Hello, this post is response to an
earlier post by Mai Ly when she was working on "My Angel." I was wondering if maybe Mai Ly or someone who uses this method could maybe expand on the advice offered previously?
I'm working on a portrait of my daughter. I'd used what I thought was a grisaille method previously, but after reading all these posts a couple hundred times, I found out I did it all wrong!
So I'd like to give this a better go.
- I know that I have made the dark area too dark. (And I need to fix her eye in shadow, but I'll do it when I lighten). Now that've re-read everything on the forum I see that the shadows will be deepened anyway via the glazes, and so I will lighten this area in preparation. Do you think I would need to lighten the light areas also?
- What colors did you use for glazes? Did you use something like a combination of Raw Sienna, Alizarin Crimson, Venetian Red, and Burnt Umber... Or something totally different?
- Do you mix them, like an alizarin crimson + raw sienna, or lay them in succession, like alizarin crimson, wait a day, then raw sienna?
- Recently I glazed another painting, you can see it
here. At the bottom of the page is the first glaze (after doing the background, dresses and some hair work), and I'm so disappointed! It seems to have zapped the life out of it and I'm afraid to continue. I used burnt umber, but found I really needed to use very very little, and really work it into the canvas with a brush to get it to adhere to the dried film. Did this happen to you? Should I have used more, or less medium? I'm using liquin or just linseed oil, depending. The underpainting was just paint, no medium.
Anybody who can help, jump on in!
Linear Mode
