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.
A piece of me #07, the egg tempera underpainting
A piece of me #07, the mixed technique over linen on panel, 21 x 13.3 cm. or 8 1/4 x 5 1/4 in.
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)
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.
A piece of me #62, mixed technique over pastiglia on panel, 21 x 13.3 cm or 8 1/4 x 5 1/4 in.
A piece of me #62, egg tempera underpainting.
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.
A Piece of Me #57, the mixed technique on panel, 21 x 13.3 cm or 8 1/4 x 5 1/4 in.
A Piece of Me #57, egg tempera underpainting on panel, 21 x 13.3 cm or 8 1/4 x 5 1/4 in.
Here is the second of the mixed technique series (see the category description on the right for a full explanation of the technique). Like #47 before it, this one is another abstract design principally of the tile flooring in front of the great mosque at Casablanca. You can read about the concept behind the whole project here.
To the right you can view the egg tempera underpainting before its layer of oil. To the left the completed panel afterwards. Once again, the increase in saturation and depth seems to happen almost automatically – due to the difference in medium. Additionally, what’s interesting to me, is that I had completed the underpainting a few months back, imagining it to be a final piece (and not just the groundwork for further manipulations in paint). That is, I thought I was creating a finished panel for the egg tempera series – and at the time I was pretty happy with the result. I think the composition lends itself to that satisfaction, but still after I discovered the error, I was curious about how much the oil level could or would enhance the piece. I think it does. What do you think?