Wednesday, February 22, 2012
The Rape of the Daughters of Leucippus - Work in progress
Friday, February 17, 2012
The Rape of the Daughters of Leucippus - Work in progress
I worked on the right side landscape and plants. Like with the 7 layers technique, the true color will be revealed at a later point by applying transparent color, the glaze, into places that are still showing high contrast at this point.
Detail:
Detail:
Tuesday, February 14, 2012
Saturday, October 8, 2011
The Angel's face - Painting eyes, hairs with increasingly more detail
Just a quick note about today's work. I did not have much time to make any significant progress, but the angel's head was finally dry from since I last worked on it. I just wanted to work on the hair, but did also work on the eyes. You clearly see now how the angel is watching away to its right side.
Wednesday, October 5, 2011
rendering textile: the cloak.
Like for the rest of the painting, I follow 3 steps:
1) quick drawing with brush. A light 2 color glaze is what you see on the picture as of oct 4.
2) Using 2 different reds as well as white, I create volume by adding shadows and reflections. the drawing gets more precise, but the contrast is too high which is done on purpose. This will be smoothen at the very next step. For now this is what you see on the picture marked as of October 5.
3) Once the paint is dry, which is going to take at least 2 weeks, I will add a red/brown glaze that will create color uniformity while preserving volume effect. By the way the glaze will be absorbed by the texture, it will create similar impression as what you can see on an old painting. But we will have to wait a little bit for that.
Click on the picture to enlarge
1) quick drawing with brush. A light 2 color glaze is what you see on the picture as of oct 4.
2) Using 2 different reds as well as white, I create volume by adding shadows and reflections. the drawing gets more precise, but the contrast is too high which is done on purpose. This will be smoothen at the very next step. For now this is what you see on the picture marked as of October 5.
3) Once the paint is dry, which is going to take at least 2 weeks, I will add a red/brown glaze that will create color uniformity while preserving volume effect. By the way the glaze will be absorbed by the texture, it will create similar impression as what you can see on an old painting. But we will have to wait a little bit for that.
Click on the picture to enlarge
Monday, October 3, 2011
Working on the women's face
The drawing in its initial stage was, here too, very approximate. I worked on giving more glance to the hair, but so far only did little to the face itself, just adding some red and white highlights.
Sunday, October 2, 2011
Working on the women's face
Today I worked on the 2 women's face as well as on the horse's mouth.
None of the result is to be considered a finished stage.
Today's starting point looked like an initial 'painted sketch', the drawing was very approximate. Slight touches of quick strokes, mostly glazing rather than heavily painted. Now it was time to fine tune the drawing, and to add paint to it in order to show volume.
Whether using glaze techniques or working with more heavily paint strokes, it is important to always start with darker colors first. and only then to apply brighter colors, especially on a still wet base. Trying to do the contrary would result in turning dark colors into ugly grey, kaki or any other unexpected pale color. It would also take a much heavier amount of dark color when trying to darken a bright oil base that is not dry.
But when I say I need to first apply darker colors, it does not mean dealing with just black or even brown, it really means dealing with darker color than the one to be used on the spot right next to it.
So even if I am only working on a bright spot, I would always start with a tinted white before applying pure white brilliance effect.
In order to bring volume to a painted face there should not be any large surface with similar color. A face is no flat surface, and even aside the fact the skin itself may have its own tint variations, you can say that almost every square millimeter is exposed to slightly different light conditions, light reflections, and brilliance. This how it came today:
As a result the face is showing a way more intense and emotional look. Hairs show more detail and movement. Leaving it drying for a week is necessary before I can work in this area again.
I finished the day, adding details to the brown horse's open mouth:
None of the result is to be considered a finished stage.
Today's starting point looked like an initial 'painted sketch', the drawing was very approximate. Slight touches of quick strokes, mostly glazing rather than heavily painted. Now it was time to fine tune the drawing, and to add paint to it in order to show volume.
Whether using glaze techniques or working with more heavily paint strokes, it is important to always start with darker colors first. and only then to apply brighter colors, especially on a still wet base. Trying to do the contrary would result in turning dark colors into ugly grey, kaki or any other unexpected pale color. It would also take a much heavier amount of dark color when trying to darken a bright oil base that is not dry.
But when I say I need to first apply darker colors, it does not mean dealing with just black or even brown, it really means dealing with darker color than the one to be used on the spot right next to it.
So even if I am only working on a bright spot, I would always start with a tinted white before applying pure white brilliance effect.
In order to bring volume to a painted face there should not be any large surface with similar color. A face is no flat surface, and even aside the fact the skin itself may have its own tint variations, you can say that almost every square millimeter is exposed to slightly different light conditions, light reflections, and brilliance. This how it came today:
As a result the face is showing a way more intense and emotional look. Hairs show more detail and movement. Leaving it drying for a week is necessary before I can work in this area again.
I finished the day, adding details to the brown horse's open mouth:
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