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| 6x6 oil on wood |
As I still continue to puzzle through the idea of building luminosity through the use of various grays. Here I show you my recent try.
I am starting to notice that when I am trying to build luminosity without darks I must use more grays and only have a small portion of pure color. The opposite color of the wheel must be the predominate maker of the grays. Softer helps. This may need a harder edge or two...but for now it will be soft.
10 comments:
Really lovely! I like the softness.
oh my....tasty indeed
Did you start with a monochromatic value base as in some of your other pieces or is it an all at once effort? Does the progression start with the lightest light or the darkest dark (just curious)? Is the painting still luminous when you hang it outside the studio? I would venture yes. The arch is magnificent! In any event, this 'trial' yielded some very beautiful results, luminosity being so elusive.
So how many glazing layers do you use for this sort of thing?
Yep, I'm a total night owl.
Thank you Jul and Cindy!
Hi William,
This tiny painting had a very long build-up. It began with a monochromatic value underpainting. Next I layered the pain beginning with the highest chroma first and adding the layers on top to alter the intensity. Look back to my March 11th post and you will see it in the beginning stages. That is the grisaille and one layer. I am really fascinated with finding different ways to create luminosity through glazing. Thanks for stopping by!
Hello Jala, my night owl friend! This painting must have at least 12 layers! Crazy eh? I must say the layers are very very thin, scratched, rubbed..all kinds of abuse goes into it!
Hi Loriann,
This is an incredible painting. When I opened your post for today I was taken in by the ethereal glowing yellow and that wonderful red orange on the horizon. The blue going to yellow is beautifully handled. That band of color just beyond the dark foreground provides a place to rest the eye. You are in the ZONE.
You write that you are trying to build luminosity through the use of various grays and only have a small portion of pure color. You also note that the opposite color of the wheel must be the predominate maker of the grays I am thinking that regarding my own work-this is something that I can explore. I am going to keep looking for how you do this with your painting.
This painting Loriann is as close to perfect as possible. It does not need a harder edge -everything flows together beautifully.
NJ ART 73
Hi NJ and thank you so much! I am really working hard to accomplish the "glow".It's an interesting struggle..but I think I just snagged a nibble of insight.I have sooooo many questions left!
Amazing blog! I have just recently discovered it and I am finding it providing insight and a potential community; thank you! Question: after an underpainting, covering with liquin, you begin painting using small amounts of liquin?
Thank you BF!
I really appreciate the boost. Now I will try to answer your question. First I have steered away from Liquin and most often use M Graham's Walnut Oil Alkyd. It's safer, less toxic. Due to my recent lung surgery it is very important to breathe clean. First I do an underpainting with Gamsol and thin paint. I have been experimenting with sealing it with damar retouch varnish so it doesn't move and I can begin soon after the underpainting is complete. After that I just use thin layers of my M. Graham alkyd. Saving the thinnest layers (hopefully) for last. Hope that makes sense. Happy painting!
I'm all for less toxic. I appreciate the answer and wish you continued good health!
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