I'm on my first oil painting (started before I saw Mark's videos), making a copy of David's Patroclus, which
is being done in the French academic style, which is done in four
stages, drawing, dead color, first painting, and second painting. I'm in
the dead-color stage, where the paint is made lean by mixing with
mineral spirits. I'm mostly done with this stage, and was using Old
Holland paints. Now I have received my Geneva colors, and want to paint
with them, and have a few questions.
1. Is there any problem with applying slower-drying paint over dried, quick-drying paint?
2. I used Gamsol to make my paint lean in this dead-color stage, and have a few areas left to paint in this stage, so I'm wondering if I can mix Gamsol with my Geneva colors to make them leaner, for the same effect, even though the Geneva paints have extra oil already mixed-in.
3. I assume that just using the Geneva paints straight would give me the fat-over-lean effect in the first painting stage. Is that correct?
4. In the second-painting stage, the next layer, and the final one, should I add a couple of drops of linseed oil to make the Geneva paints even fatter?
5. Since I am painting in layers, where fast-drying paint might be preferable, should I not even worry about questions 1 through 4, but just use the Old Holland paints, and reserve the Geneva colors for my next painting?
6. In considering questions 1 through 5, although I have already been using the "French Academic method," can I simply abandon it with this painting, and switch over to painting Alla Prima on top of it with my Geneva colors?
7. Doing the Patroclus painting is an exercise from a Canadian atelier, where the master painter there likes to add the extreme highlights first. Not only have I added those highlights, but was encouraged by another instructor to put this extreme white over most of the Patroclus figure!! So now I have all of this annoying, extreme white where it shouldn't even be; and after seeing Mark's methods, I much prefer moving from dark to light, and putting in the highlights at the very end of the process. But what to do with this extreme white?? Should I just forget about it, and use Mark's method, and start with the darkest darks, and just develop the painting as if the white wasn't there, painting over it, assuming everything will turn out OK? Or should I try to sand the white off or something before doing that?