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View Full Version : Master of the Month #25 - Jan/Feb 2006 (Peter Paul Rubens)


bjs0704
12-31-2005, 02:04 PM
This month’s Master of the Month is Peter Paul Rubens (or more correctly Pieter Pauwel Rubens.) Rubens is not only an artist of the highest caliber, but he had many, many accomplishments in other areas as well.

He is one of the greatest of Baroque painters. His work is a combination of Flemish realism and the Italian Renaissance with a bit of a classical influence as well.

Peter Paul Rubens. Self-Portrait without a Hat. c.1639. Oil on canvas. Galleria degli Uffizi, Florence, Italy.

http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-rubens_portrait.jpg

bjs0704
12-31-2005, 02:05 PM
Rubens' father, Jan, was born a Roman Catholic, but, his name had appeared on a list of Calvinists as early as 1566. The Rubens family was exiled to Germany where Peter Paul was born. Jan Rubens was a diplomatic agent and adviser to the Protestant princess Anna of Saxony (d. 1577), second wife of William the Silent, who led the resistance to Spanish rule of the Netherlands. When the princess became pregnant, it became well known that she and Jan were lovers. She managed to obtained clemency from her husband for Jan, but he and his family were placed under house arrest at Siegen, a Nassau stronghold in Westphalia. Jan gave all of his children a good education in the classics. Jan died in 1587. Rubens' mother then took her four surviving children to Antwerp, where Jan had been an alderman.

His mother sent Peter Paul Rubens and his brother, Phillip to a Latin school when Rubens was 10 years old, but he had to stop in 1590, for economic reasons. The family needed money for his sister’s dowry. Rubens became a page to the Countess of Lalaing. He lost interest in this and became a painter.

bjs0704
12-31-2005, 02:06 PM
His first teacher was Tobias Verhaecht, a painter of Mannerist landscapes. This is where Rubens learned the basics of painting. Then, Rubens was apprenticed for four years to a more able master, Adam van Noort. After that Rubens studied with Otto van Veen, one of the most distinguished of the Antwerp Romanists, a group of Flemish artists who had gone to Rome to study the art of antiquity and the Italian Renaissance.


This thumbnail is of a painting by Otto van Veen. You can see some similarities between Rubens and his teacher. Otto van Veen, (b. 1556, Leiden, d. 1629, Bruxelles),The Last Supper, 1592, Oil on canvas.
http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-lastsupper.jpg

bjs0704
12-31-2005, 02:45 PM
Italian period

In May of 1600, Rubens set out with Deodatus del Monte, a constant traveling companion and pupil, to Italy. He was employed by Vincenzo I Gonzaga, Duke of Mantua who had one of the largest and finest collections outside the Vatican of works by Italian artists. During this period, Rubens studied close up the works of the ancient and modern masters. The Duke sent Rubens to Rome to paint copies of pictures. While in Rome, Rubens stayed under the protection of Cardinal Montalto. Then, he obtained his first public commission. He was to paint three altarpieces for the crypt chapel of St. Helena in Santa Croce in Gerusalemme.

At this same time, in Rome, Annibale Carracci worked on their most famous project the illusionistic ceiling in the gallery of the Palazzo Farnese. Rubens was influenced by their bold scale in drawing and working methods. He also learned to imitate the Venetian use of colour, light, and loose application of paint. He learned about and was influenced by the works of Tintoretto, Veronese, and Titian.

In 1603 Rubens went on his first diplomatic mission, to take costly presents from Mantua to Philip III and the Spanish court. He got a chance to study the royal collections in Madrid. His major work during this period was three pictures finished in 1605 for the Jesuit Church of SS. Trinità: The Baptism of Christ (Royal Museum of Fine Arts, Antwerp), The Transfiguration (Fine Arts Museum, Nancy), and The Gonzaga Family in Adoration of the Most Holy Trinity (Ducal Palace, Mantua). He also completed “The Circumcision” for the high altar of the Jesuit Church of Sant' Ambrogio in Genoa in the same year . The duke for the Gonzaga Gallery, of which Rubens was curator, commisioned portraits of the beauties in his court.

Rubens left the Duke of Mantua in 1605 so that he could study in Rome. Rubens stayed in Rome with his brother Philip. Phillip was the librarian to Cardinal Ascanio Colonna, a member of one of Rome's most wealthy and powerful families. Rubens learned a lot during this time period about ancient Greece and Rome. This interests shows in many of the Rubens paintings. In 1607 Rubens went with the Gonzaga court to the Italian seaside resort of San Pier d'Arena. While there, he painted many portraits of the Genoese aristocracy. He left because they were unsteady about paying him. He wanted to establish himself as an international artist. Rubens got the commission for the painting over the high altar of the Roman Church of Santa Maria in Vallicella. He was also commissioned to paint the altarpiece of the Adoration of the Shepherds for the Oratorian Order in Fermo. In 1608, he left Italy because of the death of his mother.

For the Gonzaga court:
Thumbnail #1 - The Gonzaga Family Worshipping the Holy Trinity, 1604-05,
Oil on canvas, Palazzo Ducale, Mantua.

Thumbnail #2 - Portrait of Marchesa Brigida Spinola Doria, 1606, Oil on canvas, 152 x 99 cm, National Gallery of Art, Washington.



The high altar of the Roman Church of Santa Maria in Vallicella:
Thumbnail # 3 - Madonna Adored by Angels (Madonna della Vallicella), 1608, Oil on slate, 425 x 250 cm, Santa Maria Vallicella, Rome.

bjs0704
12-31-2005, 02:54 PM
In 1609 Rubens was appointed court painter to Archduke Albert and his wife Isabella. The same year he married his own Isabella - Isabella Brant. Rubens created two altarpieces of The Raising of the Cross (1610) for St. Walburga's in Antwerp and the Descent from the Cross (1611-14) for Antwerp Cathedral. He also created many court portraits. Rubens was internationally famous. In fact, because of the demand for his work , Rubens had a large number of assistants and apprentices. The assistants did much of the work, but the design and certain key areas were done by Rubens.

Thumbnail #1 - Raising of the Cross, 1610, Oil on panel, 460 x 340 cm (centre panel), 460 x 150 cm (wings), O.-L. Vrouwekathedraal, Antwerp

Thumbnail #2 - Descent from the Cross, 1612-14, Oil on panel, 421 x 311 cm (centre panel), 421 x 153 cm (wings), O.-L. Vrouwekathedraal, Antwerp

bjs0704
12-31-2005, 03:10 PM
Well known paintings from this period are The Last Judgment (c. 1616; Alte Pinakothek, Munich) and Christ on the Cross (1620; Royal Museum of Fine Arts, Brussels), Battle of the Amazons (c. 1618; Alte Pinakothek), Rape of the Daughters of Leucippus (c. 1617-18; Alte Pinakothek), Hippopotamus Hunt (c. 1615-16; Alte Pinakothek) .

Thumbnail #1 - The Last Judgement, 1617, Oil on canvas, 606 x 460 cm
Alte Pinakothek, Munich

Thumbnail #2- Battle of the Amazons, 1618, Oil on panel, 121 x 166 cm
Alte Pinakothek, Munich

Thumbnail #3- Rape of the Daughters of Leucippus, 1617, Oil on canvas, 224 x 211 cm, Alte Pinakothek, Munich

Thumbnail #4- Hippopotamus and Crocodile Hunt, 1615-16, Oil on canvas, 248 x 321 cm, Alte Pinakothek, Munich

bjs0704
12-31-2005, 03:32 PM
Diplomatic career

In the period between 1621 and 1630, Rubens was used as a diplomat by the Spanish Habsburg rulers. He was involved with Spain’s attempt to renegotiate the Twelve Years' Truce (1609-21) between the Habsburg-controlled area of Flanders and the Dutch Republic to the north.

Rubens became an adviser to Archduchess Isabella, the regent of Flanders and daughter of the Habsburg ruler of Spain, Philip II. Rubens tried to intercede with the Dutch, but war soon broke out again in the Netherlands between the Protestant Dutch and the Catholic Flemish and continued for the rest of Rubens' life.

One of our MOM projects, the Infant with a Bird was painted during this period. It dates to1624-1625.

In 1622, Rubens was summoned to Paris by Marie de Médicis, the widow of Henry IV and mother of the reigning king of France, Louis XIII. He was commissioned to paint two series of paintings for two long galleries in her newly constructed Luxembourg Palace. One cycle of 21 pictures representing episodes from Marie's life now hangs in the Louvre Museum. He worked on this project for two years in Antwerp.

From the Marie de Médicis cycle:

Thumbnail #1 - The Landing of Marie de Médicis at Marseilles, 1623-25
Oil on canvas, 394 x 295 cm, Musée du Louvre, Paris

Thumbnail #2 - The Meeting of Marie de Médicis and Henri IV at Lyon, 1622-25, Oil on canvas, 394 x 295 cm, Musée du Louvre, Paris

Thumbnail #3 - The Capture of Juliers, 1622-25, Oil on canvas, 394 x 295 cm, Musée du Louvre, Paris

Thumbnail #4 - Marie de Medicis as Bellona, 1622-25, Oil on canvas, 276 x 149 cm, Musée du Louvre, Paris

Thumbnail #5 - The Fate Spinning Marie's Destiny, 1622-25, Oil on canvas, 394 x 153 cm, Musée du Louvre, Paris

bjs0704
12-31-2005, 03:37 PM
In 1628 Rubens traveled to Madrid, where he tried to lay the groundwork for peace negotiations between Spain and England. He was made an envoy by King Philip IV and sent on a special peace mission to Charles I of England in 1629. The peace treaty of 1630 between England and Spain was the result of this trip. He was knighted and given an honorary degree by Cambridge University. Charles I commissioned him to decorate the ceiling of the royal Banqueting House (1619-22) designed by the court architect Inigo Jones as a part of Whitehall Palace. Nine huge panels allegorize the reign of James I, the father of Charles I were finished in 1634.

Ceiling of the royal Banqueting House
Thumbnail #1 - Allegory on the Blessings of Peace, 1629-30, Oil on canvas, 203,5 x 298 cm, National Gallery, London

bjs0704
12-31-2005, 04:01 PM
Flanders

On his return to Flanders in 1630, Rubens was rewarded by the archduchess with exemption from further diplomatic missions.

Since he was a widower in 1630, Rubens married the 16-year-old Hélèna Fourment. Rubens would have painted our second MOM around this time. The Portrait of Susanne Fourment is of the sister of Helena Fourment.

She can also be seen in The Garden of Love (1634; Prado Museum, Madrid), The Three Graces (c. 1638-40; Prado), and The Judgment of Paris (1638-39; Prado),and Hélèna Fourment with Fur Cloak (c. 1638-40; Kunsthistoriches Museum, Vienna).


Thumbnail #1 - The Garden of Love (1634; Prado Museum, Madrid)

Thumbnail #2 - The Three Graces (c. 1638-40; Prado)

Thumbnail #3 - The Judgment of Paris (1638-39; Prado)

Thumbnail #4 - Hélèna Fourment with Fur Cloak (c. 1638-40; Kunsthistoriches Museum, Vienna)

bjs0704
12-31-2005, 04:12 PM
Now, remarried, Rubens bought the château of Elewijt in 1635. He spent his last years painting the rural life and scenery outside of Antwerp

Rubens was commissioned by King Philip IV of Spain (the brother of the infante Ferdinand, who had succeeded Archduchess Isabella as regent of Flanders) to paint models for 120 scenes from the writings of the Roman poet Ovid and other classical authors which decorated the Torre de la Parada, the royal hunting lodge near Madrid. Rubens died at Antwerp in 1640 of gout, which had for months troubled his painting arm, reached his heart.


Thumbnail #1 - Scenes of rural life.
The Village Fête (Flemish Kermis, 1635-38, Oil on wood, 149 x 261 cm
Musée du Louvre, Paris.

Thumbnail #2 - Scenes of Ovid for King Philip IV of Spain.
The Fall of Icarus, 1636, Oil on wood, 27 x 27 cm,Musées Royaux des Beaux-Arts, Brussels.

bjs0704
12-31-2005, 04:20 PM
Really nice website about Rubens!
http://www.nationalgallery.org.uk/exhibitions/rubens/default.htm

One about Rubens drawings.
http://www.metmuseum.org/special/Rubens/rubens_view_6.asp?gallery=8

More websites that show Rubens work:
http://www.abcgallery.com/R/rubens/rubens-2.html
http://www.wga.hu/frames-e.html?/bio/r/rubens/biograph.html

Some of you may find this thread helpful:
http://www.wetcanvas.com/forums/showthread.php?t=273364

bjs0704
12-31-2005, 08:58 PM
Now, Here are the choices of MOM for this next couple of month's.

http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-three.jpg

Portrait of Susanne Fourment ("Le Chapeau de paille"). c.1625. Oil on panel. National Gallery, London, UK.

http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-two.jpg

Infant with a Bird. c.1624-1625. Oil on panel. Gemaldegalerie, Berlin, Germany.



