I posted before about one of my favorite pieces suffering an impact crack and how it broke my heart. I decided to paint the same image again, on a sturdy Ampersand panel, with a lovey 2 inch cradle that I stained cherry red. I’ll go ahead and say this was a really good choice on my part. The second piece turned out so much better then the first. I was able to apply all the new things I’ve learned in the 4 year span since making the original, and on a rigid substrate. Phew!
I had mixed feelings about repainting a piece, it felt kind of strange, but the experience really was so different from the first time because I was so much more proficient in craft this time. The first painting was a plodding struggle spanning months. The second version was still a struggle, sure, but I had so many more tools at my disposal – a better eye and more experience. I also got to fix a couple of issues that really bugged me about the first painting.
I’m still working this formula – first layer verdaccio, second layer to refine. Then glazing flesh tones, but I admit some areas get too opaque, I’m still struggling with adding too much color over the shadows, where the paint is supposed to remain the thinnest to show the underpainting. My understanding is that the midtones are where the shadows blend into upper layers.
Verdaccio is done, awkward first flesh tone layer
Getting into the details!
If you’ve been following along on this journey of self taught glazing, you might see that each time I attempt a piece like this they get closer and closer to what I’m aiming for. I’m not there yet, and I waffle between thinking this knowledge is finite or limitless. I’m slowing down though, a recent break of painting a landscape during sunset was a refreshing change of pace that I wish to repeat! It was so freeing and loose after these years of tightly controlled detail painting. As to whether or not I’m changing my subject matter, well, that’s what series are for, right?
Many people ask me questions about my artistic process, and sometimes I find myself a little stumped. They want a peek into how and why artists make what they make, and if the person asking doesn’t make art, it turns out that usually what they want to hear is less technical and more abstract. I started this blog because I wanted a forum for discussing the more technical aspects of oil painting. That’s why it’s called what it’s called. As I go through the process of teaching myself how to glaze flesh tones over verdaccio and grisaille, as I go back and forth between indirect and wet on wet pieces, and as I explore the possibilities of the medium that I love so dearly, it would be great to have a public place to share all these things with other people who are also learning or interested. But I’m realizing that actually, I also want to use the blog as a forum to tell my story and to explain to a degree why I make what I make. Talking to people directly about my work is absolutely something I must learn to do with ease and grace, but like many artists, I am heavily introverted, and am more comfortable alone in the studio.
I get asked often where my ideas come from. The honest truth is, they come from everywhere. They come from articles I read, people I know, from conversations I have, and they come from my personal writing practice as well. When I become very stumped for ideas, I take strange photos of myself. That is how quite a few of my paintings have been born. I greatly admire those artists who start with what they want to say, and build a piece around it. I have only successfully managed that a few times. Very often, I start with a basic idea or image, and I allow it to grow organically. I may allow a piece to sit in my head for a year or more before I decide it’s ready to be developed.
Sometimes the images finalize themselves in that space just before sleep, when the conscious and subconscious are brushing up against each other. That’s where this old painting comes from. The butterflies are ideas being born. The figure is illustratively cartoonish, because I jumped out of bed and made it.
I will admit something personal – sometimes I make a painting and I don’t understand it until I’ve stared at it for a really long time – days, weeks, even months. Sometimes I paint what I admire, things I want to do, but don’t because learning the skill seems intimidating, and I’d rather paint. I’ve been playing guitar on and off for about two decades, and will likely never get that good at it, but the desire to play guitar has never left me, so I continue to play it maybe once a week or once a month, but that’s not enough to steadily improve. Instead, I made paintings about women with guitar necks, and then spines.
I imagined vertebra morphing into tuning keys, and these two paintings are the outcome of this imagining. And yes, of course I am fully aware of Man Ray’s’ Le Violon D’Angres. There was a procession of images that lead to the guitar spines however. It started with the Guitar Neck Woman, a painting from around 2010 that I wish were more technically proficient, but hey, we all start out somewhere. I strive to always grow and improve, hopefully for the rest of my days. If you think that’s strange, you should know the Guitar Neck Women I used to doodle evolved into Guitar Neck Peacock Women. Then the necks became like vacuum hoses. That got really weird.
It’s fun to see the progress though, and I hope that by showing older works it might inspire one of the many people I meet who tell me they tried to make art, but it wasn’t any good so they gave up. Don’t give up. That’s what it takes if you feel discouraged about making art. The saying for poems is the same for making art. Write one hundred poems. Throw them out. Write one hundred more. Some of those will be good poems. So maybe don’t actually throw out your paintings – maybe just paint over them. I’ve made scores of paintings that don’t exist anymore, because they were bad. I’ve even burned a few, and out of all of those destroyed pieces, I only regret destroying three of them. So be careful about what you destroy, but if you need the canvas to make another painting, just do it. You need to make a lot of bad paintings to figure out how to make a good painting, and man, those bad paintings take up so much space.
(Note – I wrote a post today for the first time in forever, and then found this half finished draft saved and forgotten, so I went ahead and finished it.)
I’ve written a million bios at this point. Well, maybe 50 to be really honest, but it seems like it’s taken me ten years and 48 different versions of it to finally start chipping away the extra stuff and get down to the heart of describing proficiently who I am, and what I am doing with painting. I wrote my 50th or so Bio today for a show and it finally seems to be a cohesive message with clear meaning. I hope. I’m still wish-washing between the third person and first person battle though. We all agree, I think – writing about yourself in the third person is weird, uncomfortable and feels stifled. Let’s face it as well, most people hate writing their bios. It’s so crucial to defining your practice though, that if I was teaching painting to third year college students I would make them write a new one every other week. They would despise me for this, unquestionably, but the ones who continued on to a daily art practice after graduating would thank me for it. I think.
After years of the same over poetic, long-winded bio, I started getting critical of it finally. The procrastination of this process is pretty amazing. I’m impressed it’s taken me so long to realize how valuable it actually is. Not just for describing who I am to others so they can place me in whatever box is needed as per human categorization and processing goes, but really more so for myself and gaining a deeper understanding of what my mission statement is a painter. Naturally as the years pass, your statement should be changing and growing with you. Here’s the new one I wrote today, which is not perfect whatsoever, but a heck of a lot better then previous attempts.
“Linda Wandt is an Austin based oil painter who primarily creates surreal portraiture and figurative works. Originally from Long Island, NY, she moved to Texas in 2000 and attended UT Austin from 2003-2006 where she obtained a BA in Studio Art while also focusing on literature and philosophy. Through painting, Linda is trying to explore the topics of forging identity, what it means to be female in the present as well as in the past, and examining the subconscious and how it interacts with the conscious mind. The narratives and characters in her pieces which often involve flora and fauna as well, invite the viewer to question these topics in their own way.”
Writing this bio today made me excited. My work has jumped all over the place over the years in both style and direction. I don’t view that as bad, I’ve just been painting whatever the heck I’ve wanted, which is what anyone should be doing. I paint a lot of models from life, but I’ve also been painting bees, owls, venus fly traps and llamas and my favorite musicians or authors or other painters and I’ve been painting the conceptual pieces that represent what I’m *actually* trying to convey. The thing is, these things are all connected in some way. It’s just not possible to see that sometimes, not until years later. I’m starting to connect the dots now, and my paintings don’t feel as random anymore. A teacher once said “You don’t reinvent the wheel with each painting. Each piece should lead you to the next”. I’d make a painting in 2007 and then have the idea for the next in that “series” 7 years later. In present time, I can start making the pieces I want with a closer technical skill to what I desire from what I produce, but those older pieces still hold space with me, and contribute to what I make now.
Today’s bio is succinct for the purpose of the show, it’s cohesive enough to get the basic point across, but I found myself still wanting to write when it was done. Those three topics I described in the bio break it down into easily digestible snippets. It’s more complex then that though, and again comes the questions I’ve been dodging for years – Am I a feminist painter? Yes if you count how I ultimately want to depict my female subjects, as minds in clothed bodies with thoughts and dreams and daring to brush up against the edges of reality in their quests for greater understanding of themselves and their places in the universe. What I just wrote leads me to understand that the pieces are surreal, sure, but also existential. Some of the pieces are not strictly about a female experience though, and within that context could be interpreted far from what was intended. Smokescreen and Instinct vs Intellect especially, those pieces portray women representing humanity, outside of the gender bias. Microcosm as well, the figure in that piece represents all of us. I feel so strongly about that, and have found no other place to express it then here. I used female figures for them merely because that is the filter though which I understand everything around me. These paintings are societal commentaries. The first two reflect American problems, to be even more specific, the first is political protest, the latter a comment on our relationship with nature. Microcosm reflects on possibility, that we are but one consciousness amid the multiple possibilities, the universes at the ends of the forks in the horns and the keys and locks representing what we do along our paths, and that is not to speak of one gender. We are a micro in a macro. I couldn’t find the room to express this in the bio, while there was a strong sense of satisfaction from it, it prompted the need to keep typing.
The pieces are not random, not at all. I need the bio and statement writing to keep myself on track sometimes though. A family member once looked at one of my earlier paintings (The Queen of Bones to be specific, a nearly disturbing painting, true) and they just shook their head, and said “I could never look so deeply within myself. I’d be afraid too.” We as painters get to do this, if we choose to. It’s important that we do this. It’s important that we go to the scary places, that we search the depths of our psyches. It’s important that we perform this function for society as well, and reflect back to it what we see in it.
So before I digress more here’s the idea – if you make paintings and haven’t really been focusing on bios/statements, write one. Then write it again. Then again. It’s like burning your first 100 poems before you write a good poem. I’ve burned several of my paintings at this point, and I’m really glad I have. I’ve painted over many more then I’ve burned. My catalogue at this point is just over 100 (I realize that is not a lot), and I’ve destroyed or sanded off and covered the same amount or more I’d wager. This applies to the entire process of refining what you do, to growing over time. Don’t change the bio or statement you’ve already written, a mistake I’ve made so many times. Start it over again from scratch. Over and over again.
p.s. I’m sorry there were no images in this post. I’ll do better next time! I haven’t gotten around the Zorn palette like I said I would in the last post, which was a long time ago, but more about color to come!
It’s been awhile since I’ve posted on here, and a lot of great things have gone on since “Microcosm”was completed! I took a 6 session figure painting class with a fabulous local painter, and she had us work with a limited palette that I’m still using and really enjoying. The more I work with it, the more levels I unlock, and it’s really exciting! It took a little while for me to start mixing greens out of it, I admit, and it was awkward at first since I’ve been using a ton of colors, but now that I’m past the hump of initially feeling limited, it’s not limiting at all. These colors are the following – Titanium white, yellow ocher, Winsor Red, Winsor Yellow, Ultramarine Blue, Transparent Red Oxide and Raw Umber. It took me a bit to mix the red oxide and umber together for a warmer brown, which I am embarrassed by. That took me several uses to figure out. Burnt Sienna is really important to me, but you can totally make, no it problem! For flesh tones, it’s still a little strange for me still not having Viridian Green available for neutralizing colors, but I’m getting the hang of the new green, and getting into some lovely greys as well.
Another school of thought on the limited palette is that it’s great to have both a warm and a cool version of the primaries, and with this palette, you just do the work yourself. Yup. No Alizarin Crimson. No Cerulean Blue. MIND BLOWN. The conclusion I’ve reached is that I LOVE THIS PALETTE and I’m going to keep using it for a good while longer and keep learning new things from it. I’ve been mixing paint for a long time now, but I’m getting a lot from this exercise, and wish I had started using it years ago. The great thing about painting? You keep learning FOREVER. I love that.
Here’s two of my latest with this palette. The first one is titled “Communication No. 1 (Bells, Birds and Pistons)”. I originally was going to put pistons in there, and then agonized over the meaning. I wanted to lighten it up, and went with a bell. Now Pistons still need to happen, and ta-da! A series is born about the different ways we communicate vocally. The pirate painting is totally in progress here, and not finished yet. I’m calling it “Trophy”. See what I did there? It makes me happy. That peacock print chair that she’s sitting on makes me really happy too. Don’t mess with this lady, or she’ll take over your ship. I really love the possible narratives this piece offers. I’ll get more into it once it’s finished. I am in a serious rush to get it done for drop off for a show and will likely make a larger version I can take my time with. The model has amazing 3/4 sleeve tattoos on her arms, and I’ll paint the whole thing over again just so get those in there. I’ll probably make the background wooden slats too, for a boat feel.
I have to admit a secret, which is that I’m addicted to monochrome under paintings now. Is that a bad thing? I don’t know! I have a wee bit of an issue with proportion at times, so the two layer underpainting process really helps me get that settled while only concerning myself with value. I can refine where things go and then once stuff looks correct, I can move into the glorious world of color. I’ve been hoping to break the tedious underpainting thing and work quicker with more wet on wet, but the transition is looking slow. The downside is I don’t always see things until it’s too late if I’m working thin, and then I’m stuck with the issue. That’s really bad!
Then I threw a wrench in the works completely, and took a three day workshop with a super famous dude in portrait painting. Everything about it was different from what I’ve been doing. It was really useful, and kind of overwhelming. He uses a huge palette and doesn’t premix. It’s madness! Sometimes I spend as long as 30-45 minutes mixing those fleshies. Why? I DON’T KNOW! Most importantly, I got from it this nougat of wisdom – keep the features loose for as long as possible. Get into the details once every thing else is looking correct. Sure, this seems obvious, but in practice, personally, it’s actually difficult to do. It’s also a totally different approach, since I have been working with the monochromatic underpainting for so long, but then I realized the gem – IT STILL APPLIES. *Getting into details too fast is why my proportions wind up biting me on the butt all the time.* Bad habits are hard to break, but this is my new mantra, and I’m excited about it.
So now I’m in a space in my practice where I’m trying to adopt new stuff from both methods of working, and it’s a little confusing. The best way to sort it out is to just keep painting and keep those key concepts in mind. Next experiment when I get a chance – the famed Zorn Palette! Stay tuned!
I’ve completed another painting, and another experiment in flesh tones. During my blog about creating “Smokescreen” I discussed the palette I’ve been developing over a verdaccio underpainting, I said I was going to try the same palette over a grisialle painting so that I could see the difference in how the paint mixes optically. Welp, it was a total failure, just as I expected! That likely sounds moronic to some people, but to me it’s merely a science experiment. The failure went exactly how I expected it to go, and that gives me a great deal of information about the process of what colors work well over what monochrome underpaintings.
This piece served to show me how and why the warm flesh tones I was using don’t work in a transparent manner over a grey underpainting. The colors together work great over a green-grey underpainting, because the cool greenish hue neutralizes the warm flesh hues over it. When I started laying the color on, everything was really peachy and not natural looking. I knew this could be that the layering process is complex, and would require more then one layer to look natural. Unfortunately, I was working with a very pale skinned model, and I had to alter my recipes to work with the skin tone. I switched from a warm red flesh tone base (transparent red oxide) to a cool red – genuine rose madder – an expensive color I use rarely and sparingly that interestingly is somewhat fugitive so it was replaced greatly by Alizarin Crimson, and then by the synthetic Quinacridone family of pigments. I find Rose Madder creates such a gorgeous color that is different from both more modern alternatives however. This does not mean I recommend using the pigment, but I do have some and love it greatly. With this recipe, things began working out much better, but it still required several layers and a lot of guess work to get things where I wanted them. I got so lost for a bit, I had to even ask for an outside opinion to help with the issues I was having from working from a photograph of a fair skinned person sitting in the shade. Le Sigh. Working from life really is better. It’s so absolutely true that you loose so much color in the shadows when working from photographs. What I really needed to do was simply keep plugging away at it, slowly adding color layers to create form. Here is what I ended up with.
