We have been painting on this piece for a couple of weeks now, that is 2 - 3 hour classes...
This piece is all about layering -- also known as glazing. We started by masking out the whitest whites...steps following the drying process include starting with a base coat of a warm yellow on the left and a thin layer of Cobalt or French Ultramarine on the right.
I masked out some of the areas to preserve the next lightest value.
I have painted a warm red (Scarlet Lake) over the yellow and a cooler red ( Permenant Rose) over the areas on the right.
Over the next weeks I will add an image of the process each week. I may or may not give details of each step...it will depend on whether time permits. So, I apologize ahead of time if the details are not there...just a lot going on right now with the huge renovation here in Brentwood.
Here are a few tips on creating a fine wash without blossoms, lines in your work or gaps of white where you do not them.
1) Mix up enough pigment in the concentration you want to cover the whole area. Running out of pigment part way through a wash makes it nearly impossible to match the value again.
2) Match the size of your brush to the area you are glazing. Using a brush too small will almost always result in lines and streaks in your work.(often a synthetic brush will do the same if it does not hold enough water)
3) Elevate your work slightly to make it easier to create a bead of wet paint.(also known as Mr. Bead*.) If you work with Mr Bead, you will always have a finer wash. Slurp Mr Bead up at the end of the wash so it does not backwash into the drying section.
* Mr Bead, is in reference to Joseph Zubucvic's term he coined for the bead that sits on the edge of your wash when elevated. I took a workshop with him in Vancouver a few years ago put on by Jamie Kelly. He had a picture that he had painted with a man with a big belly and made reference to him each time he created a bead of paint.
This piece is all about layering -- also known as glazing. We started by masking out the whitest whites...steps following the drying process include starting with a base coat of a warm yellow on the left and a thin layer of Cobalt or French Ultramarine on the right.
 |
| First few steps; at this point there are 1-3 layers on most areas. |
I have painted a warm red (Scarlet Lake) over the yellow and a cooler red ( Permenant Rose) over the areas on the right.
Over the next weeks I will add an image of the process each week. I may or may not give details of each step...it will depend on whether time permits. So, I apologize ahead of time if the details are not there...just a lot going on right now with the huge renovation here in Brentwood.
Here are a few tips on creating a fine wash without blossoms, lines in your work or gaps of white where you do not them.
1) Mix up enough pigment in the concentration you want to cover the whole area. Running out of pigment part way through a wash makes it nearly impossible to match the value again.
2) Match the size of your brush to the area you are glazing. Using a brush too small will almost always result in lines and streaks in your work.(often a synthetic brush will do the same if it does not hold enough water)
3) Elevate your work slightly to make it easier to create a bead of wet paint.(also known as Mr. Bead*.) If you work with Mr Bead, you will always have a finer wash. Slurp Mr Bead up at the end of the wash so it does not backwash into the drying section.
* Mr Bead, is in reference to Joseph Zubucvic's term he coined for the bead that sits on the edge of your wash when elevated. I took a workshop with him in Vancouver a few years ago put on by Jamie Kelly. He had a picture that he had painted with a man with a big belly and made reference to him each time he created a bead of paint.
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