The Infant with Bird was a study made for an angel in the Madonna with a Floral Wreath in the Alte Pinakothek in Munich. The child is probably Rubens' first son Albert, who was born in 1614.

The sitter of the picture is probably Susanna Lundent, the sister of Helene Fourment, the second wife of Rubens. The title of the painting is "Straw hat" (Le chapeau de paille) from the 17th century, although the hat is not a straw hat.

bjs0704
12-31-2005, 09:05 PM
Here's two reference images from our image library for those who would like to try working in the manner of Rubens.

Jordon - link to image library photo taken by terence p from the WC image library
http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-Jordan.jpg

http://www.wetcanvas.com/RefLib/showphoto.php?photo=55147&size=big&cat=


http://www.wetcanvas.com/Community/images/31-Dec-2005/11410-9746pic05.jpg

Portrait Smudgedperspective*
http://www.wetcanvas.com/RefLib/showphoto.php?photo=25981&cat=55
or
http://www.wetcanvas.com/RefLib/showphoto.php?photo=25985&cat=55

bjs0704
12-31-2005, 10:00 PM
Working methods and techniques

Rubens was supposed to have used lead white, ultramarine, yellow ochre, yellow lake, madder, vermilion, red ochre, cobalt blue, terre verte, malachite green, burnt sienna and ivory black, orpiment (a yellow) and burnt umber.

It is surprising though how much of the paintings use very basic color - Flake white, yellow ochre, red ochre, burnt sienna, burnt umber, ivory black. Then , touches of brighter colors. Cadmium red is a good substitute for Vermillion.

For mediums, Sheppard recommends using maroger’s, but I think that liquin would be a good substitute. I’m using my own homemade mixture based on Bill Martin’s article on mediums. (I usually use stand oil as part of the mix.)

Rubens prefered painting on panel to painting on canvas. You can use either surface. A good contemporary alternative is “masonite” that has been coated multiple times in gesso on both sides.

Whatever surface you are using, your next step is to tone the surface with raw sienna. Rubens liked the surface a bit streaky so don’t be too neat or thorough. Take a turpsy rag and spread a small amount of raw sienna on the surface. The streaks he thought added vibrancy.

Then start an outline sketch with burnt umber. If you look at Rubens oil sketches, the initial drawings are very similar to a pen and ink drawing. He uses his oil paint and a brush very similarly. He will often use lead white in the highlight areas and darker browns in shadowed areas. This sketch is done with thin fluid paint.

The lights were built up thickly and the darks were scumbled thinly.

Then, he would paint a translucent middle tone on the flesh. Then add in a shadow. Some shadows in the flesh have gray added to the shadows to create a warm and cool opposition. Then, add in highlights.

The highlights would sometimes become quite thick adding to the sense of form.

bjs0704
12-31-2005, 10:11 PM
So much of the painting using a limited palette.

The Infant with Bird is mostly yellow ochre, red ochre, ivory black, flake white. The hair is combination of white, yellow ochre and yellow glazed over white. Ivory black is used in the fleshtones to add a cool quality in the shadows.

For Suzanne - again Rubens used a fairly limited palette for most of the painting, but then he added ultramarine blue for the sky and vermillion to brighten things.

Barb Solomon:cat:

rosebard
01-01-2006, 01:05 PM
Great Job Barb! Thanks a bunch!! :)

IMNRTST
01-01-2006, 01:25 PM
TONS of great info....ty Barb! I'm onboard for portrait of Susanne. Rubens was such a great painter. I especially like his more complex works like The Last Judgement & The Battle of the Amazons.

Mike

bravynn
01-01-2006, 01:27 PM
excellent information on Rubens Barbara :clap:

Barbara TN

Happy New Year!

Calvado
01-01-2006, 02:58 PM
Since I had already started a Rubens before the MOM, i'll continue with my project and hopefully finish it in 1 or 2 months... It's Ecce homo.. 36x48''... some pics will come as soon as possible..
I chose this subject because there are 3 expressive faces to paint, 1 exquisite torso and two marvelous draperies :)

bjs0704
01-01-2006, 03:38 PM
Rose - Thanks, are you going to try a Rubens? :evil:

Mike - Hi! :wave: Thanks so much! It’s nice to see that you are going to join in! Suzanne is a lovely choice!

Rubens is incredible in his more complex paintings. It really incredible to see all of the people that he will have in a composition, but I thought that these two paintings would be a better starting point for people.

Barbara TN - Thanks so much! I hope that you join us! Are you thinking about trying one?:)

Barb Solomon:cat:

bjs0704
01-01-2006, 06:02 PM
Calvado - That is absolutely stunning! Thanks so much for posting it! I would love to hear about what steps you took to paint it! (We would love advice!):clap: :clap: :clap:


There's not much to see on my painting right now! I've toned a 16"x20" canvasboard with a bit raw sienna and wiped it through the surface with a turpsy rag. I've tried to leave streaks. I have decided that I'm doing the "Infant with Bird".

Barb Solomon:cat:

Calvado
01-01-2006, 06:06 PM
Barb, wait a minute ... the picture I've just posted is one of the original painting.. lol... mine is not finished yet :)

bjs0704
01-01-2006, 06:13 PM
LOL!!!! No wonder! I was thinking that you REALLY did a good job on it!

You are right about it being a great choice! The drapery is gorgeous and I have always loved the way that Rubens paints people, particularly the skin tones!

Please join in with us and let us see how you are doing! :)

Barb Solomon:cat:

Rosic
01-01-2006, 06:34 PM
Barb... you have out done yourself... Bravo! I look forward to reading and digesting all the info when I get back in action... just popping in till I get back full swing on the 3rd.
Bern

bjs0704
01-01-2006, 07:26 PM
Thanks, Bernie! I really appreciate it! I hope that you are enjoying the holiday!

Barb Solomon:cat:

guillot
01-01-2006, 09:18 PM
Wow Barb !! A SUPERFANTASTIC way to begin the new year !!!

Stunning write up and research!! (bowing the brush to thee) :)

Looking forward to the challenge. Now - hmmmm - which one? Thinking about tackling the lady - wonderful folds and stuff.

Tina

jdadson
01-01-2006, 11:08 PM
I was in Vienna a couple of months ago. I spent two days in the Art History (Kunsthistorisches) Museum, and one day in the Lichtenstein. If you ever get a chance to visit the old part of Vienna, by all means, don't pass it up!

They have a very large number of Rubenses there. Some of them are gigantic. He may have prefered working on panels, but when a painting is huge, it's not much of an option. I've heard he invented many of the techniques for working on canvas.

guillot
01-02-2006, 12:41 AM
Hey Barb - what is the original sizes on the MOM choices??? If I missed it, will you point me in the right direction?

Thanks,
Tina

guillot
01-02-2006, 12:53 AM
Nevermind - looked it up:

Lady is 31 1/16 x 21 1/4 inches

Boy is 19 1/4 x 15 5/8

Thanks though :angel:

Tina

IMNRTST
01-02-2006, 11:04 AM
Tina...are you going to try one of em in its original size? I just cut my masonite for Suzanne and it's going to be approx. 17" X 12"
Time to gesso it up ! =)

Mike

guillot
01-02-2006, 11:19 AM
Hi Mike,
Well, I don't have any masonite to work with (well, I have a small panel), and I have one of those Panelli A Olio Panels:

http://www.aswexpress.com/discount-art-supplies/online/1170/art-supplies/5

I've been dying to try the Panelli board (hate to use it on a study though). Who knows, maybe I'll go ahead and try it - then I'll know if I want to purchase some more of those. I forget which size I have out there in the studio though. It's most likely an 18 x 24, maybe a 16 x 20 (one of the two). Other than that, I have some 20 x 20 linens that may suffice, and I know I have some canvas 18 x 24's. I think that's about as close as I can get, though the dimensions are off.

I can't make up my mind which one to paint. :) So you doing the lady?

Thanks,
Tina

rosebard
01-02-2006, 11:35 AM
Rose - Thanks, are you going to try a Rubens? :evil:

Barb Solomon:cat:

No Barb, I wont. Rubens is fascinating but I have so much already to work on, that one more would be hard to work on. But I will follow the MOM with much interesting for sure. :) Hope you all have a great time!! :D :wave:

IMNRTST
01-02-2006, 11:59 AM
Tina....the Panelli boards look like a great surface to work on...imported straight from Italy too!...they have to be an amazing product! Let me know how they handle if you try em...I might give em a shot in the future.

Yup...I'm doing Suzanne...my surface is all gessoed up and ready for a wash tint of raw sienna. I love masonite! my studio is full of em. They get kinda heavy at larger sizes cause I use the 1/4 inch kind but I don't mind it =)
(shipping them in the future might present a problem though) :rolleyes: lol

Mike

guillot
01-02-2006, 12:21 PM
Mike - Yep, shooooot, it's a 16 x 20! Yes, they are reallly nice, impressive looking boards for sure. They have a stamp burned into the back of them:


http://www.wetcanvas.com/Community/images/02-Jan-2006/5957-stamp2.jpg

If I use this - I will have to scale down. Well, I'll have to scale down anyhoo. All of my large canvases have WIPs on them. I may give it a go - just to satisfy the curiosity on my part :) Will let you know how they perform.

I didn't know that you used masonite, I'm assuming, primarily?? Your work is always so lovely, and right on the spot!!

Now - deciding which to begin with ...... I think the boy with the bird would be much easier to scale down (my mother would love that one for sure, LOL - I would have to ship it to her), but I like the lady too. Well, seeming as we have 2 months now, maybe I can fit them both in. Can at least get the board stained and ready to go.

Tina

IMNRTST
01-02-2006, 01:11 PM
I didn't know that you used masonite, I'm assuming, primarily?? Your work is always so lovely, and right on the spot!!



Thx so much Tina! I do all my work mostly on masonite panels bought from the hardware store. I usually buy a bunch of pre-cut 24" X 24" panels and then customize em accordingly. They also come in sheets as big as 4' X 8' I think ...for some of my future larger and much heavier projects :p
I love the feel of it...and even the process to prepare a panel.
Just call me Masonite Mike :D :D lol

Mike

jdadson
01-02-2006, 01:38 PM
Hi Mike,
Well, I don't have any masonite to work with (well, I have a small panel), and I have one of those Panelli A Olio Panels:

http://www.aswexpress.com/discount-art-supplies/online/1170/art-supplies/5

Tina

I'm not tempted by those (Panelli), because the ad says they are absorbant. The Ampersand Gessobord [sic] is good. Be careful not to get a Claybord by mistake though. I once got a Claybord that was mis-packaged in a Gessobord wrapper. Oops.

InnerGlow panels are a little pricey, but appear to be very high quality. I've only painted one quick picture on one. They don't have much tooth, but once you've got a layer of paint on them, it's a pleasure to work on them. I have four left, and so far no buyer's regret.

guillot
01-02-2006, 02:14 PM
Ok - Masonite Mike, LOL I tried a piece of masonite once or twice - but I like the spring of the canvas/linen while I'm painting. I bought one of those pre-gessoed masonite boards and it was just tooooo slippery for me. I had paint going in places it wasn't supposed to, :D Maybe it's different in preparing them yourself. I should try that sometime !!

I have mine washed and ready to go. Just need to let them dry. Meanwhile - I guess I'll work on one of three other paintings I've been working on.


I'm not tempted by those (Panelli), because the ad says they are absorbant. The Ampersand Gessobord [sic] is good. Be careful not to get a Claybord by mistake though. I once got a Claybord that was mis-packaged in a Gessobord wrapper. Oops.

Hi jdadson - it says they are semi-absorbant. All it takes it one coat of gesso, if you're concerned too much with that. There's nothing wrong with "semi-absorbant" in oil painting, it's "absorbant" that's troublesome. Even pre-primed canvases are semi-absorbant to a certain extent. This painting will be done in layers - so I'm not concerned at all with the "semi-absorbant" nature. They are already oil primed boards - so we'll see how everything works out. I did not apply anything else to the board (as in primer). I have seen some nice work done on clayboards !!!

I have applied washes to both the panelli board, and a linen.

The Panelli board didn't absorb anything that I put on it and it maintained some nice streaks, which supposedly Rubens took much care in making sure his had streaks in the preparation stages of his paintings (theory). It was a little tougher to maintain streaks in the linen. So, I'm waiting for those to dry. I believe I'll try the lady on the board, and the boy on the linen. These boards would be nice for some dry brushing I think! I liked the feel of the brush on the surface!!

Tina

bravynn
01-02-2006, 05:51 PM
Tina, as of now, I have three paintings going, too. I washed a 20x22 canvas for the infant boy with the bird. I didn't want any streaks on my canvas wash. The child looks like Rubens son, Nicholas.

