My panel-fueled burst of painting has continued. Since I finally ran out of white paint (two 150mL tubes, one each of Titanium White and Flake White Replacement) I think it'll be halted for a bit.
The first two I experimented with putting down a layer of Galkyd and OMS. That made the surface easier to paint on and it dried quickly. In fact I jumped into the first painting so fast I didn't take in-progress photos like I usually do. Then I moved on to the panels I hadn't added the extra layer to. It did make a positive difference.
I'm thinking of breaking with my current method and titling the very last one. I'm thinking of calling it "Dripping Pink." But then I think it's too smart-ass.
Chris, I really like the first one, as I always admire your line quality, but I have to say I really, really like the third one. The colors are working and I just find the white instead of black lines to be very appealing. I hope it's finished.Not very good artspeak, I know. I may have to think about it a bit more in order to sound more like an artist:)I hate it when I run out of colors that I use a lot of. No art supply stores anywhere close though, so I have learned the hard way to order at least two tubes of my most used colors. Before I run out of them. Though I should add that running out is ok too. It has forced me to use some colors I wouldn't have otherwise.
For you, I decided to leave it without lines. It is finished. Well, like I wrote earlier, I was considering it anyway, but you inspired me to give it a try. I'm not sure I like it entirely. But I've got room to try different things.Like maybe painting completely without white.
I am honored that you take me seriously at all. At least enough for you to think about what I say when you paint. I seldom, if ever use white. If I want to lighten up a color I use a light blue, or pink or purple. Guess there's white in those, but they don't end up looking pasty, like white does, on my paintings.
I can't imagine how I'd make skin tones without white. Unless I wanted to paint space aliens, I guess.
True. Your flesh colors are very nice.One of the many reasons that I have hesitated in painting the figure is because of the flesh colors. We don't get along. These aren't the best examples here, but some of his paintings that I have seen in person have not one bit of a traditional flesh color anywhere. I am keeping this use of color in mind for when I go back to the figure.
You mean Bruce Currie. He's got some regular skin tones in there, but, yeah, I see what you mean. I actually think my coloring is too literal sometimes; take a look, for example, at Tim Folzenlogen's pastels. I don't think I could ever use colors like that, but he makes it work.Skin tones are very easy, anyway. Lots of white mixed with a small amount of yellow ochre (or some other yellow) and a slightly smaller amount of vermilion (or some other red). Adjust as necessary. If you want you can add a touch of some flavor of blue. If you're painting alla prima shadows can be burnt umber or dark grey; if you're glazing, underpaint in grey or terra verte.Admittedly, anything aside from people is easier to paint, because viewers pick up on errors in the human form (especially faces) much more quickly than they do in anything else.