Today I slowly built up the skin by adding more and more burnt umber until finally it was dark enough. Tomorrow: glasses and hat.
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I’ve finally got the other hand done – phew!
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Hands, hands, and more hands. That’s what I’m working on these days! Want to see more hands? Vote for my painting in the @BombaySapphire #ArtisanSeries contest and make my career take off! https://www.bombayartisan.com/…/the-allegory-of-climate-ch…/
I really ought to do more drawing in my spare time, so I started last night by doing a 15min drawing of Matt’s hand on his leg. It’s not great, but I plan to do this every day, and in a couple months I hope to have some killer drawings of hands!
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Here is a little tidbit from a new underpainting – painting skulls has become my new favourite thing.
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I’m slowly working my way through the underpainting. A lot of this glassware is tedious and I have to think about what subsequent layers will look like when modelling the forms here. For example, I leave little white of the gesso because when I paint the final layer on I will include dabs of pure white to act as high reflections. In other places I have to wave and curve the lines of objects reflected through glass because the glass is rounded and has inconsistencies.
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I usually start an underpainting with the skin but this time I have started by laying in the dark background so that I have a tonal value to compare my skin to when I do that later.
What I have done for the background is mix burnt umber and my medium made of roughly half mineral spirits and half linseed oil, and painted it on rather thickly while still maintaining the viscosity of oil. Imagine that the mineral spirits are ‘watering down’ the oil and that the burnt umber is like a thickening agent that brings it back to an oily consistency. The mineral spirits dry it out quickly and tomorrow I can work with it again.
After I painted the background I took a brush dipped in mineral spirits and gently blurred the edges. I don’t want to have sharp lines everywhere, but rather a consistency to the painted surface. I think this is one of the many tricks that novice painters don’t know or don’t employ. It may seem unnecessary, but it helps to make a painting look polished.
It doesn’t look like much but I’ve done nearly half the work at this point; I’ve honed my idea, taken reference photos, made a custom-sized stretcher, stretched and gessoed the canvas, and done the initial drawing in burnt umber and a medium that I have made from half linseed oil and half mineral spirits. Now I move on to painting in the values in more burnt umber and medium.
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I did the line work in 5 min and he did the colour in 5 min. We make a good team!
WIP: I painted this first with opaque paints (no medium) and found that I didn’t like the flatness, so I’ve done a second pass with glazes to brighten it up and give it more volume. I’m getting close to finishing…