I thought I would still use some gesso for certain areas of the painting after I sketch the child, such as the hair, and a few other places. I thought it might look good to have some real texture on the canvas, aside from just doing paint brush techniques to make it resemble texture. What do you think about that idea.. anyone? [I've never tried the gesso before] anywayyyyy... I'm IN --- Barb and all!

Barbara :)

guillot
01-02-2006, 06:45 PM
Hi Barbara in TN, LOL (my home state BTW)

I did see an artist use that technique before. Using gesso with the paint as he went. His name evades me, but it was on TV and definetly not good ol' BR. I'm sure it will work and texture is always fun. I love playing around with different textures. Adding stuff to my gesso, etc. etc. (pebbles ((really small, kinda like kitty litter)) and ground up eggshells). I just do that before I apply paint, (mixing it with my gesso) unless I tint it as I'm going too. But I have seen that technique used before, and it supposedly works just fine. It should be OK girlie.

Just to clarify, and to advise, and a good observation on the panel vs linen thing vs everything else but a Panelli panel:

1. The linen is dry the panel is not. This tells me the semi-absorbant nature of the linen is actually greater than the panel.
2. I have some shots to show you below. will explain in those below:

http://www.wetcanvas.com/Community/images/02-Jan-2006/5957-Board1.jpg

The panel maintained some nice streaks, and easily achieved at that.

http://www.wetcanvas.com/Community/images/02-Jan-2006/5957-Board2.jpg

Shot across the panel - you can see no sunken areas at all. (usually sunken areas mean that the support is toooo absorbent, which will eventually result in deteriation of the support itself).

http://www.wetcanvas.com/Community/images/02-Jan-2006/5957-Linen1.jpg

Shot of the linen across the canvas. Appears OK too.

http://www.wetcanvas.com/Community/images/02-Jan-2006/5957-Linen2.jpg

I had to work harder to maintain the streaks in the linen.

NOTE: I washed the panel first. It's still very wet. The linen is almost dry. This of course could be due to the fact that the linen has air behind the material, while the panel does not. However, if the surface of the panel was "too absorbent" - it would be dry.

Just some observations to share and all thoughts are always welcomed.

Tina

artistmama
01-02-2006, 08:13 PM
well....I don't think I can resist this one! Barb...what wonderful wealth of information..you got me hooked..:)
I like the painting of the little boy but what I would like to do is paint one of my boys in the same kind of setting using Rubens manner of painting. Would that be alright Barb or does the MOM require stricker guidelines?

guillot
01-02-2006, 08:51 PM
Ahhh sugar!! I forgot to rotate the pic of the Panel, the streaks are going up and down the panel. From the side shot though, look how beautiful that is!!!

Hi artistmama - glad that you are joining in :) You can use the theories of Rubens to do what you want to with. The new changes alllow that - that's why they have references for you to work with, if that's what you wish. Just follow his methods, as close as you possibly can - to achieve your results. Equals the whole purpose of the changes and provides an avenue for those that just wish to follow the methodology behind his works.

I think it's fantastic when you can get to the point to work your own subjects into those of the masters working methods. I think that's one of the greater changes to these activities.

Tina

guillot
01-02-2006, 08:56 PM
Masonite Mike - LOL - how are you proceeding??? Is your wash dry yet??
Curious to your methods, albeit everything that you do is very "accomplished" work. Share your thoughts along the way. Help me and others to learn more from you. Your work always blow's me away. It's just always so "true".
Tina

bravynn
01-02-2006, 09:09 PM
Tina, thank you for your message where you showed the comparison of the panel and the linen with streaks. I have streaks in my wash! I previously stated that I didn't want streaks on my canvas. When streaks were mentioned, I thought it meant allowing the tinted turp to run wherever it went. lol :rolleyes: Thanks teach! I have learned a lot on WetCanvas over time, and I appreciate all of you that are always willing to help those that are still on training wheels. :D [I'm still using training wheels] :evil:

Thank YOU girlie! :)

Glad you're joining in Artistmama! :wave:

Barbara

guillot
01-02-2006, 10:27 PM
Hi Barbara - LOL - I still consider myself on "training wheels", ROFL. Happy though that it clarified something for you. Nothing like sharing experiences - that's how we all learn together.

Tina

bjs0704
01-02-2006, 10:31 PM
Tina - Whew!!!! I’m glad that you found the size! Thanks for posting it!

Those panels look really nice!

Oh great, your doing both!

Nice job toning the surface! Thanks for the demo! I just did a really quick job of toning the canvas and rubbing it in with a rag. Yours has nicer streaks!:cool::cool::cool:



Mike - How great to hear that you are going to be the portrait of Suzanne!
:cool: :cool: :cool:

I’ve always liked working on masonite! I use canvas more now, but for a couple of years, I worked mostly on masonite. I love the rigid surface of a panel!

jdadson - Thanks for reviews! I’ve used gessoboard once too and it is a strange surface!



Rose - That’s so easy to do around hear! It’s easy to overdo the projects! Thanks for cheering us on!

Barbara in TN - Oh, it’s good to see that you are trying 3 of them!
:cool::cool::cool:



I’m doing the little boy. If, I have time later on, I’ll try Suzanne!




artistmama - Hi! :wave: It’s good to see you! It’s so nice that you are joining in with us! That would be really great if you did one of your sons in the same manner as the Rubens painting.:cool::cool::cool:

Barb Solomon:cat:

guillot
01-02-2006, 10:37 PM
OH - no problem Barbara... at all. .. :)

All I used was Raw Sienna and English distilled turps for the wash. It think about a size 12 langnickel (bristle). Was very easy to achieve those streaks, especially in the panel. Was very pleased with the ease of the surface of the panel!!!!!!!

Tina

bjs0704
01-02-2006, 10:50 PM
Ok, my surface is absorbing a bit! It’s softly streaky. I also used turp and raw sienna!

I love raw sienna as a toned ground!:angel:

Barb Solomon:cat:

guillot
01-02-2006, 10:54 PM
What support are you using Barbara? Are you using canvas or panel or did I miss that too, LOL??
:) :angel:

I can be MUCH of an airhead sometimes.


Tina

bjs0704
01-02-2006, 11:06 PM
Tina - Oh, my support is probably the cause of my lack of streaks!:D :o

I'm using a 16" x 20" canvasboard! I've done several of the MOM's on them and it is nice that they are sized the same.

Barb Solomon:cat:

Goewyn
01-03-2006, 12:03 AM
Okay, I'm in for Suzanne!

Did the base wash a couple days ago, started on the burnt umber sketch today.
I changed the proportions so that I could enlarge it at a 1:2 ratio (I printed out a photo of it from Art Renewal and cropped it so that it would be 8x10, then applied a grid and transferred it to a 16x20 canvas.)

Looking forward to seeing everybody's work! :)

-- Goewyn

IMNRTST
01-03-2006, 08:52 AM
Hi Tina....thx for your very kind words! I think i'm going to try a somewhat flemish approach to this one.
I'll try to build up my darks in layers while keeping them transparent and avoiding black. I wasn't sure If I could or should use white in the initial layers. I tried bringing down my values with some flake white (less opaque than titanium) but it didn't feel right. So i'm working my first layer using solely raw umber and liquin to speed up drying.

I read somewhere that "Rubens "superior" method consisted of preserving his transparency mostly in his darks, and contrasting their lucid depth with SOLID lights"
Then read that the italians (Tintoretto, Titian) sometimes began in black and white and then glazed with warms.
That's it!! the flemish approach confuses me lol! :confused:
How are you guys tackling this one?

Here are a few quotes by Rubens that I found while reading which I liked and helped.

Rubens stated: "Be careful not to let white insinuate itself into (your shadows), it is the poison of a picture except in the lights, if white be once allowed to dull the perfect transparency and golden warmth of your shadows, your coloring will no longer be glowing, but heavy and gray"

"The Flemish...were careful to preserve transparency as much as possible in the darks, for, whatever be the nature of the color, internal light still exhibits its maximum of warmth"

Hi Goewyn...nice start! I can already see a likeness :)

Mike

artistmama
01-03-2006, 10:38 AM
alright..need some help..I took a few pics of my 11 month old but can't decide between these two...any thoughts, comments?

http://www.wetcanvas.com/Community/images/03-Jan-2006/67522-PICT0024.JPG

http://www.wetcanvas.com/Community/images/03-Jan-2006/67522-PICT0027.JPG

bjs0704
01-03-2006, 02:07 PM
Goewyn - You’ve got a gorgeous start! Suzanne looks so sweet! Keep up the good work!:clap: :clap: :clap:

Mike - Rubens said that you were suppose to have transparent darks and opaque lights!

I would be careful to not apply anything too opaquely at first.

I’ve had this question myself a couple of times about the flemish method.

Some people lay in the darks and lights using burnt umber alone. Light areas are transparent or wiped out. And dark areas are heavier. This is similar to how watercolor is used.

I’m not sure on this, but they seem to be trying to avoid having even small amounts of white in the dark areas. This could cause a “poster paint” effect.

Thanks for mentioning the idea! Rubens considered it quite important.

Artistmama - The second photo is better in the sense that it is more similar to the Rubens. The faces are seen from the same angle. This would make it easier to combine the two pictures so that you have your child in the original painting.:cool: :cool: :cool:

Your little one is so cute! (Actually, both photos are lovely!)

Barb Solomon:cat:

jdadson
01-03-2006, 02:44 PM
The Infant with a Bird appears to me to be badly damaged. It looks like the color in the face has either faded or has gotten scrubbed off. Also, the composition makes me think the painting has been cut down. Unfortunately, that happened to a lot of old paintings. Did Rubens actually cut off a sliver of the child's pinky finger and put its elbow right on the bottom edge of the painting?

Here's a pic that looks a little better: http://www.artrenewal.org/asp/database/image.asp?id=12629

bjs0704
01-03-2006, 03:02 PM
jdadson - Thanks for the link to the ARC. That is a nice reference pic.

I don't know the answer to your question, but I did read that the "Infant and bird" was a "sketch". It was later used as a reference for a cherub in a larger work. The child is Ruben's oldest son.

You may be right. Since it is a sketch, it would have recieved more casual treatment than a normal painting. Still, I thought that since it is a simpler design than most of Rubens work, it was a better choice for most of us.

Barb Solomon:cat:

Goewyn
01-03-2006, 06:26 PM
Started working on the flesh tones. This is by no means done, I just have to wait for the white to dry a bit before I do any more. The areas under the pink were not colored white, I scumbled indian red directly over the sienna layer.
I know her face doesn't look exactly like Suzanne's, but that was semi-deliberate. Yes, her eyes are yellow. :) I do that so that later on when I glaze the brown over, they will have some depth to them.

-- Goewyn

guillot
01-03-2006, 11:49 PM
Mike - sounds like a good approach to me. My panel is dry, and of course, so is the linen. Had to get back to work today (YUK). I had a whopping 173 e-mails to answer and like 30 something voicemails. Man - vacation was nice, LOL - too bad we can't just all have year-long vacations. I'm going to start on mine tomorrow evening when I get home. I was zonked by the time I got home today.

Goewyn - great start you've got there :clap:

Artistmama, those are both adorable references!!! What a cutie. I don't know which one I like better because they are both so cute.

jdadson - great that you brought that up. I was thinking about all of that too when I was looking at it. Especially about the missing pinky, etc. Yes, the original appears to have suffered some damage over the years - could be due to a lot of reasons.

Thanks,
Tina

vee_209
01-04-2006, 02:04 PM
Dear all,

Here is the link to my version of Ruben's painting I did last year. Any comments welcome. I saw the actual painting at the National Gallery two weeks ago and that was really nice. Next time I intend to bring my picture along and compare it with the original.

http://www.wetcanvas.com/forums/showthread.php?t=273364

Many thanks for the info, Barb. As wonderful as always!

Vee

bjs0704
01-04-2006, 03:33 PM
Goewyn - Your doing a gorgeous job! I particularly like the eyes!
:clap: :clap: :clap:

I’m still working on my drawing!

Oh poor Tina! I hope that you get a chance to rest up and paint soon!
:angel:

Barb Solomon:cat:

Rosic
01-04-2006, 04:14 PM
alright..need some help..I took a few pics of my 11 month old but can't decide between these two...any thoughts, comments?

http://www.wetcanvas.com/Community/images/03-Jan-2006/67522-PICT0024.JPG

http://www.wetcanvas.com/Community/images/03-Jan-2006/67522-PICT0027.JPG

WOW... either one would be splendid!:clap:

Vee... thanks for including your link... sorry I missed that one before.

Goewyn... looks great... love those eyes!:clap:

guillot
01-04-2006, 06:16 PM
Thanks Barb, LOL !! It's so hard to get back into the swing of things at work, BLAH! I'm going to see if I can get the quick sketches down pat tonight.

