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| Right now, I'm tired and probably more critical than usual, so I won't make final judgment ... but ... painting the neck has made it loose the floating, emergent, mysterious quality. I'll wait till I've finished the face and mane, Then I might do one more softening [I hope] overall wash. |
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| Why green? The color of youth, purity ... it just seemed appropriate. I am off to bed! |
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| I just couldn't look at the glup of whatever in front of the horse's eye. |
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| So I started again. This is after a w/w wash of aureolin, brown madder and ultramarine. I have also carved out some of the highlights while wet. |
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| Here's the first wash of black. |
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| A second wash, with lifting while wet. |
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| And I've done some lifting after it's dried, with very small and moist or wet brushes. This technique is a bit like sculpting, as you carve the highlights out of the paint - quite intriguing. |
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The start of a painting of my niece as a Mona Lisa [sort of]. I've painted the darkest areas with quin. burnt orange, and then a grey. |
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| I started the background with a graded aureolin wash. I let it dry, then did a bit of a scrumbled wash with quin. burnt orange, to give it an oil painting look - I hope. |
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| I've just finished a very w/w wash, dropping in quin. gold and cobalt blue. I think the next step will be a thin overall glaze of the blue again. As always, your comments are most welcome! |