So camera phone photos are not all that for reproduction. The skin is pinker in reality. Also keep in mind, I’m learning, and on top of that mostly teaching myself. I’m leaving out the meaning of the piece altogether, and focusing on the technical aspects, and I’m still honestly tweaking some of the details around the figure, so I’m only showing a detail at this point. Sorry about that. I’ll have it photographed all pretty and nicely lit and put that on my website in the next week or so. But the journey toward the flesh tones in this painting was important. Neutralizing the skin with blue in some spots and green mixed in others into the base flesh tone and then adding other colors has been a huge step in the right direction for me, and I’m really excited about the results as I do this more. I’d love to streamline this process in future paintings, but I feel like a few more with this method are merited before I get real crazy and start attempting my flesh tones in a single layer, like I see some people doing. I’m really curious though, and feel like if I can gain these principles in transparent colors, trying it all in one shot will be an easier process for me. There are so many possibilities for flesh recipes, it gets really overwhelming sometimes, and it’s very easy to get lost in the realm of possibility. A smarter painter then myself recently told me that limiting your palette is really wise, and I think she is absolutely correct. I also think that would make a fine subject for the next entry.
Hello again, so soon! I’m really sad to have discovered a circular impact crack in one of my most favorite paintings – Wood vs Muscle from 2012. This painting is the sister companion of a painting from 2007, Infrastructure.While not as technically proficient as earlier pieces, they both hold a special place in my heart for the concepts they broach. I have already talked about this piece, but now I have to discuss options for fixing it. It’s not looking good. Consider this instead, a cautionary tale.
Once you have a cracked painting, there isn’t much you can do for it. That’s why it’s best to be mindful of the Fat over Lean principle, and to work on high quality substrates, and to be so very careful during transport. This painting is from a short period where I was trying out linen instead of cotton duck canvas. I bought a few prestretched linen canvases, and I have had nothing but bad luck with this particular brand, which had been sworn off before I just recently discovered the damaged to this favored painting. I still stand by (more so then ever) stretching my own and not buying premade. I have read about stretching linen, and tried it once and it was much more difficult then stretching cotton duck. My understanding is that many professionals buy super expensive linen, stretch a large amount onto a chassis and then prime it. They then cut out the amount they need for a smaller chassis, and stretch the preprimed linen. I haven’t gotten this far yet, because I can’t afford the fancy expensive linen yet. (A hopeful “yet” indeed.) So I settled for trying the cheap kind, and I have regretted it due to cracking, now in both of those paintings. Not cracking from badly constructed paint films – a more painful kind, impact cracks. These cracks are certainly my fault, clearly the painting was not handled well at some point, and I have no one to blame but myself (I think). I don’t recall *when* this damage was done, but I do transport the pieces often, and surely that’s how this happened. But to be sure, never again will I paint on cheap thin linen. Linen is supposed to be superior to cotton duck – the fibers are stronger (it’s made from flax, the same as linseed oil!) and it will last years and years beyond the point when cotton duck will eventually begin to rot with age. Sure, the canvas will rot well after my lifetime. I don’t mean this will happen anytime soon. But longevity is what I am after, and linen is fancy and pro, and supposedly stronger. The elasticity is what gives it this strength, however what this means is it’s more elastic. Linen will loosen up while you work on it. It’s very different feeling then canvas. So while being technically a stronger weave, linen damages and dents easily. I know, it’s a tough pill to swallow. All of this is prefaced however with the disclaimer that I have never painted on fancy heavy expensive linen. I would like to try it, but this experience has perhaps ruined me on the idea, and for medium to small images I might stick to panel from now on.