Vee - that's great!! Thanks for showing us your painting.

Tina

artistmama
01-04-2006, 08:13 PM
getting my canvas ready tonight so I can start working on it tomorrow...size wise I am going with 11 by 14.
Barb you are right..the second picture is closer to the Rubens infant painting so I think I will go ahead and go with that one...not sure about the hands though..might need to come up with something different there.....

Lynn Larson
01-05-2006, 06:15 PM
What wonderful information! I'm really going to make an attempt on the MOM project this year. I got hung up on the Needlewoman last year and she never did get finished :lol:

artistmama
01-05-2006, 08:06 PM
I have started sketching my outline...didn't have any burnt umber at hand so I used a mixture of raw umber and burnt sienna. Hope to start filling in a bit tomorrow...
Sorry about the bad quality of the photo :o

http://www.wetcanvas.com/Community/images/05-Jan-2006/67522-PICT0008.JPG

guillot
01-05-2006, 10:25 PM
Great start Artistmama !!!

Come on Lynn and join in - you can do it !!! :)
Tina

guillot
01-06-2006, 06:41 PM
You know - I've read through "Sheppards" processes a few times over, and he painted it all "alla prima" - Are you guys shooting for alla prima? Did Rubens paint Alla Prima? Amazing.

Let me know - cause I'm thinking that if I shoot for Alla Prima, I need to set a good block of time aside to complete it all. (that's shooting for the stars, right? LOL especially with me)

:eek:

Tina

artistmama
01-06-2006, 07:51 PM
I don't think Rubens painted Alla Prima..can't imagine it anyway. There is no way that I would be able to paint something like this in one setting.
Which one are you painting again Tina? Have you started?

guillot
01-06-2006, 08:54 PM
Well, In Sheppards book "painting from the masters", he actually does the whole paintings alla prima. I think (if I'm remembering correctly) he did the first painting in 6 hours, painting alla prima, and in the second 7 or 8 hours or something. But I would definitely imagine - it took much more preparation time and studies, before getting to the "actual" painting, than that. I know that Rubens did studies first. Drawing very carefully everything, because he didn't want to be held up in the painting process at all. He didn't want to be hindered with any question pertaining to hsi composition and color choices, placement, etc. He made sure he had every question, compositionally and underlying color theology, taken care of before putting the brush to the canvas and/or board. I would rather not go through all of that myself. But, if the idea is to study this guy in that fashion, unfortunately, we've already had the composition and color theory studies happen before the actual painting, etc. etc. in regards to the actual suggested paintings. (unless of course, everyone wants to go the full extent and reproduce that as well - I know I do not - I'm more interested in his painting technique). So that kind of spares us that, unless we are doing something different, but with the full intent and spectrum of Ruben's methodologies, well that would suggest that we follow his complete path. I, in this activity, would rather concentrate on his painting techniques - so that's what I'm going to do. ;)

So, did he paint Alla Prima?? Or did he do his painting in sittings over time before completion?

It's an interesting question I think that pertains to the overall experience, and in studying his methods.

Tina

artistmama
01-07-2006, 07:55 AM
I have never read Sheppards book..wonder if our local library has a copy?..might need to have a look over the weekend.
I guess if one wants to study Rubens one should try and follow his methods as close as possible but like you Tina I am just interested in his painting techniques. The time I have to paint is so limited that sadly I tend to take as many short cuts as I can. My three year old and one year old are very demanding. Hopefully once they are older I will be able to get back to painting full time..

Goewyn
01-07-2006, 03:56 PM
It's looking good, artistmama! Can't wait to see it progress. :)

Did a bit more on the skin tone glazing, and refined the folds in the dress with burnt umber.

-- Goewyn

Lynn Larson
01-07-2006, 04:53 PM
It's looking good, artistmama! Can't wait to see it progress. :)

Did a bit more on the skin tone glazing, and refined the folds in the dress with burnt umber.

-- Goewyn
The eyes are just incredible!

Pars
01-07-2006, 09:55 PM
Barb, what a fabulous write up on Rubens.

Tina, you might enjoy this essay http://bampfa.berkeley.edu/exhibits/rubens/essays/essay03.html - which I only skimmed. I was so amazed to think he'd done all these paintings directly and in one sitting I went on a little research trip :)

And, as a non-oil painter who admires it greatly and follows the MOMs faithfully, is this Sheppard book you've mentioned worth a read or a buy? It is not highly reviewed at Amazon! But I would like to own one or two books that might inspire me to return to the easel! :evil:

guillot
01-08-2006, 10:10 AM
Hi Artistmama, Yep, for sure. Don't have ALL that time either :)

Goweyn - she's coming along beautifully

Hi Pars! I think it's a worthy book to have. It also has a lot of medium recipes in the book - which I find very imformative. That's for the link to the essay, very informative. I'm going to attempt to complete the lady today :o in one whole session (small breaks of course)

Well, I think I've made a mess of things. This is the panel with the lady, I made a bit of a mess with the sketch part - but I think I'll move on and hope for the best. I need to take some medium and remove a lot of the dark stuff around her eyes for sure.

Tina

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-oil_sketch1a.jpg

Goewyn
01-08-2006, 10:42 AM
Nice initial sketch, Tina. It looks like her!

Thanks Lynn! I was going to glaze the eyes a darker brown like Suzanne's, but I may just do a light green or something to keep the light in them. I've taken enough liberties with her facial features already... :rolleyes:

-- Linda

guillot
01-08-2006, 11:20 AM
Thanks Linda!! I like the softness that you have going on in your so far.

Well, I've worked in the background. Not too happy with that - I guess it's a learning curve kind of thing with me, being it's a panel :p Or, Maybe it's just one of those days that isn't going to work out for me (we all have those)

So, anyway, I've scumbled in the background with mixtures (mixing as I go on the panel) of Ultramarine blue, ivory black, lead white,and a little yellow ochre here and there. May have to go back and rework some of that. Looks dreary to me, LOL Quality of the pic isn't that great either (inside shot), I really do need to move back out into my studio.

So, now on to working in the hair, facial highlights, etc.

Tina

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-background2a.jpg

guillot
01-08-2006, 01:42 PM
Well, I think I went from bad to worse to ewww. :)

Still trying to work through it though.

I've applied a deadlayer to the skin tones (grays) (and thought...... really YUK)

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-deadlayers1A.jpg

And then - I've applied a middlle skin tone over that, trying to work that in, using a mixture of yellow ochre, white and vermillion)

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-deadlayers2A.jpg

And you know, those days when your mind tells you - just put down the brush for today - "ain't workin" - well, I guess I'm having one of those days. Embarrassing to show, LOL, - but these things do happen. I'm not going to give up though - I'm going to continue to try to work on this until I get it finished today - no matter the frustration.

Thanks,
Tina

guillot
01-08-2006, 03:22 PM
OK - well, I've came to the conclusion that Sheppard's method isn't working for me at all!! Especially in the skin tones. I don't know if it's the medium - or what, or putting on that dead layer - so, Everything got way too tacky on the skin tones - so I was pulling up bottom layers, and I know I had gotten to the point of using more medium than I'm comfortable with. So- I'm going to wipe all of that back down, let that dry, and start over on the face. She was looking like an abused wife or something. :D
I'm going to go ahead and start working in the clothing, and then I'll come back to the face at the end and hope for the best. I don't know if I can resurrect her, LOL - but I think if I follow my instincts - maybe she won't come out too horribly bad.

I would show a pic - But - for the sake of totally embarrassing myself - I hold out on that one :evil:

Tina

Goewyn
01-08-2006, 03:35 PM
Aww Tina, I'm sorry. :(

If it helps, here's what I did for the face.

I left the sienna turp coat as it was for the darker area of the face, and applied white as a base in the highlighted areas of the skin. I had a problem with even the light burnt umber sketch I did showing through the white (especially where the jawline meets the neck), so I'd recommend to go easy on that, at least in the lighter areas. once I was satisfied with the light coat, I started lightly glazing on skin tones, which I still have a ways to go to build it up to the level I want.

I hope this helps, I'm just taking it really slowly on the delicate areas of the face. When all else fails, though, trust your instincts...I've screwed up more than one picture by following someone else's directions. :p

-- Linda

guillot
01-08-2006, 04:55 PM
Thanks Linda,
I started on in the clothing, and forgot about scraping off the face, LOL !!!

It's definitely one of those "can't paint worth a crap" days for me !! So, it was a bit too tacking once I realized I should've scraped that off - so I'll just let it dry and then fix everything. She's all cockeyed and everything :o

So, I started working on the clothing:

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-forgettheskintones1.jpg

Here's a small closeup - still lots of refining to do in the folds and stuff - was just trying to mainly get most of the color blocked in. On the green - a mixture of ivory black and yellow ochre:

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-closeup_clothing1.jpg

And, here's where I'm at so far - the whole shamoodle, cockeyes and everything :D (I guess I've embarrassed myself worse before I think"

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-workingontheclothing1.jpg


I need divine intervention from Rubens, LOL

Oh , and the red - vermillion and ivory black so far...

So far my palette has consisted of:
Lead white
Ivory black
Burnt Sienna
Burnt Umber
Ultramarine blue
Yellow ochre
Vermillion

Thanks,
Tina

guillot
01-08-2006, 07:04 PM
Hey - maybe I'll give her a pirates patch on the cockeye, LOL

Joking aside, I've worked very hard on the folds of the fabric - no where near the original of course, but I think it's coming along. I think all I have left is highlights in the materials and of course, reworking those skin tones. I used an alternative "old masters recipe" (maroger) Gamblin's Neomeglip - so when I went back down to work on scraping that off - I immediately went to the clothing instead, and realized that the skin tones were almost dry - way too tacky to remove without causing further problems. So, I'm going to continue to let that dry, and then I'm going to go back over everything to refine a lot of areas (need refining badly). But this is what I have so far anyway - all done today - and I guess so far, I've spent 6-7 hours on it. (with a few breaks of course)

Dont' you think those few whispy strands of hair suggest promiscuity during those times, when everything was supposed to be "perfect"?

Tina

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-nothingbutskintonesleft3A.jpg

IMNRTST
01-08-2006, 07:45 PM
Tina...I like how yours is progressing....nice job

Mine is still in the underpainting stage....I'll be posting a picture soon

Mike

Goewyn
01-08-2006, 07:50 PM
Tina, for having a bad painting day, you sure have been painting very well. :)

-- Linda

guillot
01-08-2006, 09:44 PM
Thanks Mike and Linda - Just not how I thought it would progress. Haven't finished it in one sitting - don't think I'll make the mark on that, LOL. With the clothing and stuff - after the skin tones and stuff Linda - I relied on my instincts from that point on and said "screw sheppard's theories", LOL

I guess in the pic it doesn't show the abnormalities in the skin tones - what I was talking about removing - it looks "spatterly" or "spotty" and not uniform. I guess that doesn't show up much here - I guess I'm just too much of a perfectionist in trying to get everything right. (sometimes that can be a bad thing - and I can be my own worst critic)

But thank you both for your comments. I've completed my session for today - have to go to work tomorrow - so I'm dissapointed that I couldn't make it all in one sitting. I really tried to at least meet that goal.

Tina

vlandry
01-09-2006, 11:15 AM
Hi All,

Count me in with this month's MOM. If things go right I'll show you what I did; if they don't---well.... :evil:

I'm following your works carefully and I'll ask questions along the way.

Vic

IMNRTST
01-09-2006, 03:15 PM
Here's my underpainting study using nothing but raw umber and liquin....I also "rubbed" out passed my initial imprimatura to get some highlights here and there.

11" X 16 1/2" on masonite panel.

Mike

http://www.wetcanvas.com/Community/images/09-Jan-2006/39999-rubens_1.jpg

Goewyn
01-09-2006, 07:38 PM
Wow Mike, that looks just like the original! :)

-- Linda

artistmama
01-09-2006, 07:38 PM
Help!!! I feel your pain Tina..I can't get the skin tones right either! If I try and model my painting after Ruben's infant it looks like I have painted a baby vampire....so I tried to make the skin tones look more natural but it still does not look right. I am trying to paint with a limited pallet and it not working!!
Anyone have any ideas? So far I have used...

Flake white
yellow ochre
burnt sienna
burnt umber
ivory back
alizanin red (didn't have any vermillion)
prussian blue

http://www.wetcanvas.com/Community/images/09-Jan-2006/67522-PICT0010.JPG

artistmama
01-09-2006, 07:44 PM
Tina.. I do think your painting is coming along great....I like the background and I think the hat turned out great!
Mike.. what a wonderful underpainting!! can't wait to see what it will look like in color!!

guillot
01-09-2006, 11:26 PM
Here's my underpainting study using nothing but raw umber and liquin....I also "rubbed" out passed my initial imprimatura to get some highlights here and there.

