Brush size /Fantasy art
Jennifer Ann Jasper
Readers: this is an ongoing discussion about a problem I posed about my
trouble in getting fine detail on a figure in an oil painting. I
thought it would be useful to share this with other readers with a
similar problem or those who want to continue to contribute to the
problem-solving, upon the advice of the person who sent me a personal
email response.
Jen
Jen,
In general, I am using synthetic flats (med to large) and sable small
rounds (e.g. 3/0, 18/0). I have a few ox filberts as well.
--
That's fine. The synthetics might be somewhat stiff, which encourages
dragging
strokes. Dragging leaves built-up ridges that can leave a heavy
texture.
--
>Before sanding, it would help to apply a couple of dilute layers of
>gesso after the thick lower layer. You might not even need to sand
>after that.
Thanks for this idea - will try it. I have been putting the same
density layer on top of another and sand inbetween them. What grain of
sandpaper do you recommend, though? And does steel wool work?
--
Steel wool might leave traces of gray smears. Maybe not. Try emory
paper, if
you need to increase smoothness.
--
Then
again, if you say I don't need to sand a diluted layer... I just worry
that I might waterlog the board.
--
The first coat of gesso should waterproof the board, if it's good
gesso.
--
>Also, using a little of the right kind of medium with just the right
>amount of solvent will help your paint blend smoothly. Could you
>explain what kind of medium and application technique you are using?
>Also, if your pigments are transparent, you may be piling the paint up
>to get full coverage. There are some solutions for that too. You might
>want to mention what pigments you are using.
I use a combination of medium translucent to totally opaque oil colors
from Grumbacher, Rowney Georgian, Utrecht, and Shiva. Most of them have
a high lightfastness rating; and my whites and blacks are generally the
most opaque while the rest of the spectrum is generally of medium
translucence.
--
You might want to use only the most finely ground pigments you can get.
Sennelier and Old Holland come to mind. Grumbacher and the rest you
list
(except I'm not sure about Rowney Georgian) are, well, sort of cheap,
which
means you get less impact with more paint mass.
--
But now that you mention it, it might be my chosen technique that is
affecting the whole. First I cover the canvas with a base coat of solid
cover, part of which will be the background color. Then I work into the
mid and foreground. I usually dab a little cold pressed linseed oil
into the brush before I dab it into the paint, as this helps smooth the
line I am going to paint. Too much oil, and the pigment is watery. Too
little, and the oils clog up the brush. So I usually wipe a little
excess linseed off the brush before dipping it in the paint.
--
Try using a resinous medium plus a little solvent that will help the
paint
slip over the canvas. Liquin is a synthetic resin that will make your
paint
act extra slippery, never clogging, not especially runny. Using
straight
linseed oil can extend your pigment too far and weaken the paint film,
leading
to cracking or crinkling, anyway.
--
After I have a base coat down for a section, I work in the shading, say
I have a blend of medium greens for mountains, I work in dark greens
and blues and purples for the shadowed parts of the cliffs and ravines.
I work wet into wet; and maybe later some wet into semi-dry. I let that
layer dry. Then I go back in and do the light color highlights with a
fine brush - often I dry brush in the highlights.
--
It's hard to tell from your description if you are getting the richness
you
might want from this approach. From what you describe, you might end up
with a
painting that is predominantly dark to middle value. Just a guess. If
not,
then all is well there.
--
When I was in a studio class once, our teacher pressed the use of
varnish, but I never found the use of them attractive. So I am
varnish-free.
--
If you mean a finishing varnish, OK. But sometimes mediums are called
varnishes by teachers. Various mediums can enhance your application and
become
indispensible in getting the right result. They all have different
characteristics for different uses.
--
>There is a way to apply paint and then squeegy back excess to get a
>very nice line.
Please tell me - what is your technique for this?
--
A new tool, the Colour Shaper by Forsline & Star is a rubber tip in a
brush
handle. There are many sizes, shapes, and hardnesses to choose from.
What you
do is use a standard brush to apply a thin line as you have been doing,
then
use one of the Colour Shapers to cut in from the side, removing the
part that
was too wide. You can keep moving the line around until it's just
right.
Remember to start with very little paint, or you will get a big, high
wall of
paint where you squeegy up to. You'll see. It works very well, and I
have
found that it does not look contrived.
--
PS: Will check out your web site soon.
--
Thanks.
Rebecca
PS: at your discretion, you might want to post this correspondence back
into
the thread in rec.arts.fine. Other people might want to add-to or
object-with
things I've said.
peter james kashur
Once you have underpainted with oil, detail with egg
tempera, (real egg tempera) or with an egg/oil emulsion.
Several different recipes are available in 'The Artist's
Handbook' by Ralph Mayer. If you wish to try this option and
cannot track down Ralph, email me at <pka...@accent.net>.
Be patient, I do check my mail infrequently.
PJK
Bonnie Miller
I've never used egg tempera. Using the technique you describe what
results would one expect compared to using oils with, lets say, a glazing
medium?
Thanks in advance.
Bonnie
William Reynolds
everything with markers and then touch it up in Painter.
jwr...@warwick.net
William Reynolds wrote:
>
> As a binder, egg can't compare to Crazy Glue. My method is to do
> everything with markers and then touch it up in Painter.
This sounds interesting - please elaborate.