Showing posts with label oil paint. Show all posts
Showing posts with label oil paint. Show all posts
Sunday, November 4, 2012
Girl in Window
hello all!
This is the first full color oil painting I completed this past summer using the old master techniques. It is a copy of a Rembrandt called "Girl in the Window." I was drawn to this painting because of the way the girl softly emerges from the blackness behind here. I also love the contrast of the loose, almost abstract background and the gentle clarity of the girl face. There is also something doleful yet sweet in the girl's expression that feels natural and familiar to me. I painted this while taking an amazing class on Classical Oil Painting at the Kline Academy in Los Angeles.
This is the rub-out I did with Raw umber and a rag to lay the foundation for the painting. I love Old Hollands raw umber because of its warm golden hue. Some raw umbers are very dense and cool. This one has a beautiful luminescence. The rub-out is a great way to study the tones and shapes and create a visual map.
Here is a sneak peak at the painting I am working on now. It is a copy of JW Waterhouse's "Nymph." It is in the Grisaille phase. I have painted it entirely in Raw Umber and White. I have already started laying in the color. I have also taken many photos of my process on this one which I will post with the completed painting. I loved the complexity of being inside the forest but it is proving very time-consuming to paint! Patience and slowness. It makes me feel like I am painting in another time. It is the complete antithesis to the fast-paced world of surface design and illustration that I work in normally.
Now my question is: what will the merging of these newly-honed oil painting skills and my personal whimsical style create? We will see. :)
This is the first full color oil painting I completed this past summer using the old master techniques. It is a copy of a Rembrandt called "Girl in the Window." I was drawn to this painting because of the way the girl softly emerges from the blackness behind here. I also love the contrast of the loose, almost abstract background and the gentle clarity of the girl face. There is also something doleful yet sweet in the girl's expression that feels natural and familiar to me. I painted this while taking an amazing class on Classical Oil Painting at the Kline Academy in Los Angeles.
This is the rub-out I did with Raw umber and a rag to lay the foundation for the painting. I love Old Hollands raw umber because of its warm golden hue. Some raw umbers are very dense and cool. This one has a beautiful luminescence. The rub-out is a great way to study the tones and shapes and create a visual map.
Here is a sneak peak at the painting I am working on now. It is a copy of JW Waterhouse's "Nymph." It is in the Grisaille phase. I have painted it entirely in Raw Umber and White. I have already started laying in the color. I have also taken many photos of my process on this one which I will post with the completed painting. I loved the complexity of being inside the forest but it is proving very time-consuming to paint! Patience and slowness. It makes me feel like I am painting in another time. It is the complete antithesis to the fast-paced world of surface design and illustration that I work in normally.
Now my question is: what will the merging of these newly-honed oil painting skills and my personal whimsical style create? We will see. :)
Sunday, April 1, 2012
Renaissance Painting Techinique
I have been learning Renaissance/ Old master oil painting techniques. This is my first painting using these new skills. This is a raw umber and white tonal study of a classic sculpture. The intention was to practice blending to create smooth transitions between light and dark. I also was focusing creating the soft edges; so that the figure immerges from the background rather than sitting on top of it. This painting required many layers of paint and a lot of patience. Below you can see some images of the work in progress.
After drawing the outline of the sculpture in pencil, I coated the canvas with a glaze of Old Holland raw umber and walnut oil. I then used a cotton rag, to wipe out the lighter shades. This gave me a tonal map to refer to as I continued to paint.
I then mixed 9 shades between raw umber and white on my palette. I would start by glazing over the area I was about to paint using raw umber and walnut oil. I would let the glaze be thicker in the shadows and thinner in the highlights. Next, I would paint in the form with the dark to light tones. I used a big soft brush to help blend the tones together smoothly. Many areas were painted 3 separate times to refine the shading and the lines of the form.
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