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We left off with corrections and tracing the letters. Know that the subtle shadings of colors from one blank to the next is due to the artificial versus natural light in the room when photographed, and fresh paint is much … Continue reading
We left off with the background and the beginnings of the jacket, above. Know that the subtle shadings of colors from one blank to the next is due to the artificial versus natural light in the room when photographed, and … Continue reading
We left off with eyes following me around the room, above, and a day of oiling out. The background is a blend from left to right of phthalo, sap, olive, and chromium greens, as we illuminate George from behind on … Continue reading
Note: The images are at an angle so the powdery textures and oil can be better seen. Taking a break from painting George to discuss a procedure that will be performed on the finished product, and the testing day. We … Continue reading
We left off with my final finished draft on silk, above. I wished I’d take a photo of the room with the green silk along one wall — Beautiful color to work in for the next two months of painting! … Continue reading
We left off with my first finished drafts on silk, above. I learned a lot… and now I had to move into true oil painting, taking advantage of the slow drying of the oil paints to blend, and having a … Continue reading
We left off with the finished drafts on paper, above. New tracings from our master tracing are created each time so the tracing paper doesn’t wear and the marks are fresh, not fat and sloppy. Silk was primed using Gamblin’s … Continue reading
Beginning with the test sheets, I created test paintings of oil on paper. The paper was primed with shellac to prevent oil seepage. New tracings from our master tracing are created each time so the marks are fresh. My first … Continue reading