To apply a glaze I once again painted a thin coat of liquin over the fur area, then whilst still wet I glazed a very thin transparent dark over the top, this effectively knocked and subdued the underfur. ![]() This image shows the whole fur area textured, it is obviously much too light at this stage but it will be knocked back with glazes later. With a very light touch and flowing strokes I then simulated the first (under-layer) of fur texture. I then select one of my old bristle brushes (or age one yourself by rubbing the bristles along glass paper) and dip just the tip into thick oil paint (no liquin) in this instance I used white plus a little ultramarine blue and burnt umber. With the first coat blocked in and dry I know paint another thin coat of liquin over the fur area to be painted. I don't worry too much about the correct colours, but I do always paint in the direction of fur growth, even at this early stage.Īs per my usual technique a very thin coat of Liquin painting medium was applied to the whole canvas before I began painting in to it whilst it was still wet - this allows the paint to slide more easily. The first stages are always the same no matter what the subject - get some paint on the whole canvas. The pencil sketch above shows the important things I have in mind to make the eyes the center of interest. ![]() ![]() This large painting will certainly need a plan if I am to do the subject justice.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |