Tony Pro' s technique
 

Is there anybody who can explain how Tony Pro can get the glaze on the edge in these paintings.Does he use maroger or something else?

Maybe Tony would like to explain. Tony?

The glaze technique is actually a color theory I employ called "Optical Red" and "Optical Blue"....

I gave a description of this a year or so ago on this site.

It's actually not a glaze technique at all... I don't use glazes. If you see an original of mine, you will notice that it's thick paint.

When you light flesh with warm light, it 'radiates' a warm reflection of light and to interpret it into paint I use red as a hallation effect. It also works in reverse in cool light, I use Ultramarine or Viridian or a combination of both to give a felling of a glow or halo effect.

Think of light as a bucket of water. If you throw a bucket of water on a form, some water will bounce back if you watch it in slow motion. The 'bounce back' is a reflection of water and light behaves the same way.

Sargent used this as well as Sorolla.

Hope I didn't completely confuse you!
Tony

soft edge
 

I couldn't believe you answered me!!!!
I read about the "optical red"on the Forum , but at that time I didn't
know your paintings.
I must have time to think about it , becouse I'd like to post an appropriate answer.
Thanks so much!!

Tony is a member of the forum, and one of the purposes of the forum is to share ideas and information. There are many accomplished artists hanging out here. So don't be surprised if you ask and get answers!

Hi Alexandra
Thanks for the encouragement .
I take the opportunity to say that , in spite of all I've read about "optical red", I tried to look at my bald cousin all the time ,and I saw only the complementary color of his skin floating becouse of the lack of focusing. Anyway the marvellous and transparent "aurea" in Tony's painting fades into another color , and penetrates the background . How would you call it technically speaking?

Adriano

:sunnysmil My experience is that sometimes you see it, sometimes you don't! I've had the strange experience of seeing the halo effect in photos taken with my digital camera when I can't see it in real life!

Nevertheless, it's one of those magical things that has a scientific basis. In case anyone is interested, here's a link to the thread that Adriano is referring to:

http://forum.portraitartist.com/showthread.php?t=4205

"It's actually not a glaze technique at all... I don't use glazes. If you see an original of mine, you will notice that it's thick paint."

Hi Tony
I tried to understand your procedure. In the John Smith's painting you can see very easily the sandy color under the grey blu sweater.
So how would you call this effect? not a glaze? what 's driping on the right side?turpentine? ....then ...It seems there is a color (as I saw in a photo of yours while you paint a woman ) that pervades all the face. And a light drawing made by burnt Sienna. I think this should be the first approach.
Adriano

The second passage should be to put large masses of
enlightened planes and shadows. The carnation seems to be played
between cold and hot values .(very clean and pastelled colors)....

I used a little amount of color and I'm sure Tony uses a thick "impasto",but , even if I had wonted to imitate him, I didn't know how to obtain the some final effect.
Anyway I cannot believe this painting I tried to imitate is done "alla prima".
Maybe Tony would explain to me.