Wednesday, March 16, 2011

McCormick 350 tractor in landscape in-progress; oil on panel by Paul Baldassini

Please contact me via email:
paul@baldassinifineart.com

““Success is the ability to go from one failure to the next with no loss of enthusiasm.”    — Winston Churchill


“McCormick 350.”    Above is an in-progress snapshot of new work started on Feb. 26.  I recently read about a new color — Asphaltum from Gamblin — in an art magazine or on some online forum, Wet Canvas perhaps.  The writer said it was a beautiful color, nice for underpainting.  So I though I would give a try.  It is indeed a nice color but I did not like it at all for underpainting.  I found it to be very gritty and too dense in darker values when building up my underpainting and was not able to manipulate it the way I can other underpainting colors.  You can still see some of it in the cast shadow under the tractor, but I had to repaint the entire top of the underpainting in my signature Quincridone Magenta before it was too late.  Also had to repaint some of the overpainting up top which I really don't like to do. Rather not go over something I already painted because its so easy to lose the thin shadows. It became a bit of a salvage job but certainly could have been much worse and I just hate to tank a painting that I already spent considerable time on.

I still think that Quincridone Magenta (I use Sennelier) is by far the best color for underpainting landscapes when the composition indicates a dominance of green hues.  Quin Magenta handles beautifully thinned out with lots of OMS or used straight out the tube. It yields the lightest values and rich deep dark shadow values without ever getting too dense and always remains transparent.  After the underpainting dries in day or two, any color glazed over and then directly painted into looks just incredible. Greens vibrate over the complimentary underpainting especially if you leave some of it showing through.  Areas in shadow remain lively and glow with darker values glazed and/or scumbled over, keeping them thin and interesting. Save the thicker paint for midtones and body color and the thickest for the lightest values and highlights.

Its a great way to paint.  I just love it.

FYI:  I have a major new update to my website including new design, new copywriting, recent work,  and an FAQ page.  Check it out at:

baldassinifineart.com

Until the next post, thanks for visiting.

P.

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