11" X 16 1/2" on masonite panel.

Mike

http://www.wetcanvas.com/Community/images/09-Jan-2006/39999-rubens_1.jpg


WOW!!! That's incredible Mike!!! Great work !! That's very very close to the original!!! Your work is always so impressive :) :clap:

Hi Vic - Glad you are joining in!! A good bunch of helpful people around here!!

Hi Artistmama - I think the skin tones are looking pretty pretty good there!!! I'm just going to let mine dry and paint another thicker, fatter layer over it and hope for the best, LOL Your painting is going to be just beautiful, and it has a special meaning to you too!! When you start laying in some of the background colors - you'll see a difference then. The atmosphere around the baby will influence the skin tones as well.

Off to bed for me - early work day tomorrow.

Tina

Goewyn
01-10-2006, 12:45 AM
Darkened up the underpainting a bit (it doesn't look quite so dark in person) and added another layer to the skin tone. Should be ready to glaze the clothing soon. :)

-- Linda

IMNRTST
01-10-2006, 12:35 PM
Linda, artistmama, Tina.....ty all for your comments! ....and all your portraits are coming along GREAT!

I can't wait to start glazing in some colors and bring Suzanne to life.
I'm not sure yet if I'll be building my lights with multiple thin layers or make them opaque and thick. I may even try both and see which one I like better =)

Mike

artistmama
01-10-2006, 02:19 PM
alright...I started working on the background..can now see where I went wrong with the skin tones...going to let everything dry and try again..

http://www.wetcanvas.com/Community/images/10-Jan-2006/67522-PICT0003.JPG

rosebard
01-10-2006, 03:07 PM
alright...I started working on the background..can now see where I went wrong with the skin tones...going to let everything dry and try again..

http://www.wetcanvas.com/Community/images/10-Jan-2006/67522-PICT0003.JPG

Judi this is looking really nice. :clap: What a lovely and sweet baby. :)

rosebard
01-10-2006, 04:15 PM
Darkened up the underpainting a bit (it doesn't look quite so dark in person) and added another layer to the skin tone. Should be ready to glaze the clothing soon. :)

-- Linda

Linda, you doing a great job. What lovely eyes. :)

rosebard
01-10-2006, 04:18 PM
Here's my underpainting study using nothing but raw umber and liquin....I also "rubbed" out passed my initial imprimatura to get some highlights here and there.

11" X 16 1/2" on masonite panel.

Mike

http://www.wetcanvas.com/Community/images/09-Jan-2006/39999-rubens_1.jpg

Mike, awesome underpainting. :) Cant wait to see the colors added.

rosebard
01-10-2006, 04:24 PM
Hey - maybe I'll give her a pirates patch on the cockeye, LOL

Joking aside, I've worked very hard on the folds of the fabric - no where near the original of course, but I think it's coming along. I think all I have left is highlights in the materials and of course, reworking those skin tones. I used an alternative "old masters recipe" (maroger) Gamblin's Neomeglip - so when I went back down to work on scraping that off - I immediately went to the clothing instead, and realized that the skin tones were almost dry - way too tacky to remove without causing further problems. So, I'm going to continue to let that dry, and then I'm going to go back over everything to refine a lot of areas (need refining badly). But this is what I have so far anyway - all done today - and I guess so far, I've spent 6-7 hours on it. (with a few breaks of course)

Dont' you think those few whispy strands of hair suggest promiscuity during those times, when everything was supposed to be "perfect"?

Tina

http://www.wetcanvas.com/Community/images/08-Jan-2006/5957-nothingbutskintonesleft3A.jpg

Tina, I read few posts back and I think what may helped for the sucessfull aproach of Joseph Sheppard is also the medium he uses for Rubens demonstration. I have read and reread this book many times, the only thing I can say Sheppard is a great painter. I have tried that demo before, and I can only say it didnt work for me either though it is a good book. :( Keep going, you doing great!! :)

rosebard
01-10-2006, 04:37 PM
Hi all the others that are still working on.

Pars, thanks for the cool link. :)

Vic, Lynn, will love to see yours. :)

Barb how is yours going? :)

Vee, thanks for the link. You did a great job! :)

guillot
01-10-2006, 07:05 PM
Tina, I read few posts back and I think what may helped for the sucessfull aproach of Joseph Sheppard is also the medium he uses for Rubens demonstration. I have read and reread this book many times, the only thing I can say Sheppard is a great painter. I have tried that demo before, and I can only say it didnt work for me either though it is a good book. :( Keep going, you doing great!! :)

Hi Rose - yep I think you are right. Although his is a maroger recipe, I tried using Gamblins Neomeglip as an alternative. I believe (I'm sure) it dries quicker than the recipe in Sheppards book. So, that's probably why I ended up getting a bit too tacky to continue on the skin tones. ;)

Thanks all for the comments.

Artistmama, looking great there. What color did you apply in the background?

Linda - Lovely, lovely!!

Mike - I just can't get over all of those glorious folds you have going on, LOL Such a wonderful job on all of it.

I'll probably find the time to get back to mine tomorrow evening or something. If they don't overwork me at work like they have all week - I might just be able to continue on.

Tina

artistmama
01-10-2006, 07:55 PM
tina..for the background I used ivory back and burnt umber..it feels strange working with black....I was taught that black should never be used..don't remember why now.....:)

Rosic
01-10-2006, 09:16 PM
Judi... I love your choice!

Tina... WOW... thanks for showing this step-by-step... a great demo! Looking Great BTW!

Mike... your underpainting looks superb!

Goewyn... Bravo!

vlandry
01-12-2006, 11:54 AM
Hi All,

Okay, here it is so far. The image was taken with a flash but this is still a work in progress.

Regards,
Vic

http://www.wetcanvas.com/Community/images/12-Jan-2006/62407-suzanne_under.jpg
16 x 20
Canvas (because I ran out of Masonite)

Rosic
01-12-2006, 12:22 PM
Bravo Vic!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Aren't you excited with it!
B

IMNRTST
01-12-2006, 06:51 PM
great start Vic! ...and welcome onboard =)

thx Rose, Tina, Bern for your comments.

I'm encountering some trouble on mine with my first layer of color. I don't think I should of added liquin to speed up drying in my underpainting cause my surface is now like a skating rink :cool: It's all slippery and glossy and does NOT want more paint on it! grrr
Anyone know a way around this? maybe I can lightly sand my surface? lol :p
Would wiping my panel with a rag full of turp get the gloss out?

It's like trying to paint over a varnish...yikes

evil liquin :evil:

Mike

Goewyn
01-13-2006, 12:07 AM
Eww Mike, I hope you find a solution, you have such a good underpainting!

Were you using masonite or canvas or...?

Maybe glaze and build up the color in several different layers, just allow the canvas to take what it can handle at a time until you reach the desired density and richness?

-- Linda

IMNRTST
01-13-2006, 11:37 AM
Thx Linda, my underpainting is on a masonite panel which was sanded in between coats of gesso when I prepared it. So the surface was pretty smooth to begin with.

Wiping my panel with paint thinner does seem to dull it out a bit....but it also takes some paint with it =O

I think several different layers like you said will be my only hope :)

Mike

IMNRTST
01-13-2006, 11:56 AM
oh....and happy Friday the 13th everyone! :D :evil: :D

Mike

Goewyn
01-13-2006, 10:51 PM
Thanks, all, for your wonderful comments! :)

Here's the first layer of glaze on her dress.

-- Linda

IMNRTST
01-14-2006, 05:59 PM
looks nice Linda! I like your choice of red. How many layers are you planning all around?

I've managed to add a single layer to my background so far......waiting for it to dry....I'm thinking at least 2 more and it should be ok. I'm assuming the Flemish painters were very patient folks. :cool:

btw...I love your wildlife art on your website!

Mike

rosebard
01-14-2006, 07:04 PM
Mike hope things work out for you. Indeed a great underpainting.:)

Vic, very nice start!! :)

Linda, the red looks so rich. You doiing so great! :)

Hope everyone else is doing good too!! :)

Goewyn
01-14-2006, 07:17 PM
Mike and Rose, thanks! I'm looking forward to seeing some of your progress. :) Mike, post what you have so far soon, I'm curious to see how your layers are coming along.

The red is not quite so rich on the canvas, it's mainly the result of the camera. It's cadmium red hue mixed with some indian red. I'm planning to do another layer on the red, I may also darken the folds with some french ultramarine before I do another red layer also (right now the folds are just burnt umber underneath the red and aren't quite so dark as they appear in the picture).

I plan to add highlights on the dress and define it a bit more, and work on the chemise a bit with the details. I also plan to refine the face and skin and add a bit more details that can be seen on the original. I'll also add another layer to the background. And, of course, there's always the hat.

Not sure how many layers that will be, but it'll be finished when it's finished. :wink2:

-- Linda

guillot
01-15-2006, 02:19 AM
Hi All,

Vic

http://www.wetcanvas.com/Community/images/12-Jan-2006/62407-suzanne_under.jpg
16 x 20
Canvas (because I ran out of Masonite)

Great start Vic!!! :clap:

Mike - awww - hope that works out for you. You might've- could've lightly sanded - don't know - I would've been afraid to do that though. :o But, I do believe that's the same problem I was experiencing (except I didn't use liquin - and I ended up with "blotchy" areas but only in the skin tones), so I think subsequent layers will fix the problem that I've had. I just haven't had time to get back to. Hope it works out for ya.

11 years ago, my baby girl was due on Friday the 13th! I was bound and determined to not have a child born on a Friday the 13th (I'm so superstitious LOL - as miserable as I was! ) So, alas, she was born on the 14th . So, I had a huge B'day party for her today and I'm kinda exhausted from that.

But I'm hoping to continue on my painting some more tomorrow. So far - the panel is nice and smooth, yet in the skin tones, a bit of blotchiness and thinking subsequent layers will do the trick (along with a pirates patch for that kiltered eye. Arrrrrrrr!!! :) )

Linda, nice!! :)

OH, and Thanks Bern :angel:

Tina

IMNRTST
01-15-2006, 09:48 AM
I was born on a Friday the 13th back in '76.....and I always felt lucky :D
....................and cursed! ;)

Best of both worlds :D

Mike

IMNRTST
01-15-2006, 01:14 PM
After 2 thin layers on my background...here's what I got. I figure another 3-4 layers and it should be good to go! :p

I'm having a tough time identifying the colors in the cloudy area. In the next layers i'm going to subdue my blue in the sky and try to tame down some of that purple in the clouds. (didn't look that purple while I was painting it lol)

Mike

http://www.wetcanvas.com/Community/images/15-Jan-2006/39999-background_2_layers.jpg

WV.Artistry
01-15-2006, 02:58 PM
sweet

guillot
01-16-2006, 09:53 AM
Very nice Mike !!

I spent the most of yesterday rearranging, cleaning and straightening up my studio. I'm off today - so I'm hoping to get out there and get some work done. I'm kind of weird that way - I can't concentrate on what I'm doing if my surroundings are a mess. I tend to concentrate more on the mess than what I'm trying to accomplish. So, it's good to have that all back in order.

Tina

guillot
01-16-2006, 06:34 PM
Well, I worked on the lady some more. I just can't get that Left (our right) eye right. But the skin tones are coming along. I think, and in the words of Mike - a few more coats of paint just might do. But here's what I have so far:

http://www.wetcanvas.com/Community/images/16-Jan-2006/5957-continuationRubens1withpatch.jpg

Ha ha - OK, joking aside (I think she looks kinda cute with that patch):



http://www.wetcanvas.com/Community/images/16-Jan-2006/5957-continuationRubens1a.jpg

I was so proud of my studio this morning, it was all in order and everything straight. It hasn't been this straight in a long time - here's a small snapshot of my studio - needless to say - it's not this clean now, LOL:

http://www.wetcanvas.com/Community/images/16-Jan-2006/5957-studio1.jpg

C-you guys and gals. Everyone's work is coming along just fabulous !!!

Tina

IMNRTST
01-16-2006, 07:53 PM
Looking good Tina ...I like the one without the patch though ;)

cool studio!

Mike

rosebard
01-16-2006, 08:01 PM
:clap: Great job guys!

Tina so cool studio. What a lovely wall full of color and gourgeus painting! :) Thanks for sharing really enjoyed seeing the pic! :)

artistmama
01-17-2006, 03:05 PM
Cool studio Tina...like the pirate lady!!
Everyones work is coming along great! but is anyone going to paint the infant? I am seeing lots of lovely ladies but no cupid infant.....
I have given up trying to make my portrait look like the rubens infant..I should have probably just stuck with the original..oh well..live and learn...
here is what I have gotten done so far...

http://www.wetcanvas.com/Community/images/17-Jan-2006/67522-PICT0002.JPG

guillot
01-17-2006, 07:06 PM
:D Thanks Mike - I know - I know. I'm still plugging along - if I could just get that eye right, I think I can wiggle through the rest. Was just having a heck of a time with left (our right) eyes yesterday, not only on this painting, but another as well. I just need to concentrate on the shapes closer and I think then I can nail it down. How is your glazng coming along?