Impact crack on linen canvas
Let’s look at the damage and discuss what to do – life isn’t perfect, and shit happens. It can’t actually be fixed, but I tried to minimize the damage. When either cotton duck or linen start to sag or get loose, or you find a dent, the first thing to do is try brushing the back with water. That’s the most simple solution usually. You don’t want to soak it, just brush a small amount evenly and this will tighten the fibers back up. My best option for “fixing” it is a long hard road – removing the linen from the stretcher, mounting it to a panel with PVA or high quality acrylic gel medium (I have found gel medium to work better then PVA, but you must work quickly and it’s tricky to do) and then I’d have to remove all of the varnish to paint over the crack. It’s not possible to remove just the varnish in one area, and replace it and have it look like that isn’t exactly what I did. Looong Sigh. Removing varnish is a serious, slow, laborious task and I never want to have to do it ever. I am not a conservator, that is not a degree that I carry, and I have no desire to spend hours meticulously performing this act huffing harsh solvents trying to get it all off evenly and perfectly. I am now refraining from going off on a tangent about varnishes. Not the point of this post, not the point of this post… but real fast, if you haven’t tried Gamvar yet, I highly recommend it. I discovered its wonders a mere year ago, and I’m never going back.
Once I have theoretically removed all of the varnish without horribly damaging my painting, then I could use some Cold Wax Medium or Acrylic Gel Medium in the deepest part of the crack, to sorta fill it in. Then I could attempted to paint over the crack. Would this work? I have no idea. Oil paint layers thin and become more transparent over time. Back to the plate of spaghetti analogy. I highly suspect the crack would still be visible in the end, after all that work, but at least the crack would not be at risk for getting larger.
In the end, as seen in the photo above, I “fixed” it the lazy way. I used wax, referred to my amazing studio notes from 2012, found the recipe for the colors I used (at least the crack isn’t on the figure!) and painted – YUP! – over the varnish. I so totally admit I did this. Is is sooo bad? (The answer is yes.) This painting will forever hang in my home now, it is absolutely not fit for gallery presentation now, so there ya go. I might make it again, on panel, for gallery presentation. I was never actually happy with the hair anyway, or how you could see the hard lines of the shoulders under the layer above. Many lessons to be learned, including this one – keep impeccable studio notes. You will thank yourself one day. Comments, suggestions and pointers are all very welcome.
Edit * I decided to go ahead and try the fancy linen after all. I don’t feel one brand is sufficient to make my mind up about the nature of linen et all. I special ordered a 39.5 x 42.5 sheet of Artfix preprimed Belgium Linen and I will definitely describe my experience with it once I try it out!
I haven’t made a post in a while because I’ve been so consumed with finishing this painting around working fairs and shows for the last few months. It’s done now though, and I’m back! I thought it would be fun to show how this painting came together. I’m really happy it’s done, clocking in at around +/- 200 hours, so it’s quite an accomplishment, and it really tested my dedication at times. It also showed me some serious weaknesses that I need to focus on improving if I am going to continue making paintings of this scope. If you have tips or tricks of your own, feel free to share! I don’t normally graph, and this piece was too large to *not* graph. This really challenged my poorly developed left brain, since I spend so much time in the right side. Wait, maybe that has been disproved at this point? In any case, here’s the photo of the finished 30 x 60” canvas. Without getting into the meaning of the piece at all, (unless someone really wants to discuss that, in which case I’m open to it, as it is a pointed piece) let’s dig into the details!
I began with a print out at half size for graphing. I picked up this trick from a really talented painter I’ve met along the way, but she recommends always printing out at full size. I figured at half, it would be really easy to simply enlarge 2x and that turned out to not work out as perfectly as I had hoped. I spent a lot of time working out the graph, and then realized the figure wouldn’t be large enough to fill the canvas in a satisfying way and also to satisfy my love of painting faces and hands and feet. What I wound up with was a figure with a head, face and feet that are a touch too large for the body. But forward I marched! The lesson here – don’t do that. I’m cool with it for this painting, because I do so love to paint those features as large as possible, and I don’t want to deal with canvases that won’t fit in the back of my pick up truck.
