Tuesday, September 14, 2010

Realist Landscape in-progress, CT farm, oil on mounted linen by Paul Baldassini

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Hay Tedder overpainting day 1

Here is Stage 2 of my work-in-progress showing a couple of days of overpainting. Basically my paintings are painted twice -- once for the underpainting, then the overpainting, which takes longer. First I brush on a bit of medium (I use Old Masters Maroger Medium), Flemish Formula) and work the overpainting same as the underpainting, from the top down usually from left to right so I can rest my hand on the dry underpainting while I work on the left side. I define sections by looking for natural edges (the figure, tractor fenders, tires, etc.) and bring each section to completion before moving on the next section. This way I can blend edges of the sections together, if necessary, keeping some edges soft or hard as necessary.

Because I use Maroger medium (Old Masters ONLY) the painting remains tacky the next day which is great for blending the new sections into the previous days work. Otherwise the paint is completely dry within 2 days. If I don't get to paint the next day, which is often the case, then a bit of medium brushed over the edge of the dry work into the next sections allows for seamless integration of the next section. As you can see here the greens set up beautifully over the Quin. Magenta underpainting and all values are judged and matched against the value already in place in the grisaille.

The dark shadows are quite thin, and the paint gets applied heavier as the values lighten up, the whitest highlights almost straight out the tube and almost always tinted with a touch of yellow or blue depending on whether I want them warm or cool. Some glazing and additional overpainting occurs over previously painted areas that I feel are bothering me. But one has to be very careful with this last phase as it is VERY easy to fiddle and diddle to death and end up compromising a good work.

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