Richard
 

This is my first experiment painting in oil on Wallis sanded Pastel Paper. I have used the Wallis for many years for pastel work, and decided to try it out for oil, since my large oil-primed linen roll came to an abrupt end, without possiblity of replacement.

I learned very quickly that sable brushes get eaten up by the paper, but synthetic brushes do fine.

What I love about the surface is that you can lay down a rough, painterly stroke or get as smooth as you'd like, since there is no weave to contend with.

Richard, 18" x 14", oil on Wallis.

Here is the detail. I will take an extreme detail when I can get the painting in hand.

Chris I really like this, very dramatic.

Did you let any of the Wallis paper come through or cover it all like a canvas that had not be toned. Did you have to mount the paper on a gator foam or some kind of surface like a linen panel? I would love to hear how you came up with the idea to experiment with this. Okay, one last question - did you add any mediums to your oils?

:thumbsup:

Hi, Beth!

No, I covered the whole surface. The first layer really absorbed the paint (like a sponge), but once it was down, I had much more flexibility. When I get a few moments, I'll post a mini-demo.

I mounted the Wallis onto Masonite, just as I do my canvas (Demco glue http://www.demco.com , Masonite). That's only because I prefer a rigid surface. I don't think that would be necessary unless you were working quite large, or just preferred a mounted surface. I see that Tim at http://newtraditionsartpanels.com offers gatorboard-mounted Wallis paper.

There are two reasons I got started on this:

1. I ran out of my favorite linen and had no happy alternative waiting, and wouldn't you know, I had a desperate moment;

2. Kitty Wallis says that her paper is suitable for oils. When I was doing pastels, the Wallis paper was absolutely my first choice.

The second reason was a lot more important than the first. I don't know if you have ever contacted Kitty, but working as much as you do in pastel, you might have done so. She is a wonderful, friendly person, and a very fine painter as well. I think her paper is fantastic, and archival.

The only medium I used was Rob Howards' http://studioproducts.com Maroger, which as you know Bill W made us try, and without which I have not gone a single day.

I varnished this piece with Gamvar, but I have since mixed up a batch of Gamvar with a bit of beeswax, (which I learned here) and I think I will give it a final coat of the wax-softened goop.

Since this painting, finished about 4 months ago, I have completed about four more on the Wallis surface. It is a lot of fun.

Thank you for your interest. Best wishes,

A beautiful portrait, Chris. Great color harmony throughout.

I saw this piece hanging at Scottsdale Artists School, and was amazed at the detail you captured on such a small surface. !Excelente

Sincerely,

Beautiful as always! Love the depth of the eyes. He almost looks depressed, like he's lost someone.

I love this - great texture and his gaze just looks right through you.

What's the archival chance for the oils on sandpaper? It sounds as if there's no "gesso" layer, and so I wonder if the oils will eat the substrate. I hope I'm wrong 'cuz I love the idea of a substrate with bite but not the linen texture.

Linda

Tres Elegant!
 

Chris, very elegant, I think this is the best man's portrait I have seen you do. I love the shirt! The face is so painterly.

One reason I avoid men's portraits is I never want to paint a suit again. How did you get this fellow to pose in such a groovy shirt?.

Sincerely,

Beautifully done! He looks as if he was sculpted - a very strong piece indeed.

Very nice painting Chris! :thumbsup: I think this is your best work yet!

Renee