The special stretcher for this one has been built for a week already, and I have done two successful small scale tests, so I am not too concerned about this piece.
The old wall background is mostly dirty yellow and red ochres, with touches of purple, red and green pigments sprinkled in. I will use Pastels to draw a realistic baseboard and a window frame with a cast shadow. The images will be printed with a shadow to achieve the Trompe l'Oeil effect
I gave the panel three light coats of Golden Absorbent Ground to make it as white as possible for maximum contrast. I am using a different medium, but as with oils, I want the light to reflect back from the white ground through thin transparent layers of color. To me, it is what gives life to colors.
I may have to acquire a few of my old favorite super lightfast Daniel Smithtransparent oil colors in pigment form, like Anthraquinoid Red and Naphtamide Maroon.
First, I taped out the window frame and the baseboard and roughed them in with pigments and pastels. I then taped over them with the Yellow Delicate tape. I will almost completely finish the wall before I do these. as I want a clear line, and fusing would blurt too much.
I started roughing in the wall rubbing pigments in with my fingers and removing the excess with a wide brush.
I use a watercolor palette to put pigments in, and wear a dust mask for safety when working with pigments on large areas. The first 12" x 12" test is in the background:
I will later use my full set of Rembrandt Soft Pastels to add details, lines, spots, etc...
There is something a little nostalgic here,and significant as well, as this is how I started painting back in the late 70's. I have gone full circle over the last 40 years, and am back somewhere near where I started, except for the wax layer the addition of colored medium, the sprinkling of pigments, the fusing, and the scraping.
The old wall background is mostly dirty yellow and red ochres, with touches of purple, red and green pigments sprinkled in. I will use Pastels to draw a realistic baseboard and a window frame with a cast shadow. The images will be printed with a shadow to achieve the Trompe l'Oeil effect
I gave the panel three light coats of Golden Absorbent Ground to make it as white as possible for maximum contrast. I am using a different medium, but as with oils, I want the light to reflect back from the white ground through thin transparent layers of color. To me, it is what gives life to colors.
I may have to acquire a few of my old favorite super lightfast Daniel Smithtransparent oil colors in pigment form, like Anthraquinoid Red and Naphtamide Maroon.
First, I taped out the window frame and the baseboard and roughed them in with pigments and pastels. I then taped over them with the Yellow Delicate tape. I will almost completely finish the wall before I do these. as I want a clear line, and fusing would blurt too much.
I started roughing in the wall rubbing pigments in with my fingers and removing the excess with a wide brush.
I use a watercolor palette to put pigments in, and wear a dust mask for safety when working with pigments on large areas. The first 12" x 12" test is in the background:
I will later use my full set of Rembrandt Soft Pastels to add details, lines, spots, etc...
There is something a little nostalgic here,and significant as well, as this is how I started painting back in the late 70's. I have gone full circle over the last 40 years, and am back somewhere near where I started, except for the wax layer the addition of colored medium, the sprinkling of pigments, the fusing, and the scraping.
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