Foundations of Classical Oil Painting: How to Paint Realistic People, Landscapes and Still Life \( PDFDrive.com \).mobi by Lea Wight

Author:Lea Wight
Language: eng
Format: mobi
Publisher: F+W Media
Published: 2020-04-30T14:22:15.212579+00:00

5 EVALUATE YOUR PROGRESS

Make several passes around your painting, always standing back and quickly moving your eye from one area to another. Do your color mixing directly on the painting, not on your palette. This ensures that you don’t underestimate the impact of the color you’re trying to replicate and prevents second guessing. If you have trouble adjusting your paint color because you have so much paint on your canvas, begin to dip into your mixed medium (stand oil and turpentine). Experiment with dancing the paint on top of your canvas and pushing in if you want to mix with the paint underneath. Notice that there is a heavy paint deposit on the canvas, which you can see in the areas that show glare from the camera. Once you can see no further adjustments to your six color areas, you are either done with the color study or you can decide to break your masses into further divisions. In the pumpkin study I decided to move on to finding a highlight color on the pumpkin and also a plane change or dark light area in the light side of the pumpkin.

It is essential that you have a long filbert as the color study progresses so you can regulate how much paint you put on and whether it is deposited correctly on your canvas. If you’re working with a short bristle brush, it can push the paint away rather than deposit it on.

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