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Portrait WIP help!!!

edited April 13 in Post Your Paintings
I have a window of time between my last painting and the next one because the imprimitura i am using takes at least one week of time to dry, so i decided to do a portrait and to have more fun and starting to loose my style I will do it using only a number 12 filbert brush, I am curious about the possible result. The photo I will use for reference is this and I will accept advice about the background colour. I will use this time the not blending rule and try to stick more to DMP method.

Comments

  • I would juste use big brush strocks of burnt umber. I really love portraits donne this way. Are you gonna paint this like DMP or like you did with tenebroso?
  • I will try DMP, I want to try using big bold stokes of paint and have fun :)
    Summer
  • OH MY! what a marvelous HAT!!!!
    Summer
  • Apparently I am not able to draw only with line so I done  it  with chalk, I changed the subject because light on the back is not the best, I started with a rapid sketch with white chalk, I draw it by hand using the proportinal divider for reference. It's a 40x50 cms. I will start with oil paint and try to be more free than with last paintings.

  • I really liked the hat with a girdle.
  • I like hat too expecially if paintely :)
    This is so far, I am having fun!

    alsartPaulB
  • Guys I have just realised I painted on "bricks" until now.. This is the first canvas I prepared with oil imprimitura, the last panel were prepared with gesso and acrilic background. Well I need to say this is another world, the paint flow, the brush doesn't stick it's crazy. In 3,5 h from sketch to this. If I knew before! 
    Summer
  • I don't know how you get near the canvas with all those daggers sticking out !!!
    Looking good though
    marieb
  • Ahaha I don't! Challenge is to use only one big brush so I am more distant. Anyway I will remove them when the glue will be dry :)
    marieb
  • Sorry for posting too much but I guess I hit something. I was trying to paint as usual and then I decided to be free and try to follow my instinct. I started to paint more thick and with lead white because it retains the shape of the brush (in case someone wants to try) and I remember Rembrandt tecnique and how he also make layer over thicker paint. The optical result is incredible. I need of course to adjust everything and maybe I rushed for the excitement so next time I will be more careful but it's something I will expand for sure.
    dencal
  • Ok so, after a night of sleeping I metabolized what happened and finally I can think better to what will be my next steps. After giving texture with the white I will use it that as a base and build layers above layers. I read few publications about Remnants and how he achieved the texture is still a mystery, some say the old grinding process of pigments, others say the oil was different, other say it was a kind of putting (chalk, glass powder and oil). The texture built directly into the paint is something unique and also the light part very thick gives a much more reflective surface and it actually glow. This is the optical effect I was talking, it glow in the room compared to the other painting I have done. Now I need to understandn how paint it coherently.

  • So I scraped everything away because I rushed too much and a number 12 is too large..I will switch to other brushes, print the reference photo and follow the dark first rule. 
  • I need help! I put chalk over the oil paint, does anyone knows how if I can paint over it without problems? Do I need to use a fixative? 
  • Bob

    Chalk is calcium carbonate and is a commonly used filler in oil paint.

    There are a number of modern impasto products for oil paint.



  • Wow @dencal thank you :) I will try to get one for sure. Did you ever used it?
  • Bob

    Yes, but only experimentally. About 30% Oleopasto gave me a toothpaste consistency. 50% more like smooth peanut paste. I could sculpt the paint into peaks and walls that held the shape.

    Denis

    Bobitaly
  • Perfect Denis, it's exactly what could be used to recreate a Rembrandt "effect" in a modern way. 

    dencal
  • edited April 13
    I don't like social media because people pretend  they have a perfect life. Well things sometimes go wrong. Frustrating.
  • Now you are painting in my style. Which is why I have nothing to post.
    Bobitaly
  • Thank you @dencal, I read everything, it's very interesting also the brush cleaner part.. I will look for as well :)

  • @Bobitaly   I love how you just dive right in and go for it with enthusiasm.  Of course, many "failures" will happen but in the end, you will have learned and possibly found a wonderful technique for generations to come.

    I have used oleopasto many times and love it.  I use it for mainly large paintings - I went through a run a couple of years ago of painting several poppy paintings - large canvases and with a palette knife.  It was great fun and the oieopasto really makes the paints go a long way without interfering with color as you suggested.  @Dencal is the master with compounds and structure so definitely listen to him!!  Depending on the ratios, I could almost make a half inch thickness with one swipe of my palette knife - it actually dries relatively fast because of the oleopasto so that is also neat.  It can be like icing a cake and freeing and fun.  

    I watched a documentary on youtube - i'll look to see if I can find it.  It was about discovering Rembrandts secrets and scientists used various methods to find the chemical compound - I can't remember exactly what but I do recall interesting organic matter with some of the colors.  The most interesting thing to me was they surmised that he used separate palettes - he would use a palette with certain colors and textures for the face, another completely separate for the clothing with organic material mixed in, and separate for let's say background - it was very interesting!  I think the reason they figured this out was because each part of the painting was separate chemically,microscopically - clothes got a different treatment than other things so I pictures him with many wooden palettes - it makes sense.  A coat/clothing palette needs different colors and texture than a face.

    I love the colors in that hat and jacket you are painting!  I look forward to seeing this progress.  I think using many different sizes of brushes could be helpful - mainly large but also palette knife or your finger will give it a lot of interest and texture.

    The latest video by Stefan Baumann is about painting, painting, painting - throw it away - it is the learning and the process.  So many people say "I don't have time" - if you really want to paint, you'll make the time.  He talks about working through mistakes - practice, practice, practice like you would playing a piano.  Push yourself and that is what I admire about you- you paint and practice and push yourself.  It is most enjoyable!!!!










    PaulBBOB73marieb
  • Wow @Julianna I don't really know what to say, u are so encouraging and supportive all the time! For the moment I put this project in aside because I am a bit upset with him ahah I was trying to have an effect of multilayers so I was painting and after a while when the colour was a bit dry scrape it partially with the palette knife.. everything was going well until I scraped too much :D I will put this as side for the moment..I am preparing another panel and I have an interesting composition I think u will like it. I really like the Rembrandt tecnique and I think it's crazy even now there aren't painters like him, I live to look at high magnification in Google Art of his paintings and I really don't understand how he have done it! Also I would like to see your paintings with impasto!
    Julianna
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