So this is a progressive look at the evolution of a painting I did from a 7 session still life. The main point being (image #1) the drawing and layout, (image #2) the warm and cool with a massing of values,
(image #3) the final stage with it's color and highlights. In the same breath I note the material and their importance being just as critical as the process of a well planned proceedure.
In the final of Raven's boots you can see that the colors have held strong, the shadows rich and the highlights setting up nicely without the thickness of putty paint. I contribute this to an accidental discovery of a more superior material I found in a discount remenant bin at New York Central art supplies. In conversation with fellow artists they suggested the material to be linen but I knew that the white back and weave told me this was not the source. This weekend I hunted the wonder material down to see what made such a difference to learn that it was a double lead primed portrait duct with a rabbit skin glue base- the way the masters used to do it... only they probably used linen. So although I haven't used the "cream of the crop" yet, I am glad that I am working large in studio (30x35 & 30 x60 currently) so I can get rid of all this yucky inferior product and get down to some real work on the weekends when I do my own studies! G.A looking at a new lead primed canvas on the easel... just across the room with hope for me yet.
(image #3) the final stage with it's color and highlights. In the same breath I note the material and their importance being just as critical as the process of a well planned proceedure.
In the final of Raven's boots you can see that the colors have held strong, the shadows rich and the highlights setting up nicely without the thickness of putty paint. I contribute this to an accidental discovery of a more superior material I found in a discount remenant bin at New York Central art supplies. In conversation with fellow artists they suggested the material to be linen but I knew that the white back and weave told me this was not the source. This weekend I hunted the wonder material down to see what made such a difference to learn that it was a double lead primed portrait duct with a rabbit skin glue base- the way the masters used to do it... only they probably used linen. So although I haven't used the "cream of the crop" yet, I am glad that I am working large in studio (30x35 & 30 x60 currently) so I can get rid of all this yucky inferior product and get down to some real work on the weekends when I do my own studies! G.A looking at a new lead primed canvas on the easel... just across the room with hope for me yet.
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