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Deviousness `anmari has been spreading her infectious positivity throughout our community for over 6 years. Throughout this time Ana has been at the core of all things devious, passionately developing an eclectic gallery, helping organise devmeets, participating in chat events and also recently completed dedicating her time as a Community Volunteer. We are absolutely delighted to bestow the Deviousness Award for May 2013 to `anmari, congratulations! Read More
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Sta.sh
Sal
Can you tell me more...I'd like to follow your methods.
What do you do with the paintings? I noticed a number of them in the background. Do you sell them (I would think so, we all need money to buy art stuff!)?
Do you do the photography? I think I read that you are self taught but I find that hard to believe. You have so many interest, like myself.
BTW: I have always oil painted throughout my life. I started in the 70s, by copying the masters, like Albretch Durer (sp?), Tintoletto, Carvaggio etc. but I never took lessons or had the use of Youtube to learn from artist like you.
I am now retired and want to be a full time artist, classical artist like your style. I am taking classes with Scott Nickerson in Red Bank, New Jersey. Scott paints in the same style (many commissions) but does little glazing. He knows how to glaze and is helping me. I just finished a verdacchio of an aged Sicilian street vendor that I took when I was there in June.
I was telling Scott about you and mentioned that you do an India ink underdrawing and then do values with diluted burnt umber. We couldn't really understand the reason or logic of the India ink. Can you explain?
Thanks
Sal
I did not have any clue that the turpenoid washes away the pencil lines.,,,which is one of the problems some students have commented on in my class. I will let them know.I do understand that the India ink is covered by the dead layer.
For conversation: I do my under-drawing in charcoal because it is easier to erase and correct. Kneaded erasers are God-sent. The charcoal gives me the opportunity to also create values using my fingers during this stage of the drawing. Then I spray fixative (or flat varnish) on the charcoal. This fixes it so that it doesn't get mixed in with the oil paint. Then I start my grisaille or verdacchio underpainting.
I tend to prefer portraits of people, so I prefer a verdacchio color. Surrounding the skin and in the background, I use the grisaille (grey) format.
At the end, I have either a grey or green toned value under-painting, which works well. People faces and skin seem to pop out from the opaque background after about 9-12 glazes.
I noticed that you do one glaze.
My question: what do you think would happen it you did very thin glazes, with various highlights in multiple layers----like maybe 9-12 layers???
In your videos, I think you do one glaze.
Thanks
Sal
Twelve to fifteen layers has got to create some unbelievable results!!!!
George...what about the India ink? Is that really needed?
Thanks
Sal