Verdaccio figure, first layer
Verdaccio Feet, Second layer
Verdaccio Full Figure
I have been experimenting with different flesh tone palettes over a verdaccio underpainting for several years now, and I’ve hit some that I kind of like, but haven’t really found *the one* yet. It took me awhile to even really figure out the verdaccio recipe I like most. I have now, I go for the Flake White, Ivory Black and Yellow Ocher route, and I’m very happy with it. When I first tried it with Oxide of Chromium, the figure was REALLY green, like alien green. I refined it for a bit with different ratios, and then tried it without the actual green – yellow ocher and black mix to somewhat of a green, and found I like the subtle green-gray much more, and it’s the correct mixture used back in the day anyways I believe. I did the full figure in verdaccio first, attempting a refined layer but only somewhat succeeding.
Getting the background in and the dress was a slow process. The Dress -what an ordeal! Stay away from Lamp Black unless you use a drier, it takes FOREVER. I’ve been waiting three weeks for this dress to dry enough for me to touch up a couple of spots, and then I’ll be stuck waiting another month before I can even think about Gamvar varnish. I can’t use a drier for the final touch ups because I’d risk cracking if I did so. So. Much. Frustrate. I have an actual gallery waiting to see this piece, and I’m stuck cooling my heals for a bit now.
As for creepy owl, which was extra creepy because I love owls, I created a paper-clay model of a dead owl so that my model would have something owl shaped and I could get her fingers perfect for the photo shoot. My only thing about this is that I wound up painting a super stiff owl, because my reference was super stiff and I didn’t succeed in giving it a little droop. So goes that, I get so focused on my references sometimes. It’s a really great thing to be able to separate the piece from the photo, it’s crucial actually, sometimes when you are making creative imaginary things from based in reality images. At a certain point you should ditch the photo and focus on the painting, and what makes it a good painting! It’s way more informative to work from life, but for images like this, and for my financial ability, I can’t ask a model to pose for the whole time I am working on the model. I hire a model to come in for an hour, pay the best wage as I can afford, and have a photo shoot. I also give the model a print of the painting for free. I think that’s good form.
Here comes the fun stuff about the skin tones. Most of my attempts to glaze over the verdaccio obliterates the verdaccio. The point is to build up paint over the light areas, and leave the shadows thin. I have failed over and over, and with this one it started to click a little better. I found a full list of Adriane Gotleib’s palette on his website, and substituting several of the colors I didn’t have for ones I did have, sticking to mainly transparent colors, I came to a pretty good place with the mixtures I made from this. They didn’t work well for me when I tried it over a white background, but over the cool verdaccio… yesss. I substituted another couple of colors for ones I liked more, and arrived at something similar but different, and I’m really happy with it. For my next piece, I am working with a grisaille underpainting, but I am going to use the same base colors to compare between what it looks like over grisaille vs verdaccio, because I want to know how much the green plays in. If it doesn’t work so well (I suspect it won’t but need to see for myself) I can always tweak it to better suit the grey scale without the cool green. I went for a Mars Black grey mix, so we shall see, experiments continue as always! I’ll probably blog about it too, cause if you are as dorky as I am on it (if you have read this far, you are. It’s okay. We’re in this together.) you may want to know as well!
If you’d like to view a video of me applying flesh colors over the verdaccio you can see it here. (It’s really helpful I think, and I wish there were more videos out there for people learning like myself.
The single glaze for the flowers mostly worked, but a couple of the lower petals didn’t have good enough variation in the grey scale for depth. But not to worry! A little bit of glazing Viridian over the red (complimentary colors, they are your friends!) and VIOLA! Depth where I needed it so the shadows popped, giving the petals the full forms I wanted. I spent a lot of time on the necklace and belt buckle as well, I love those details! While conceptually the meaning of the piece is a little away from Instinct vs Intellect, I view them as sister pieces. I find full series to be a bit tedious, but love pairing paintings, and sisters pop up a lot. To me this is a series of two. Not quite a series, I know. But I like to think they have companions at least. Please feel free to ask questions, make suggestions, share your knowledge, or to just leave a comment! Thanks for reading!