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Author: William_F._Martin, Contributing Editor
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____________________________________________________ GLAZING BACKGROUND LAYER The entire background has received another glaze, as well as many parts of the apples and the plum, as well. This is the stage at which you begin applying your paint in a more opaque manner. and re-establishng shadows, highlights, and detail in the work. If a few "shapes" are not to your liking, this is the stage at which to modify them, and to thus increase your illusion of "realism". The depth of color and form (modeling/shape) keep building with each glaze layer. As realistic as the plum may have appeared in the first or second layer of color, the continued building of glaze layers increases the richness many times over as these layers combine with the underlayers to give the illusion of a plum. |
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FINAL TOUCHES At this last stage, I don't deal with the painting medium in the same way as I did for the intermediate layers, in that I don't apply the medium directly to the dried surface of the painting; instead, I dip a small touch of medium out of my palette cup, and mix it into the paint that I intend to apply to the surface of the painting. Notice, that as realistic as the plum has been appearing, I once again, did some small contrast changes and detail work. Much of this sort of glazing is nearly microscopic in its nature. The "secret", if there is one at this point, is to work very carefully and meticulously, being extremely careful to mix just the appropriate color on the palette, prior to applying it to the painting, and continue spreading it out thinly to the surface of the painting. The idea is to modify the existing painting slightly, while not making any drastic moves to its appearance. One of my goals was to achieve the "dusty" haze on the plum, as plums often appear when fresh from the grocery store before washing and polishing. Although I primarily used Old Holland Flake White (lead + zinc) during the building of the layers, because it has more of a translucent appearance, and blends ealisly, I now am working with Permalba White (titanium + zinc), because it is more opaque in its nature, and works well for catchlights and to mix with other colors for soft, but opaque, tints. While it may be nearly impossible to detect any changes in this last phase, you may note I worked a slight bit on the following areas: the plum, the apples, at random places, smoothing out the highlights, while also emphasizing a few highlights on some key areas of the fabric background. I also signed it. I am quite pleased with the way that it turned out, using several layers of glazing. In checking my records, I found that this entire painting took me approximately 18 hours. Thank you for following along with this process. It has been my profound pleasure to have received your interest and support on this glazing procedure. |
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 | The author of this article, WFMartin is:
William F. Martin - Glendale, Arizona. I am a lithographer, retired now, and am now an oil and watercolor artist. I have been juried several times in a local art competition, and have sold many paintings. I have a BS degree in education. Other interests include fishing and bicycling. Website: www.wfmartin.com Email: williamfmartin@cox.net (Thanks to Rhi - "RhiannonJ" for help in adapting this article to WetCanvas' publisher format) |
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| B i o g r a p h y | |
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I've been painting in oils off and on for nearly 30 years now. I am self-taught and have just recently gotten back into painting after a four year hiatus. My paintings are my interpretation of the beauty I see in nature all around me. From the simplicity of a dogwood blossom to the drama of a thunderstorm lighting up the evening sky, it is these moments in time that inspire me and I strive to capture them on canvas. I've also dabbled in watercolours and pen and ink drawings. Other interests include photography, floral design and gardening. |
| E-Mail: rhiannonj@comcast.net Web Site: http://mywebpages.comcast.net/rhiannonj/home.html | |
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