Sunday, March 30, 2014
But it was basically the same approach most landscape artists do; blocking bigger approximate shapes with thinner paint before building up thicker paint. One thing different was there was an option to paint completely random abstract underpainting w/ acrylic before selecting and putting a landscape, or portrait or whatever, on top. In my case oil over acrylic (the right photo above). It might work well for me.
But the true discovery, or I knew but haven't tried, was gessoed on paper surface would work better for quick thicker application like we need to do en plein air. I prepared the surfaces that way for this workshop. I'll get some canvas-paper pads to try more for outdoor paintings.
Saturday, March 29, 2014
This would be the last update for this deer piece.
Wednesday, March 26, 2014
It's definitely much thicker than I put on this before.
I might try using M. Graham paint that Tim and other students were using in the WS since Utrecht paint is sometimes stiffer than it should be. Or at least inconsistent.
Sunday, March 23, 2014
The bottom line is if you want to finish a piece quickly, you have to put thicker paint on top of the below layer. Means the brush barely touches the surface while you're put the brush down on. But only the paint on the brush touches it. That's the main things I've leaned and, more importantly, experienced.
Saturday, March 22, 2014
Friday, March 21, 2014
In above photos, the left one is Tim's demonstration. And the center and right ones were mine.
Sunday, March 16, 2014
Wednesday, March 12, 2014
Monday, March 10, 2014
Wednesday, March 5, 2014
Sunday, March 2, 2014
Now I'm planning or already started my new chapter as an artist based on the experiences there.