tag:blogger.com,1999:blog-861987276231848014.post5751309426888369201..comments2023-10-31T06:22:39.982-07:00Comments on Tonalist Landscapes: GlazingPaul Batchhttp://www.blogger.com/profile/18082943051344040739noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-861987276231848014.post-56225349837470998532011-08-01T14:09:01.793-07:002011-08-01T14:09:01.793-07:00Great information about a sometimes complex techni...Great information about a sometimes complex technique. I too work in layers, combining thin glazes and opaque areas, often alternating warm colors against cooler versions of the same hue. I find this lends a beautiful and rich depth to the color. I went and looked at your website and love your work. Your landscapes remind me of George Inness (one of my favorites), and your portrait work is quite impressive. I look forward to viewing more of your work.<br /><br />Mark Nesmith<br />http://paintdailytexas.blogspot.comMark Nesmithhttps://www.blogger.com/profile/12391422823883501184noreply@blogger.comtag:blogger.com,1999:blog-861987276231848014.post-28119301215073199782011-07-11T07:14:31.347-07:002011-07-11T07:14:31.347-07:00Nice information! I also layer my opaque areas, s...Nice information! I also layer my opaque areas, sometimes a beautiful pearly opalescent effect occurs as the light bounces off the paint instead of travelling through like a glaze. I believe that occurs because anytime we add medium to paint it becomes somewhat more transparent--even white can be semi-transparent so scumbling will result in the underpainting showing through a little bit. I'm a liquin addict as well! Though I experimented with traditional mediums a bit too. I just discovered your site and I know I'll be visiting often--can't wait to read more entries!Sarah Shttps://www.blogger.com/profile/05836142852846203447noreply@blogger.comtag:blogger.com,1999:blog-861987276231848014.post-54115328105077044032010-02-23T03:34:21.631-08:002010-02-23T03:34:21.631-08:00This is in regard to glazing. My medium is a 50/50...This is in regard to glazing. My medium is a 50/50 mix of mineral spirits and damar varnish.<br />I use this on multilayered painting such as Flemish technique and I allow each layer to dry for a week to a month depending on what I did in the current layer.<br />I allow it to dry so that if my ideas go south on me while glazing I can wipe it off and start over. It helps when your unsure of the true effects that your ideas may have as well.<br />So here's the basic idea. A principle I follow is that you make the previous layer to facilitate work in the next layer thus making your work easier as it goes.<br />Doing all of my tonal work in mostly halftones. The next layers will get easier and easier by following the next principle...More light and color in the lights and more dark and color in the shadows. Then on to some final glaze work.<br />If I am doing a multilayered painting...between each layer I will coat the canvas with Linseed oil and wipe it off what remains is enough. I also do this on my palette. From there I use a 50/50 mix of mineral spirits and damar as my working medium. It makes the areas I glaze a sinch. And if I make a mistake I wipe it off with a rag and start over.<br />If I paint alla prima I mix 1pt mineral spirits 1pt damar and 1pt linseed oil. I dont treat my palette or canvas I just dive right in.Gregory Beckerhttps://www.blogger.com/profile/06840770708114257366noreply@blogger.comtag:blogger.com,1999:blog-861987276231848014.post-46163474249968303812010-02-09T17:10:08.070-08:002010-02-09T17:10:08.070-08:00wow i didn't realize how long I ran on. Sorry ...wow i didn't realize how long I ran on. Sorry I'm a little over tired.Paul Batchhttps://www.blogger.com/profile/18082943051344040739noreply@blogger.comtag:blogger.com,1999:blog-861987276231848014.post-29653554023635824062010-02-09T17:09:27.996-08:002010-02-09T17:09:27.996-08:00Greg thanks for the question... I'm gonna have...Greg thanks for the question... I'm gonna have to do more research now thanks. ;) Yes glazing is most effective when the underpainting is structured in a way to support it. I try to keep my underpaintings on the lighter side of the value scale. (I have a tendency to go to dark to quick and I'm constantly fighting with this.) I don't however believe in committing 100% to an underpainting. Paintings have needs and if through the process of the painting those needs change don't be afraid to wipe out or repaint an area.<br /><br />see also- "the venetian method" and "grisaille" for more underpainting/ glazing techniques<br /><br />Second question in regards to drying. I'll be honest I'm a "Liquin" addict. I though Liquin over everything... I don't know how good or bad this is but so far so good. (Look up Stephen Brown from Forum Gallery NY... my mentor...he's the one that got me spitting Liquin on everything.) I only return to a painting after it has dried which can take a few days or more even with the Liquin. Glazing over paint that is still wet or tacky can lead to peeling and other kinds of stuff that won't be helpful to your painting. <br /><br />I do however love playing with new stuff and just ordered some Walnut oil the other day and am gonna mess around with that soon. Greg what kind of medium do you use? How do you use it? I know you've been using a lot of underpainting and glazing techniques in your work and would like to hear what you think.Paul Batchhttps://www.blogger.com/profile/18082943051344040739noreply@blogger.comtag:blogger.com,1999:blog-861987276231848014.post-26843974640463163772010-02-08T01:43:32.410-08:002010-02-08T01:43:32.410-08:00That gives me a much better understanding of glazi...That gives me a much better understanding of glazing, which I just started experimenting with. Thank you.<br />Isn't it true that glazing will only be most effective when the underpainting is structured to support it?<br />Also, how long should a painting have dried before glazes can be applied?Gregory Beckerhttps://www.blogger.com/profile/06840770708114257366noreply@blogger.com