A Natural Approach series part 3
Added 2022-09-27 00:50:47 +0000 UTCWhen we commence a painting, whether big or small... you just have to get the surface covered.
A lot of students forget that 90% of the painting is never seen.
What I mean by that is that the very top layer is manipulated so much that the underpainting no longer keeps it’s original look. It may not be 90% but it is a considerable amount.
Keep in mind as I paint, a lot decisions are made thinking about our light source as the guide to direct us. Every brushstroke I put down I imagine what will be painted on top and so on.
For me, this stage it is never about the “finish” as is often the goal with alla prima painting, or form painting.
Hopefully this will all make perfect sense as we continue.:)
Similar to the glazing video, this is the stage that was not shown in that video. Really broad areas of paint laid down with the intention to go back over each section with thin applications.
Comments
Great question, for the longest time I didn't tone my surface due to wanting the colors I place on top of the white to really shine through. For the most part, that is still my recommendation although it is fun to work on a tone every once in a while. The reason I tone the paper when working with oils on top or acrylic actually, is so that the paper is protected and becomes stronger. the shellac I use has a golden color to it, so all studies on paper are typically that yellow orange color, or I use a gesso on paper as well. Not a clear answer but it give some more insight into why some are toned and others not.
Michael Klein
2023-04-09 14:14:50 +0000 UTCHow do you decide whether or not to tone your canvas?
2023-04-09 11:47:10 +0000 UTCRegarding the colors becoming neutral, if you are referencing when you clean a palette and leave some of all the mixtures behind will it act the same on glass as wood? The answer is yes, they both will create a build up on the surface, glass will take longer and you can't wipe it totally clean if you want something to build up on the surface to create the neutral grey color.
Michael Klein
2022-11-23 12:15:34 +0000 UTCHello, there is a slight difference, mostly in the drying time but can be felt if you're really used to working with Oleogel. Here are the definitions from the site. Oleogel is a thixotropic painting medium made with linseed oil and pyrogenic silica. Oleogel is a clear pale amber gel that adds transparency and a thixotropic body to oil, resin-oil, or alkyd paint. Oleogel does not contain driers, so it is safe to use in oil painting without the worry of cracking. When mixed with colors, Oleogel does not slow the drying time. Oleoresgel is a firm thixotropic gel made with bodied linseed oil, alkyd resin, and fumed silica. Add Oleoresgel to thicken colors to create impasto effects that do not sink. It contains no driers, so it is safe to use in oil painting without the worry of cracking
Michael Klein
2022-11-23 12:13:05 +0000 UTCHi Michael, do you use Oleogel or Oleoresgel? I wonder are there any significant differences between using wooden palette and glass palette, concerning you mentioned old paint groups together to become neutral? (Personally using some glass palettes with lids at the moment.) Thank you.
Chi
2022-11-23 06:32:00 +0000 UTCHave to remember 90% is never seen, great advice. Love your notes. Learning a lot from you they never taught in school (and I've got a degree in art history. Go figure!
2022-10-01 18:35:46 +0000 UTC#8 Ivory Round
Michael Klein
2022-09-28 13:51:14 +0000 UTCEgbert SER 2085
Michael Klein
2022-09-28 13:50:45 +0000 UTC3/8" Ivory Dagger
Michael Klein
2022-09-28 13:49:51 +0000 UTCWell, that is a start! I hope to hear from some of you soon:) I'll answer any questions you have the best I can, when I have a moment.
Michael Klein
2022-09-28 12:59:06 +0000 UTCAnother unmentioned difference in the video was my brushes, the brushes I was using are Rosemary & Co. and at the moment while typing this I'm in the residence section of the museum so I don't know off hand what they are. They were given to me as a gift so I would have to look at them for the exact names. What is more important to notice is I'm slightly adjusting the normal format because I'm standing and working a bit further from the panel or canvas. I do this at times, not always though. It depends on the energy I bring to the painting or what I want to accomplish. Usually I sit while painting and will most likely return to that method as I get more into details and drawing corrections.
Michael Klein
2022-09-28 12:57:24 +0000 UTCSecond thing to note, I didn't do any drawing on the larger piece. A simple grid of medium charcoal was drawn over the small study to get me started. As discussed, this is a common way of working up a larger work, although what is not as common is I did not transfer the shapes with my charcoal on the panel, I proceed with direct color and white areas of paint application. Always returning to the grid to keep me in check.
Michael Klein
2022-09-28 12:54:34 +0000 UTCI will start the conversation here, I've noticed people are shy to correspond but I encourage you to do so because that is what you pay for on this platform. Things to note in the video that I didn't discuss. I scraped and prepared my palette before going live. That was a simple process of scraping off the older paint to lighten the weight of my wood palette, and using a paper towel with some oleogel to clean the mixing area. This way the old paint groups together in sections that are dark to light and become slightly neutral. It's not as complicated as it sounds, I did a similar thing during the video when I placed new white on the palette.
Michael Klein
2022-09-28 12:52:30 +0000 UTC
