Tuesday, March 20, 2012

Thursday, March 15, 2012

(Hot) Pressing Matters...

I have only painted on hot press a couple of times in my storied career (just checking to see if you were paying attention). So I picked up a sheet and decided to paint a full sheeter on the vertical just to see. I painted a drawing I had previously painted on rough paper.

I thought it would be a torture test...it actually didn't pose any challenges except the usual "watch the bead" for drips. I really enjoyed the smooth paper, it was so easy to paint on...

Here's the tip:
Don't prewet the paper or paint wet into wet, at least not excessively. I used a small brush, a no.12 synthetic with a good point and yes a number twelve is a relatively small brush and it doesn't hold much water. Next time I'll give it a shot with a #35...

Sunday, March 04, 2012

Bink to blow...up.

Saturday, March 03, 2012

Lighter Brighter Gloom Gone

I used FUB as the hub and because french ultramarine can get opaque quite quickly when mixed, you get a thick stew. Fun to see how far you can go before you can see yerself in it. Full sheet upgrade on the sorrow inducing previous edition. Painted in a little over two hours.

Just playing with light and shape shifting so that the shapes and the cast shadows and core shadows and reflected light all combine for an improved visual effect. If you can figure out where the light is coming from, you are a step ahead of me. Painting alla prima with no references and getting the whole program under some kinda of control involves a bunch of decisions that you have to make on the fly. I love this challenge because it forces you to get your act together. I painted this flat dead flat, just to remember the difference. It gets opaque quite quickly but you can see the granulation pretty good.
Bink to explore the inner reaches...