![]() |
Richard
1 Attachment(s)
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. |
1 Attachment(s)
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 |
All times are GMT -4. The time now is 02:25 AM. |
Powered by vBulletin® Version 3.8.6
Copyright ©2000 - 2025, Jelsoft Enterprises Ltd.