Tuesday, March 24, 2009

Glazing; layer 3 Sanibel Sunset/ glazing discussion

unfinished glazing effort (see the first underpainting on March 15)

Glazing with an underpainting is a VERY different method.

What I have learned so far:
1. The underpainting really should look exactly as you want the painting to look but without the color. Changes are hard to make. Edges are hard to soften. Notice in the painting above the tracks of my underpainting strokes are strong. Tonalist underpaintings describe more rather than suggest more. I have always loved "track marks"..but I am not sure if this is desired.
2. Working with glazes quickly works up very dark.
3. Keep the lights very light till you want to glaze them.

What I knew, but has been reinforced to the max:
1. the plein air painting experience is a very emotional experience while the studio experience is an intellectual one.
2.Due to the nature of plein air painting it is much more an exploration to understand how color in space works.
3. Due to the nature of studio painting it is much more an exploration of creating an illusion

Please feel free to argue a point or agree, give suggestions.

Now I am off to the dentist for my last segment of my dental surgery. Wish me luck!

9 comments:

Pam Holnback said...

I love your Deborah influenced work. Because I really like your underpaintings, it would be interesting (but a lot of work) to do 2 of the underpaintings, set some aside, then compare those w/ the finished pieces.

brian eppley said...

Good luck Loriann with the dental surgery.
I can only say I agree with your plein air opinion versus studio work. I have no experience with glazing.
Personally, I love the rawness of plein air work, however I get a better response to my studio pieces which I haven't done in years. I'm sticking with plein air as I feel it feeds my soul. For now. Nice work!

Jala Pfaff said...

Aaaaghhh, don't talk about dental work! :) I abhor dental work. Maybe everyone does, though.

This is looking super awesome! I haven't done plein air so can't comment on that part of your post.

How many glazes does that have on it so far?

Donna T said...

I've been enjoying keeping up with your underpainting adventures, Loriann, and appreciate your thoughts on plein air vs. studio painting. I have recently learned to soften the edges of my underpaintings so that I can make small changes in composition if I need to and also because it can be hard to cover hard edges with pastels later on! I hope the dentist visit went well and I look forward to seeing your progress here.

Loriann Signori said...

Hi Pam,
Thanks for checking out my blog. Deborah is amazing and my frustration is HIGH! It's hard work to turn oneself around!
I was thinking along the same lines as you. I have made 4 underpaintings all similar. I am keeping to to the same palette and trying to understand how to place the layers to make my idea. We'll see.

Loriann Signori said...

Hi Brian and Jala,

I survived the dental work (which I hate too), but I feel like I lost a day.
This particular piece had 3 or 4 layers plus the underpainting when I posted it. I am feeling so frustrated because I feel like I have to think backwards and really plan backwards to create what I see in my head. Pain means I am learning a lot, right?

Plein air work is almost like a release at this point.

Jala, I think you and I are in the same upside-down place right now. I hear your pain too.

Thanks for checking in!

Loriann Signori said...

Hi Donna, You are sooooooo right about hard edges! Thanks for checking in on my painful progress. Ouchhhh!

Karen said...

I can't argue with what you've said. It's really concise, like a distillation of what you've been going through. I think it's cool that you're seeing it through, no matter how uncomfortable the results or the process. I mean, who knows how it will affect your work as a whole?
I always try to think about things I learned a while ago (like that prezewodek workshop), and even if I don't follow the process the same way I did then, I try to process how/if it's affected my current work.

Loriann Signori said...

Hi Karen,

I wonder how do you feel the
prezewodek workshop did affect your work? I have noticed many changes especially in relation to color/value. What do you think has been the biggest influence?

For each workshop I take I always keep a sketchbook full of notes and drawings. When I feel I need some reinforcement I go back and reread the 40 or so pages. So satisfying because each time I reread I hear something new. Ahhhhhhhh.