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.
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 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.
There are a lot of themes that run through the stock gallery many people have similar ideas but they pull them off in different ways. In this series of newsletters we will look at similar ideas but different outcomes.
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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.
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