Thanks Rose!! Most, if not all, of those are "unfinished", like the bali girl still needs the bottom edge painted, etc. I keep the finished paintings in the house, with a couple of exceptions in the studio that are, I feel "unimportant". So, see, I have a lot to work on to finish!! Thanks!!

Hi Artistmama, your painting is looking very nice. I like it very much. I'm going to do the boy with a bird when I finish this one. I have the canvas ready to go, so if I can get this ladies eye behind me, and the rest finished, I will be starting on that one next. I believe there are some others who are going to work on that one too.

Thanks and everyone is doing GREAT!! Linda, how is it coming along?? Looking great so far!!!

Tina

IMNRTST
01-17-2006, 07:40 PM
artistsmama...thx for your update! great job on the face and capturing that expression.

Tina...I meant I like the 2nd painting that has no patch...cause we can see all your work =) Her eyes look nice!

When I have trouble seeing features as "shapes" I turn my painting upside down...If that doesn't help I then view it through a mirror...Then I freak out...cause I see how much more work I have to do :p

Linda and Vic...how are your Suzanne's doing?

I'm currently adding my 3rd layer on my background...this one is going pretty slow so far =O Looking forward to working on her face.

Mike

vlandry
01-17-2006, 10:36 PM
Vic...how are your Suzanne's doing?

So far I've worked on the major portions of the clothing and skin but I am finding fabric to be confusing. I had to stop and consider how it drapes and how light and shadow would be shown. Overall, my fabric folds are not Ruben's!! I find that I have to have simplier foldings.

Fortunately for MOM viewers I have nothing to upload so far.:) I'll be working more on Suzanne this weekend.

Everybody's work is so excellent that green is now my dominant color. :envy: ;)

Vic

Goewyn
01-18-2006, 01:41 AM
Hey all, not too much progress this week as I've been really busy - in the process of leaving one job and starting another. I made the hat black and painted a whole ostrich feather. :rolleyes: I also darkened up the background a bit.

Tina, I wish I had that much room for a studio! I have one corner of a bedroom in a small apartment for studio space. I really like your girl's blue eye, it has a beautiful glassy quality to it. Maybe for the eye on the left you could bring the side of the eye to a point rather than squared off, or lighten the definition around it? I hope it works out for you. :)

Mike and artistmama, they look good!

Vic, I know what you mean about fabric...I was kind of just putting folds where Rubens had it, didn't even look for a recognizable shape til after standing back after the painting session. I suck at fabric, landscapes, rocks, hands...pretty much things non-painters would think are easy. I find portraits easier because there are more landmarks on the face to determine where to put the paint.

-- Linda

IMNRTST
01-18-2006, 08:34 PM
Update

I finished my background at layer 3...I'm not totally satisfied with it but time to move on! :)

I completed layer 1 on the skin tones....she looks like a ghost lol.....waaaay too pale....looking forward to giving her a small tan in layers 2 and 3 :D

Mike

http://www.wetcanvas.com/Community/images/18-Jan-2006/39999-suzanne1.jpg

http://www.wetcanvas.com/Community/images/18-Jan-2006/39999-suzanne2.jpg

http://www.wetcanvas.com/Community/images/18-Jan-2006/39999-suzanne3.jpg

guillot
01-20-2006, 11:33 PM
Oh - Vic!!! Green is a lovely color. :) Nothing wrong with that. If I cry or get upset - my eyes turn a beautiful shade of green and sometimes I wish they would just stay that way, LOL ( i hate to get upset and I hate to cry - so hmm - that's a mute point anyway) But no reason to be envious - we've all started at some point or another, and your efforts are wonderful, and the more you paint - the better it gets - so don't feel intimidated by anyone - we've all began somewhere. I used to feel the very same way - and sometimes still do (like MIKE for instance, LOL :envy: :envy: :envy: ) This is the whole thing about these exercises - no animosity - no fear - just everyone trying to learn what we can from these "together." I'm looking forward to your painting and everyone elses.

MIKE :envy: :envy: :envy: , LOL JK. WOW - WOW - she's looking fab! Only nitch I see is the ring around her neck seems a bit harsh. (remember that old commercial ... ring around the collar, LOL??) But looking back on Rubens - that's one thing that is prominent - that ring around the neck. I'm just so amazed by your work - you just always blow my mind. ( we don't have an icon for that)

Linda, up until last may, I was using a very small portion of our "military quarters", which actually should've been the kitchen area - so I know what you mean (and it was a very very small area). I don't mean to "gloat" because I've been there. I'm very proud of the space that I have now. It's actually a US Steel building, 900 sq ft., outside of our home. It has a bathroom in it, with a perfect "utility sink" and I have a window AC for the summer months (here it can get over 100 so sometimes it doesn't work THAT GREAT) but there is no heat at all out there! I want to close it in and insulate it entirely (and I also want a built in swimming pool, LOL - yeah right!! .. could be a pool house/studio and hey - why not a pool boy? LOL). But I have my dreams and I hope that I can make some of those happen. I've already made one of those dreams happen, and that was just buying my own home. So - I'm enthusiastic, I'm a useless romantic, and an almost pathetic dreamer :o YEAH!!

Looking forward to everyone's paintings so much. I have to work this weekend - I'm actually looking at putting in - until the end of the next two weeks, probably 120 to 130 hours out of what would be an 80 hr pay period - PRESSURE - and having my job to do with too high of a workload. But I've leanred that if I go in on the weekends, well I don't have the normal interruptions. So - BLLLTHHHH :p You better believe though - I will find time to correct that EYEBALL !!!

Tina

avigayil
01-21-2006, 12:44 PM
http://www.nationalgallery.org.uk/exhibitions/rubens/default.htm
http://www.metmuseum.org/special/Rubens/rubens_view_6.asp?gallery=8
http://www.abcgallery.com/R/rubens/rubens-2.html
http://www.wga.hu/frames-e.html?/bio/r/rubens/biograph.html
http://www.wetcanvas.com/forums/showthread.php?t=273364

As an Antwerpian, I couldn't believe my eyes. Not a single of the paintings mentioned here, or the links contains any reference to THE Ruben's museum in Antwerp: The 'Rubenshuis' (The House of Rubens).

http://museum.antwerpen.be/rubenshuis/index_eng.html
http://www.trabel.com/antwerp-rubenshuis.htm

A must-visit if you're ever in Belgium.

bjs0704
01-21-2006, 01:37 PM
avigayil - I’m really sorry if I missed your favorite museum. Actually, if you want to post a link or two for us, I would love seeing them.

Rubens was such an incredibly talented man in such a wide variety of areas, I had a problem trimming my presentation down to something fairly short. There is so much that I had to leave out!

He really was an incredible man!

Thanks for the suggestion! Who knows, someday I may get to visit Belgium. Thanks for the links!

Barb Solomon:cat:

bjs0704
01-21-2006, 01:39 PM
Things got so hectic at work for me that I am only now finishing my outline. I'll post it soon. I want to let it dry first.

Barb Solomon:cat:

bjs0704
01-21-2006, 02:22 PM
Goewyn - Your Suzanne looks so fantastic!

Mike - Your approach is excellent!

Wow, Your Suzanne is so lovely. You really have come close to the effect of the original!

Vee - Your version of Suzanne is great! I really loved reading about your process! Thanks for the link!

Judith - When I am working from photos and trying to imitate a master painter, I often try to get photos that are at a similar angle and point of view as the original master.

Your painting is looking great! You really made a great choice of subject! It is such a sweet painting!

Lynn - Thanks for stopping by. It is too easy to never finish one of these paintings. I’m going to half to remind myself to put 15 minutes on a half finished painting from my stack! After 15 minutes, I start to get involved again and I keep going!

Tina - I don’t think that Rubens worked alla prima in the strict scholarly sense of the term. He may have worked in that kinda sorta alla prima that many of us fall into when we are trying to paint quickly. The boy with a bird is described as a sketch. He probably did a quick painting to give a client an idea of what he was doing or just as a note for his own purposes to use in a later painting. He used the “Boy and Bird” later on in a larger painting.

Tina - Your Suzanne is lovely! Good going! Your sky is gorgeous! What an incredible job! I love how you did the fabric!

I love your studio! It’s looking fantastic!

Pars - Thank you, thank you! I loved reading the link on Rubens and oil sketches!

I’ve enjoyed reading Sheppard’s book. It does demonstrate a few different styles of painting. Many will quibble with Sheppard’s use of marogers.

There are not that many books on historical painting techniques that you can’t find a quibble with. Some give good info but it’s aimed at historians. Some is aimed at painters but isn’t all that accurate.

Rose - Thanks for stopping in!

Vic - Nice start! Your basic painting is very lovely!

Bernie - It’s good to see you!


It feels good to be catching up with you! I hope that I can get my first photo for you! Good luck to all of you!

Barb Solomon:cat:

bjs0704
01-21-2006, 07:10 PM
Here's my outline!

http://www.wetcanvas.com/Community/images/21-Jan-2006/11410-rubensone.jpg

Barb Solomon:cat:

IMNRTST
01-21-2006, 08:24 PM
ty Tina...and good observation about her neck...I agree and hope that the upcoming layers will tame it down a bit. Ring around the collar LOL!

ty Barb...cool outline...and the very first infant with a bird painting!

Mike

bjs0704
01-21-2006, 08:32 PM
Thanks, Mike!

Barb Solomon:cat:

vlandry
01-22-2006, 02:49 PM
Hi All,

Once again I have reached the limit of my talent. But, with two steps forward and one back, I think I'm making progress.

Alas, however, my Suzanne looks like no one else's :(

Major portions of the Rubens gave me major problems. The fabric was beyond me. And I found myself making her more attractive (in my opinion) than the prototype. I just couldn't give her that nose and those eyes. :)

Cheers,
Vic


http://www.wetcanvas.com/Community/images/22-Jan-2006/62407-IMG_1149r.jpg

IMNRTST
01-22-2006, 03:24 PM
http://www.wetcanvas.com/Community/images/22-Jan-2006/62407-IMG_1149r.jpg

Lively and colorful....I like it...good job =)

Mike

bjs0704
01-22-2006, 03:38 PM
Vic - I love the colors in your painting! Lovely work!

Barb Solomon:cat:

guillot
01-22-2006, 07:15 PM
Hey Barb,
Great sketch so far!!!

Mike, LOL

VIC - Good going so far - keep it up !!!! Very lovely colors..

Tina

bjs0704
01-22-2006, 08:16 PM
Thanks Tina! Well, It may have taken me a while. Here's my second stage.

Barb Solomon:cat:

IMNRTST
01-23-2006, 09:37 AM
Hi Barb...What kind of approach will you be taking to paint your infant and bird? can't wait to see the steps you take!:)

I worked a little bit more on mine....the face and neck have a 2nd layer, I also completed the first layers on the hat and hands.

Mike

http://www.wetcanvas.com/Community/images/23-Jan-2006/39999-suzanne_4.jpg

bravynn
01-23-2006, 09:50 AM
helloooo everyone :)

Great progress here! I've been busier then a cat in a room full of rocking chairs. Will be getting to my 'infant with a bird' soon.

oh my garshhhh Mike *chin dropping to the floor* *applause*

Bernie, I 'finally' noticed when I was able to get online last time, that you commented on my 'fechin-eya'. Thank you bro! A delayed response, better then none I suppose, but full of feeling.

Wish the sun would shine. Was pouring elephants all day yesterday. :eek:

Barbara

IMNRTST
01-23-2006, 09:57 AM
thx so much Barbara! :)

Goewyn
01-23-2006, 10:08 AM
Wow, Mike, I think you've mastered this Master! :cool:

-- Linda

IMNRTST
01-23-2006, 01:40 PM
ty Linda! :) I wonder if Rubens would agree lol

Mike

bjs0704
01-23-2006, 02:28 PM
I’m working on my transparent shadows now. I’m using burnt umber in a similar manner to how a pen and ink artist might add ink washes to show shadows. I’m adding slightly darker shadows in some areas. I may need one more coat of shadows but I’m not sure yet.

I’m also rereading my books(Doerner, Taubes, and Sheppard) to decide where I want to go next.



Mike, I may follow your path at least as well as I can. Your painting looks so wonderful!
It is really so close to the original! I love the folds in the fabrics!




Barbara - I’m looking forward to seeing your version of the “Boy with a Bird”. I know how life can get busy though! Take care!

