Mischtechnik 2016 A Loving Portrait

Who doesn’t want to live forever?  I thought it was time, before my delightful hubby and I get too wrinkled to attempt a portrait of ourselves.  I love Lucian Freud’s work and think he was incredibly skilled but I didn’t want to wait until we are like this self-portrait he did that can be seen in Vienna.  I of course then had to watch a video about him and his art, and found he was a great fan of Cremnitz White, which I have on order.  This is a lead based white paint, so don’t eat in your studio while using it.   The video I watched on Lucian Freud can be found on YouTube here: A Painted Life   I love the emotion he conveys although he obviously was a haunted and tortured individual who didn’t play well with others.

lucian freud self portrait

Back to my painting.  My husband and I went out to our favorite French restaurant and dressed up for an anniversary one of the staff took a fabulous photo of us.    I decided to use that as my reference photo, along with peeking over my wine glass at dinner, an assessing, did dear hubby have a few little crows feet, how did the cleft of his chin look in profile?

A book I referred to was

This year, I used a marble based gesso to cover my boards.  The white is so white it hurts your eyes. If you are just tuning in you might want to read my post on Mischtechnik.IMG_0339 (Copy)

Next I spent a fair bit of time looking and reading about the anatomy of the face and neck.  And then spent a couple of weeks on an initial sketch.

JandDsketch (Copy)

And here is the initial glaze, I used iron oxide red.  It was still wet in this photo.

janddglaze1ironoxidered (Copy)

Meanwhile, as I wait for this to dry, I’m reading another book and learning even more about portrait painting.  It has an excellent section on blending colors for the skin.  I’m only half-way through, but I’m sure this will be a better painting because of it.

Portrait Painting Atelier: Old Master Techniques and Contemporary Applications

by Suzanne Brooker 

The next step, after it was fully dried, was to work on the highlights creating more tones, with the egg tempera.  I freely thinned the egg tempera with a little cold pressed linseed oil, so I could have different shades of white.  Some I used undiluted and some thinned.

portrait iron oxide with tempera (Copy)

And of course wait.  I usually keep a second painting going and work on that while I’m waiting.  This year its a semi-abstract in acrylic paint that has lots of free movement and invention and dries fast.  The antithesis of this.

Another glaze, this time I used transparent yellow ochre.  In the past I used a bright primary transparent yellow, but I like the warmer tones of the earth reds and yellows.

portrait transparent yellow oche (Copy)

Ah, finally we are starting to see some of those magic mid-tones arise out of nowhere.  I had on a top that was covered in black sparkles and I want to show that, but I’m not sure whether I have a handle on it.  I have a few points of light on it, but I’m not sure if they work yet.

Here is the white tempera on the highlights after this glaze.

good white over ochre (Copy)

Now the blue glaze.

blue glaze good (Copy)

Technically I should do another layer of the white highlights, but I like where I am.  I am going to start glazing local colors as soon as this dries.  Oops…I forgot to take photos of a couple of glazes.  Don’t worry you didn’t miss much, just the first coat on the walls, shirt and shawl.

work-in-progress-skin-white

work-in-progress-pink-tones

october-2-pupils-black-neck-full

judyanddan-portrait

 

Light and Nature

This series is an exploration of light in nature.

Morning light

Dawn

Beyond

Farther

Moonlight Play-Glazing techniques.

 
Glazing with Walnut Alkyd Medium

I had an idea, a dream of a painting I could see clearly in my mind.  A little Pyr puppy who was woken up at night by the light of the full moon and decided to play.  I picked up my brush and realized I had no idea on how to paint light.  Light is hard.  So I read up on glazing.  That is what the great painter Vermeer used and many other great Masters to show light and make their paintings glow.  Me, I’m starting with the basics.

First take a large serving of patience.  Glazing involves using transparent paints and a special alkyd medium (I used walnut alkyd oil) to dilute the paint.  Then after putting a thin light layer, you must let that layer dry before you can do anything else!  That’s right….a few brushstrokes and ..come back tomorrow.  Tick tock, tick tock, tick tock sigh.

