In an attempt to get back in the groove, I decided to slow down and re-read notes from my instructors. I feel the painting I am working on is heading in the right way, but had to stop for the evening. I am using a stock photo showing a bridge in Central Park.
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| thin washes to establish design (no white!) |
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| fill in more loose color (still no white!) |
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| start adding more opaque paint, add some white! |
I had to quit and let it dry a bit. When I was trying to get the sky color started, it kept turning a bit green.
PS - I must add that the differences in monitors drive me nuts! My laptop monitor seems to make my photos very pale, so I compensate by over-correcting the levels in Photoshop. Then when I view my blog on my work monitors - the photos are too dark. Guess I need to calibrate the laptop? But then, I have no idea what your monitor shows, nor do you know what the painting looks like in person....a never ending battle.
3 comments:
Thats a great idea to re-read your notes. I like how you explained what was happening in each photo ... thanks.
I like the idea of no whites introduced in the painting until later ...
The theory (as I understand it) behind the no-whites is that white is so opaque that it takes away from the luminosity of some of the more transparent type pigments. You get more depth when using the transparent or semi-transparent mixtures, especially in the beginning of the work. If you check your paint manufacturers specifications, it lists each colors' type. White is the most opaque because of the titanium dioxide.
It's one thing to know, but another to put into practice! I just need to slow down and try to begin with my brain instead of just my eyes.
And I find this post on Gamblin's site very interesting with lots of great information:
http://www.gamblincolors.com/oil.painting.techniques/palettes.html
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