Happy Painting Everybody!:wave:



Barb Solomon:cat:

Ktmre
01-24-2006, 06:04 AM
It's one of my favorites. He does a fantastic job of bringing you through the steps and materials used by several masters, showing by way of a demonstration with pictures at each stage. It's clear and fascinating. Definitely check it out.

Goewyn
01-25-2006, 04:21 AM
An update...

Scumbled some burnt umber into the shadows of her skin, and scumbled french ultramarine into the shadows of the dress. It's been a scumbly day. :rolleyes:
Still more layers to add to the face, I'm building it up really slowly. Also several details, highlights and refinements to add.

Everyone's work looks great! :D

-- Linda

IMNRTST
01-25-2006, 10:27 AM
Thx Barb...can't wait to see more of yours! =)

Hiya Linda...she looks nice!....great sense of light! =)

What colors did you use for the non-red part of her dress? (what's that called anyways? a shawl or something) lol I'm having difficulty choosing the right colors. So far I've used ivory black and yellow to make a green and then added some cad red to dirty it up a bit....
Adding titanium white to that pool of color now gives me a chalky dirty hue...bleh...guess I should of stuck with my flake white =O

wada ya think? :)

Mike

Goewyn
01-25-2006, 01:19 PM
Hi Mike! Thanks!

For the green part, I started with a burnt umber underpainting, which it looks like you have. Then, I mixed oxide of chromium and burnt umber to the right shade of green, and glazed it on. Finally, after it was dry, I added french ultramarine to darken the shadows. I haven't used any white at all yet on the outer dress. Hope this helps!

And what I want to know from you is, how did you get your fabric so texturized? It looks almost like a watercolor effect in some areas, but it came out beautifully! :D

-- Linda

IMNRTST
01-25-2006, 03:08 PM
Linda...thx for sharing your colors! I think I'll try to add some ultramarine like you did to darken up some areas.

As for my fabric underpainting...It was created with my painting and reference image upside down to help me see more "abstract" shapes. It was done in a series of washes using waaay too much liquin (I wanted them to dry real fast I guess lol). The consistency was indeed like watercolor paint! I also always compared my underpainting to a very simple value chart I had created. I wanted the values fairly accurate at this stage even though additionnal glazes would darken them up.

http://www.wetcanvas.com/Community/images/25-Jan-2006/39999-value_chart.jpg

ok...i'm lost in my ramble lol......hoep this all makes sense

Mike

IMNRTST
01-25-2006, 06:29 PM
Got to do a bit more today. Started on her dress.....all those folds are driving me MAD! <insert crazy emoticon here> :D

sry bout the night pic :o

Mike

http://www.wetcanvas.com/Community/images/25-Jan-2006/39999-suzanne_5.jpg

bjs0704
01-25-2006, 06:35 PM
Linda - Your Suzanne is looking lovely! I love how the folds of her dress are turning out!


Mike - Your Suzanne is turning out so gorgeous! Absolutely incredible!


Here you go, Mike!

This is the last of my transparent dark layers. I think that I want to start on the skin and the boy’s clothing putting in the values with a bistre the way that Mike did.

IMNRTST
01-26-2006, 09:03 AM
goodmorning everyone :wave:

ty for your comments Barb! ...and for your step by step demo! It's great!....more more! :D

I can't wait to start adding some red on mine....It's going to have quite an impact on the painting I think.....I'm leaning towards some sort of scarlet lake mixture for the dress.

Mike

Goewyn
01-29-2006, 06:04 PM
Here's an update - the changes here are not very noticeable, just have been working on defining the facial features and skin shadows a bit more, and added the highlights to the eyes, and a few other touches.

-- Linda

bravynn
01-29-2006, 09:02 PM
Managed to get started on the boy. The lighting was terrible while taking the picture. I apologize for that. Still have a lot of work to do on this painting. Need to check my proportions! :)

Nice work Goewyn! :)

Barbara

Goewyn
01-29-2006, 09:36 PM
Very nice work, Barbara! It's looking great already!

-- Linda

bravynn
01-29-2006, 11:36 PM
Thank you Linda! :wave: Much appreciated!

Barbara

rain24
01-31-2006, 09:40 PM
Hi everyone :wave:

I'm an old, sporadic WC member but new to this forum. I've been following this thread with great interest. I'd love to join you guys, but I'm afraid I only have a couple of months of oil painting behind me. Maybe when I get better I can try to copy a master too. I'm in an oil painting class right now, but I seem to be surrounded with a lot of people that apply paint very directly, and I'm left wishing that someone would teach underpainting and glazing to me.

In the meantime, I think I'll follow along.

Your newest thread watcher,

~Rain :music:

Goewyn
01-31-2006, 10:01 PM
Hi Rain and welcome! I have to say, doing this is probably the best way to learn the underpainting and glazing techniques, as I'm finding out! The fun thing about it is, everyone here is doing their own painting by trial and error, as that is the whole point of the exercise.

I've only done minimal underpainting and glazing before this, but have had to learn this past month in order to create the same effect as this master. Neither have I done skin tones or really much in the way of clothing/drapery before, so a lot of things in the painting I'm doing are a first for me.

The best thing is, the people here are really nice and will answer questions about glazing and all that, should you get stuck. So join in and ask lots of questions. (I will also say that my painting has improved tenfold since I joined WetCanvas, there seems to be a much greater variety and depth of knowledge here than, say, your typical painting class)

So paint on!!! And good luck. Looking forward to seeing some of your work here. :D

-- Linda

IMNRTST
01-31-2006, 11:53 PM
Hi Linda...she looks great! I love the details on her face :)

Hi Barbara...I really like how you started the infant with bird...gonna be watching out for this one. :)

Hi Rain...a couple months of oil painting behind ya is more than enough! When I started doing these moms I had 0 days behind me :)
Best way for me was to not think about it.... grab a brush and just jump in! the water was indeed fine :D
Really hope you join us!

I haven't been able to work on mine lately....I'm hoping to get more done on her dress come tomorrow =)

Mike

rain24
02-01-2006, 02:42 PM
Hi Goewyn and Mike,

Well, I've printed out the Susanne reference photo. I don't know what that means :D. Maybe I'll attempt to transfer it out to a board and see what happens from there. I am very clueless with regards to underpainting. Will that just be a monochromatic painting then? As in whatever color plus black and white?

Also, if you could give me any hints on what you use for the grid and the drawing, that would be great. Do you use traditional charcoal? I've noticed that some people in my painting class grid up with graphite pencils. Is that okay or will some of that migrate into the paint layers?

I'm going to look at some of WFMartin's posts to see if I can glean more info on how to proceed with this project. Hopefully I'm not biting off more than I can chew at this stage ;).

Oh, and do people usually finish on time? I'm afraid I'm very late with starting this project.

*crossing fingers*

~Rain :music:

Goewyn
02-01-2006, 03:59 PM
Hi Rain, good questions, we're cheering you on.

Well, I started with a burnt umber monochrome painting, and started adding white in only the brighter areas. Even in the face, in some of the shadowy areas like under the hat, there has never been white.

Mike did a very impressive black and white monochrome, so I guess it just depends on personal tastes and preferences on what type of monochrome you want to do.

Try to make this monochrome as good as you want the end product to be, as it will show through all of the glazing you do later. Remember to let that base layer dry completely for a day or two (the white I used seemed to dry very slowly) or it will smudge and make a mess when you try to glaze other colors over it.

I used indian red, yellow ochre, and occasionally white to glaze on the skin, very lightly to build up the color where you want it. To thin the paint I use liquin but you don't have to thin the paint to glaze. I would brush some paint into the area I wanted and then use a dry brush to scumble it to get the effect smooth. I also glazed burnt umber in shadowy areas toward the end, but I found that it does not lift off like other colors if you make a mistake, so be careful where you put it if you're nearing completion! :rolleyes:

As for enlarging and gridding, I cropped the digital painting so the proportions would be right for 8x10 (they aren't in the original picture) and printed out a copy. I divided it into sections and then made a grid also on my canvas which conveniently was 16x20, a ratio of 2:1. I used a light-colored erasable colored pencil to do the grid lines.

Well, I know that's a lot of information and I hope it helps to get you started!
And yes, people do continue working on their MOM after it's over.

-- Linda

guillot
02-01-2006, 07:42 PM
Wow, WOW, WOW !!

Great work everyone so far!!

Mike, ;) Wonderful - as always.

Bravyn - love your rendition so far - it's coming along lovely.

Barbara - Appreciate your steps!! Like what you are doing so far and looking forward to the next.

Linda - you go girl!! Great job.

I have been "overworked" for the past week - but I'm hoping to get back to mine this weekend for sure!! No more working over for me this week, or this weekend. It's all about painting and relaxation for me. Feeling more confident about how to proceed to fix that eye. (It's only been on my mind since my last post - reworking over and over in my mind - know which way to go now - sometimes it's good to take a break to creatively regroup and find the right direction in the mind first) I'm ready to work on the boy with a bird too. Have a feeling that will go a bit faster for me.

EVERYONE - Superb!!! Nothing less. :clap: :clap: :clap:

Tina

rain24
02-06-2006, 10:31 AM
Linda: Thank you so much for all the detailed information that you provided. Little things like "remember to let that base layer dry completely for a day or two" are just the tips that I was looking for. I do get impatient sometimes, so I probably would have muddied everything up by trying to paint over it right away.

I'm also glad that you mentioned the paints that you used for painting the skin tones as well as the fact that you mentioned using Liquin. I have a bottle of that somewhere along with a bottle of Weber Copal medium. I'll see how glazing goes later. (*gulp* did I just think that I was going to attempt this??? *LOL*)

I did find a high resolution reference from ARC, so I've got that printed out, and I'm priming an 11" X 14" canvas board for this project. I'm only on the second layer. Since the painting looks so smooth, I was planning on adding more layers of gesso and sanding in between layers until I achieved a smooth surface (I don't have any wood panels on hand). If that's not advisable, someone please let me know.

Now when you said that burnt umber doesn't lift off...is that the same as in watercolors - if the pigment is staining, then you can't lift it off? And how do you lift in oils anyway? Blot it? Scrape it?

I'm really looking forward to seeing other updates of people's projects. By the way, one last question - is this thread supposed to be in the regular oil painting forum? I keep looking for it in the painting with the masters thread first before I remember to dig for it here :D.

Oh, this is going to be either so much fun or it'll end up with me banging my head against the wall ;).

~Rain

vlandry
02-06-2006, 06:32 PM
Rain, I'm the king of trial and error with a whole lot of the latter!

Great and impressive work, everybody! You guys inspire me more than you know. One of these days I should take a class but our local community college holds all their non-credit, community art classes between 9AM and Noon. Unfortunately, I work (to buy art supplies, of course) :), so that makes all of you my art teachers :D .


Vic

rain24
02-07-2006, 11:51 AM
Vic,

I keep wishing that oil painting had a learning center the same way that the drawing center has one. In the meantime, I will self-study and do trial and error by doing this MoM. :)

Pictures anyone? I need inspiration here :D.

~Rain

Rosic
02-08-2006, 10:50 AM
We (the staff) want to start a NEW tradition her in the Oils Forum.

The success of the WOYE monthly threads are the inspiration for this NEW tradition that we plan to do once a year and monthly in a "Best of" thread. The only problem with the WOYE is that many times we never get to see your finished work... or at best... it is scattered about within the thread. So we came up with this...
WC Oil Artists "Best of 2005" Exhibition (http://www.wetcanvas.com/forums/showthread.php?t=325539) (once a year)
and
"Best of the Month" - January 2006.
(http://www.wetcanvas.com/forums/showthread.php?p=4323171&posted=1#post4323171) (once a month)
This project can only be successful with your help... please post your "Best of's" right away. ;)

Oils Staff

guillot
02-08-2006, 03:03 PM
Great job Bernie!!!!!

Tina

IMNRTST
02-08-2006, 04:18 PM
I discovered a layer of dust on my copy of Suzanne...so I figured it was time to get back to her :o

Worked a bit more on her dress...I think the red mixture I made was a little too vivid for the rest of the painting...It stands out like crazy. I should've added more green =O What do you guys think? :)

Mike

http://www.wetcanvas.com/Community/images/08-Feb-2006/39999-suzanne6.jpg

rain24
02-08-2006, 06:10 PM
Wow, Mike, she's looking gorgeous! I happen to like to red parts of her dress, but when I compare it to my hi-res printout from ARC, it does look a bit brighter. Then again, there are monitor considerations, etc. :)

She looks wonderful! Now is she almost done? It looks like it's just about there to me.

:music: "...like Mike, if I could be like Mike..." :music:

~Rain

vlandry
02-08-2006, 06:23 PM
Mike,

That's simply incredible. I know you put an extreme amount of time and talent into this work and the shade of Rubens is proud of you.