So in the painting below I only used red, yellow, blue and white.   I wanted the hand to look like ghostly moonlight.  First I painted the hand white and the red bar at one side and the top stripe of yellow.  Then I painted the square over the hand a dilute blue and then a dilute red and I got purple.   Then I painted the stripes at the side.   Then I pained the hand a light yellow (my original yellow mixed with a little white).  Of course I had to let everything dry in between and then the red heart and the blue paw.  Where the paw overlaps the red it is a dark purple, where it over laps the yellow hand it is blue.  The same with the other colors.  The paint that is used is classified as transparent or semi-transparent and it is diluted with walnut alkyd oil medium rather than linseed oil or turpentine.

 

I like to paint wet over wet where you paint with layers of wet paint over other layers of wet paint.  Sometimes I wait to let a layer dry so I can have a pure color and it won’t mix with the under-layers of paint.

But glazing you have to let each layer dry.  But it is worth it.  The next layer you put on, like putting one pane of stained glass over another, is blended by your eye to give you a new color, and more depth and luminosity.  You really need to see the result with your eye on the canvas because it doesn’t photograph well. 

So I did two somewhat abstract designs, Hearts and Paws, and Hands, Hearts, and Paws.   I used only three colors, red, blue, yellow and white.   Any other colors you observe is what you eye sees after one layer of one color is laid over the dry layer of another color. 

So finally, I had the technique to do moonlight.

And here is my little Pyr at Moonlight Play.

 I am now working on the largest canvas I have ever used.  It is 18 inches by 24 inches.  It has a theme again of Pyrs in moonlight.  I hope to make the moonlight in the next one a little less intense yellow and make it look a little more like real light rather than a “beam me up Scotty” Star Trek beam.   Getting better takes practice and trying new things.  But it’s fun to branch out.

Nothing is White

One day, while sitting around just looking I finally felt like I really “saw” for the first time. After you have a car accident and break your leg you have lots of time to look,  But enough of that.  I looked and saw nothing is white.  Now that may not sound like much, but if you look at a shadow it may be shades of grey.  A tree, shades of brown.  If you put all those little shades next to one another, you have a picture.

I got it!  But could I do it?  I started just drawing with pencil.  After a few false starts I decided that what I was doing, while not great, wasn’t all that bad.  When my husband asked me for what I wanted for my birthday, I asked for oil paints.  I haven’t picked up a brush in over 20 years, but am I having a ball.   I decided to work through a book of oil painting exercises. 

 

Color theory, mixing tints, tones and shades.

Just mixing the colors was lots of fun.  In the past I just jumped in and tried to capture what I could but learning a bit was advancing what I could do as well.  In the first column you have the color out of the tube, the second column is the color mixed with white, the next is the color mixed with black, the next is the color mixed with grey.  The last two colums are the color mixed with it’s opposite on the color wheel (I may have played with this a bit rather than being exact) then the opposite and white.  So this entire large block was made from 7 colors.  The last one I threw in there as the exercise only had 6 as I was in search of shades of Pyr fur.

Of course I posted on Facebook that I recieved my oils.  Not only did I recieve my oil paint set and easel, but my husband, showing great faith in my unproven ability bought me enough canvas to fill an art gallery.  Next my dog’s breeder asked if I would paint a picture of my dog as a charity donation for the Great Pyrenees rescue booth.  I wasn’t sure I was up to it.  But I decided to try my best.  So I jumped from exercises to dog portraits.  

It turned out having a furry muse around really helped.   I had been taking pictures of him for years and looking at Pyrs for a long time.  So it was subject matter I knew well and loved and really wanted to show him off well.

Surprisingly, people actually liked what I did and even wrote to me asking for copies and cards and the like.  And an idea was born. So I’ve skipped from exercise 2 in the painting techniques book, to being a painter of Pyrs and other things my furry muse Tila brings to my attention.