (no gesso or medium yet). I rate this drawing a 6/10 in terms of effort. Not a lot, but my paintings usually get a 2 or 3, so I spent a fair amount of time getting the details right.

#2) I sealed the pencil with a clear coat, and then covered it with my favorite medium, light modeling paste. It is mostly transparent, so it doesn't hide the pencil. Once that had dried overnight, I added a light wash of base color. This color was meant to be the middle skintone - the dominant color in the picture.

#3) I painted in the figure using monochrome colors. Normally I use black/white, but in this case I decided to use red - it was just closer to the final color = less effort later.

#4) I glazed in the real colors. For the skin I used many layers of pale pinks, yellows, and some darker blues and greens for the shadows. For the hair I used gold for the highlights and brown and black glazes for the shadows. I did the swimsuit at the very end using fairly opaque paints straight from the bottle. Then I scrubbed in an opaque background in the same teal from the swimsuit.

The final piece is here: [link]
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Ahhh, so my technique isn't so far off a traditional method, I just work on small areas at a time :) This is really interesting, thanks for sharing.

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The general method does vary a lot depending on which part you do first and what medium you use, but yes, I would say that your approach is very traditional. A lot like Jan Van Eyck, actually - with similarly amazing results. Gouache and egg tempera have been used that way for centuries - with tight transparent layers focused on small areas at a time. Myself, I just can't get the colors right that way (I have issues with color... *sigh*). I have to do the whole thing at once. And I tend to use smudgy/dry brush half-opaque layers. According to How to Paint Like The Old Masters, it is very like Durer, but my results versus his.... hmmm, not so alike.

I didn't make it through many art classes (oh, the stories... I've met some of the most horrible people in the art world on their worst days, I swear), so I read a lot of books on techniques.
I generally use my paint thin and wet, anything from a watered down to thick ink consitancy, but I do occasionally use a dry brush - some of the texture on the walls of the house in my current piece was laid on with a dry brush technique. If I had a fraction of the talent of masters like Jan Van Eyck 'd be a very happy bunny :) It blows my mind to think they were turning out work like that 600 years ago.

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Especially when you consider that they had to mix their own paints, glue their own boards, and light everything with candles. :) They were the masters.

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