This panel was executed over a pre-prepared lightly sculpted pastiglia. On the pastiglia level I tried to create the effect of folds of clothing: the bends of my linen jacket and the flowing shirt of the lady standing behind me to the right. Unfortunately, due to my method of creating the pastiglia, a number of pinholes appeared in the gesso of the linen jacket. The oil was able to hide some, but otherwise it’s not an ideal situation, but also like acne, you learn to live with the scars. The light jacquard pattern of the lady’s blue blouse was a nice surprise for me as I began to work on the enlarged image. Fun to render! Full description of the whole project here.
I completed this mixed technique panel this morning in about an hour and one half. It forms part of the larger mixed media project described here.
I think it’s one of the most beautiful ones yet. There’s a lovely range of values with a simplified yet harmonious contrast of hues (the warm yellow-orange fields tend to push the warm gray shadows towards their complement). The architectural details provide a graphical contrast of curves, lines and larger open fields. Since it is (or will be) a panel that fits into the far background of the greater composition, I tried to be careful to not make the shadowed elements too dark. (Of course, when the final painting is assembled some adjustments can be made, if necessary)
Fifth in the mixed technique series of the larger mixed media project. An abstract wall composition with a fan shaped shadow on the right side. I prepared this with pastiglia, so I sculpted it with a painting knife as I imagined a plaster wall might feel. The shadow was not sculpted to look or feel differently because after all its just a shadow.
On the right the egg tempera underpainting. On the left the final after one working session in oil.
Fourth in the mixed technique series of the larger mixed media project. (You can read more about the mixed technique but clicking the category link on the right.) It’s consistently amazing to me how quickly these images come together – but only because I have spent months preparing the earlier layers. So this is a sustained argument for the power, saturation and luminosity attainable through an indirect technique.
This particular panel was fun because it was lightly sculpted using pastiglia and because compositionally it contained the top edge of one of my shoes. That created not only a different texture but a stronger warmer hue as well as a set of stronger values. Here on the right is an image of the egg tempera underpainting and the left the final achieved through one layer of oil.