Congratulations again! :clap: :clap:

Vic

guillot
02-08-2006, 07:00 PM
I discovered a layer of dust on my copy of Suzanne...so I figured it was time to get back to her :o

Worked a bit more on her dress...I think the red mixture I made was a little too vivid for the rest of the painting...It stands out like crazy. I should've added more green =O What do you guys think? :)

Mike

http://www.wetcanvas.com/Community/images/08-Feb-2006/39999-suzanne6.jpg

Holy *&^# Mike -

One of your absolute Best IMHO - Wowee!! You're definitely an inspiration to live up to!! You have an absolute wonderful and profound talent !! I don't know how much closer you can get than this...

Tina

IMNRTST
02-09-2006, 10:16 AM
Thx Rain! ...and yup...she's almoooost there. I still need to add a second layer to the skin tones on her hands. I'm also going to be adding some final glazes on her face to try to give her a little bit more form. She's lookin' kinda flat. As for the red part, I wonder if I glaze a thin green over it if that will tame it down a bit :confused:

cool song you were singing there btw lol :D

Thx Vic! ...I appreciate it. It was a fun mom to attempt. I really enjoy doing portraits and the challenge of getting a close likeness. I'm just glad all those fabric folds are over :p

Thx Tina! ...You're always so encouraging and supportive. Everytime I read your comments I just wanna jump in the studio and work even more. ty! :)
...and you know that game in the newspaper where you compare 2 images and then find and circle the differences? I always play that with my paintings/references. I must try to get closer! :D

Coffee time :wave:

Mike

Cherie Carter Magee
02-10-2006, 09:58 AM
I have been away from wetcanvas for a few months - I haven't figured why yet !?! cause coming back is so encouraging all over again! but I do see already how I get involved in these threads and don't get into the office as early as I should :)

Anyway Mike - I just have to say how impressed I am with your work. My first thought when I saw the painting by Reubens was how much she reminds me of Princess Di - that sort of shy look up under her hat - and you did such a great job of capturing that look. Wow! one of these days I will try one of these Masters but still working on some basics here.

Although...I did already sketch out a portrait of my grandaughter on a canvas sooo I guesss I am about to start on a portrait soon :) of course I may be just dreaming there...well when it happens I will be using all this wonderful info to help me along the way. Thanks to all here!

Looking at all these masters work has also given me inspiration to try to compose a drawing/painting of my Mother with some of her favorite things - her Grandmothers lace bedspread, a pewter vase of her Mothers, some of her gardening tools, oh yeah and her easel! lol.... now that is getting waaay too complicated....well I'll try to draw those elements first and see what happens.

Just wanted to say Hi and I'll keep watching for now.

IMNRTST
02-10-2006, 12:47 PM
Hiya Cherie! welcome back!....and thx for your comments. :) I also got that impression when I seen her the first time. Those timid uncertain eyes looking back at us. Rubens definately caught the essence of her. Hope you join us for a mom soon! It's an amazing way to learn.

I'm hoping to work a little more on my edge control in the future....tone down this sharp focus realism a little bit....and try to get a softer look...especially for portraits. =)

Mike

rain24
02-10-2006, 04:46 PM
General question for everyone:

What brushes did you use for your Susanne paintings? I have a lot of bristle flats and filberts. Do those work well enough for glazing or will I need natural hairs or rounds?

Thanks!

~Rain

Goewyn
02-10-2006, 09:57 PM
Mike, WOW!!! I'm speechless. :D

Rain - I actually use a lot of manmade and nylon brushes. I know they are typically made for other media and I'm breaking a taboo :rolleyes: but I find that they give me a lot more control than the natural hair brushes. My favorites are the filberts (in a variety of sizes) and the tiny spotters (the tinier the better, I'm a detail freak). I've been buying a lot of the Royal Softgrip lately as they are cheap and they work well for me, as well as the Simply Simmons filberts. I rarely buy the more expensive brushes.

For glazing I usually apply a small amount of paint with a filbert or spotter, and then scumble in with a well-worn flat brush (I use the red bristled brush in the middle of the photo a lot for that, as well as a smaller version).

Here's a photo of my brush collection (some women buy shoes, I buy brushes) ;) About 90% of my work is done with the brushes on the left half of the picture, and as you can see, most of them are pretty small.

Of course, this is just my preference, obviously I know everyone will have different favorites as they develop their own painting style.

Hope this helps!

-- Linda

IMNRTST
02-11-2006, 10:08 AM
ty Linda!...nice to see you....are you done with your Suzanne?

Rain...I use nothing but cheap sable/synthetic brushes...the cheaper the better...cause I go though quite a bit of em. I have a few expensive ones that I save for special occasions :D
When they start to wear out of lose their point....I just buy new ones.
Can't stand the feel of bristle unless i'm painting impasto :p

Mike

Goewyn
02-11-2006, 12:00 PM
Mike - No, life got in the way :(

(This past week I have been working til midnight getting a new classroom set up and running with new students, I have a major teaching assessment test to take today, I have school and homework for my master's degree...I could keep going.. :rolleyes: )

I hope hope hope, since it's a three day weekend, I'll have a chance to pick up a brush sometime this weekend. I really need to attack the feathers in her hat, the trim on her chemise, her earrings, and other small details like that. I miss the smell of paint in the morning...

Augh, I SO want to go pick up a brush now but I need to go study. :p

Sigh...:rolleyes:

-- Linda

guillot
02-11-2006, 05:20 PM
DOG!! Went out to the studio this morning, and my french easel somehow fell over and what do you think it hit??

Good ol' Suzie !!!

Left a gash mark in the panel :( :crying:

I know I have a mouse running around out there somewhere - but I don't believe the little fella is strong enough to knock over a french easel !!

For the sake of completing it - maybe I can cover it up somehow :(

Everyone's doing a fab job !!!

Thanks Mike - yours looks just wonderful :clap: I'll have to try the newspaper games, LOL

Tina

Goewyn
02-12-2006, 12:02 AM
ACK! Tina, I'm sorry :( I hope you can fix it. Isn't there a technique that restorers use where they glue a canvas patch to the back of a torn canvas, then carefully paint over the gash? Good luck.

(I'm always paranoid when working on straight canvas that I'll gash it, almost all my stuff is canvasboard - not to mention I have a cat that looks for upholstery-like things to claw)

-- Linda

guillot
02-12-2006, 12:29 AM
Hi Linda - It's a panel :( Cut a couple of gashes (dents) into it, knocked off some paint with it of course.

Who would've guessed mighty mouse lived in my studio!! LOL Need to get some traps I guess.

I still don't believe it could've knocked down the french easel though!! Not unless the girls let the dogs run through there ?? Now - they could've knocked it over! So - it's a mystery to me and I'll never know - and of course the girls would never tell if that was the case . ;)

I'm sure I can repaint those areas, but it will still have the dents :( Will see what I can do to save it, at least for the sake of completing it.

Thanks,
Tina

guillot
02-12-2006, 09:42 AM
Here's a shot of the damage :( One really good chip in the old hat, then another chip and a gash mark :( The one on the right runs all the way down the panel - just wasn't deep enough to pull the paint up - but I'm sure that it will at one point come off.

Tina

http://www.wetcanvas.com/Community/images/12-Feb-2006/5957-damageA.jpg

IMNRTST
02-12-2006, 09:52 AM
Sry to hear about your painting Tina =( I was gonna say maybe try to turn the gash/dent into an extra fabric fold or something..but I just seen from your pic that they are higher up on the painting.
Hope you can fix it =) ....and dam! them mice! =P

Mike

guillot
02-12-2006, 10:04 AM
Hi Mike! In the 6 1/2 years I've been painting, I've never had anything get damaged.

I think what I'll do first is brush off those areas real good to see if anything else is loose, or ready to come up, with a toothbrush. The chip areas are white, which tells me, even as deep as they are - it didn't get down to the wood surface beneath. So, at least that's good. I may be able to refill those areas carefully with some gesso - don't know if that will be very sound though - carefully sand it down to even it off, and then, I will have to repaint those areas. THe panel has an oil primer, but I do not have any oil based primers available. So, I can only hope that the gesso will do the trick.

:( :( Oh well - things happen ...

Tina

guillot
02-12-2006, 05:42 PM
Well, after brushing - this is what it looks like after all the stuff came off :(

http://www.wetcanvas.com/Community/images/12-Feb-2006/5957-Damage1.jpg

Kind of VERY dissapointed in all of that !! Funny too how when you crop a small part - HEY - the EYEBALL is way to BIG - "hello" -

So, decided to work on the baby: 20 x 20 Linen (that I pre-toned in the beginning - somewhere in here) - DANG the curls!! :eek: Throw in a couple of snake heads and I think I would have "medusa baby" !!

http://www.wetcanvas.com/Community/images/12-Feb-2006/5957-Baby2a.jpg

Winging it - no pun intended - on the birds wing, the pinkie finger, and the rest of the sleeve missing from the original. Need to soften the chin line - for a baby - should be more "fat", and the cheek - determined for that shadow underlying the "cute little those are the kind of cheeks grandma wants to pinch" that I need a violet in there. So, still lots to do. This is going to be a painting my mother is going to want to have - I just know it.

Thanks,
Tina

IMNRTST
02-13-2006, 11:42 AM
Tina...Your infant with bird looks nice!...and my hat's off to ya on the curls, they look hard to do. great job!

I would of made the baby bald headed just to skip doing the curls lol :)

Mike

guillot
02-13-2006, 07:52 PM
LOL!! Trying to picture this baby bald :D Thanks Mike !!

Tina

bjs0704
02-14-2006, 09:54 AM
Here's my latest! I think that I'll be able to finish up this time! At least after touching up a couple of things!

Barb:cat:

http://www.wetcanvas.com/Community/images/14-Feb-2006/11410-brubens4.jpg

bjs0704
02-14-2006, 01:21 PM
Linda- You’ve done such a great job on yours! The face, her dress and the background are so pretty!

Barbara - Great job!

Hi Rain! It’s great that you gave it a try! I have learned so much about the great painters from trying!

I like to use vine charcoal for my drawings because it “disapears” fairly well!

Hi Vic!

It’s great to hear, Bernie!

Mike - You did such an outstanding job! Everything turned out so well! I think that the colors are lovely! It’s breathtaking!

Cherie - That sounds like a lovely idea!

Tina - How awful!!!!!

Your method of fixing the repair sounds pretty good!

Are both gashes all the way thru or is it a deep scratched dent?

Your “Boy and Bird” are looking good! I love his curls!

guillot
02-15-2006, 12:04 AM
Hey Barb - your painting is coming along wonderful :clap: Pretty much deep dent scratches, not all the way through. I'm really considering just tossing it - don't know if it will be worth the agony of repair.

Thanks,
Tina

guillot
02-18-2006, 06:00 PM
How is everyone coming along?? Haven't seen any updates.

Here's an update on the Baby with a Bird - I think I'm almost done!! Just needs a little more work on those curls I think.

Hope everyone is doing fine. I'm off to paint on something else for a little while. Been painting all day :clap: I love it when I have those days.

Take care and let me know what you think so far.

Tina

http://www.wetcanvas.com/Community/images/18-Feb-2006/5957-Baby_almost_done2a.jpg

IMNRTST
02-19-2006, 10:58 AM
Barb and Tina...your paintings look great! :clap: looking forward to more of your updates.

Mike

guillot
02-19-2006, 06:10 PM
Thanks Mike.

OK - I'm done. Eventhough the curls gave me absolute fits, I enjoyed painting this one and at least I finished one of the two. I had a bit of trouble with the fine hairs, and just couldn't seem to get my script liner to do the trick - Curls turned into "springs", so I resigned the brush and replaced it with a colourshaper on the hair. Don't think I'm going to worry about completing the other one, since it has some damage to it. Just seems unrealistic to try to fix something that's a study anyway.

Looking forward to seeing everyone elses work too.

Thanks,
Tina

http://www.wetcanvas.com/Community/images/19-Feb-2006/5957-Baby_Final1a.jpg

IMNRTST
02-21-2006, 10:49 AM
Nice work Tina! I like it! See ya next month for Leighton? :)

Mike

Goewyn
02-26-2006, 10:41 PM
Did work on the details today, still have to finish the feathers in her hat (the bane of my existence) and will paint the black feathers and polish them up when the white is dry.

I may yet finish before March. :rolleyes:

-- Linda

Goewyn
02-28-2006, 12:39 AM
Alright, I think she's done...and before March, too! :p

May do a touchup here or there, and will take a better picture in the daylight.

-- Linda

IMNRTST
02-28-2006, 10:28 AM
Great job Linda! I like the highlights on her hat. Hope to see you on the Leighton projects :)

Mike

rain24
03-05-2006, 09:13 AM
Linda,

Your painting looks great! Mine hasn't gotten off the ground yet. I might just jump into the next MoM and keep Susanne for a school-related painting :D.

Rain