Thank you, Margo. The reason why I stopped last night was because this is water mixable oil and the slightest moisture from my brush will disturb the oil paint underneath and so my yellow cannot be any brighter than the lower layer because it's still moist. I definitely find this water mixable oil so much more friendly than watercolor. I wouldn't be surprised that one day, I will find that I paint more in oil than any other medium.
Hope to see some of your pastel work too.
In the meantime, last month I have invested in $20 worth of Artist Magazines annual discs at $2 a pop and I finally started reading it. In the 2002 April issue, I realized that green and purple makes blue. It totally vowed me to see the experiments and so I tested it on one of my work place sketch near where I work some months ago.
Stillman & Birn Alpha 100 lb hardbound 5.5 x 8.5 inch.
Holbein Mineral Violet
Phthalocyanine green M. Graham
Technically, purple is a mix of red and blue and green is a mix of blue and yellow. But if we use a different type of violet, eg sap green and carb. violet, it will give you brown instead.
These two are also on Stillman Alpha same sketchbook.
I rarely used Prisma's Col-Erase even though it is very erasable mainly because it is very hard and it makes indentation on the underleaf and the pages following. I don't always remember to bring an insert buffer and also the colors are not very intense. It's rather pastel like.
But thinking about this Alpha, I gave it a try. The paper is thicker than most paper and even though I rather reserve Alpha for mixed media because it could take some moisture, I am willing to experiment.
It did quite well with the texture.
Yesterday, I found that I actually have three Caran D'Ache Pablo colored pencil one of which is a lime green of some sort. Happiness. I like that color. The other is a normal blue and a normal green. So I went ahead and tried another portrait.
Pentalic 70 lb 5.5 x 8 inch hardbound sketchbook
I was happily fleshing out the nose and eyes and mouth with the lime green here and there and then decided to use some Caran D'Ache Luminance to contrast. Then I experienced for the first time how incompatible the two pencil is. I didn't expect it. Usually, if you put Faber Castell Polychromos or Lyra Polycolor down on first layer - oil based, you could put Prismacolor waxed based color pencil on top without problem. The Luminance didn't want to do fine lines on top of thick patches of lime green. Roll eyes. Luminance is supposed to do be able to do everything. One more reason why I kept holding back not buying Pablos. Never liked how much more pressure I have to use to lay down colors.
So here it is. And I also learnt that color pencils is as exacting as pen work. I used an electric eraser the ground is smudged and it would never be white again with these oil based pencils and it won't jive with the rest of the page.
Not satisfied, I did one in Stillman and Alpha. This time I used Lyra Polycolor and the garment was Lyra and Prismacolor Artstik. I erased the Lyra here and there and it didn't have that residue smudgy problem. I also think it is because Stillman has more texture and could support erasures whereas the Pentalic didn't have any more texture after electric erasures. I'm a lot happier with this piece.
Yesterday, I spent around $180 buying up all the issues of magazines ever produced by Ann Kulberg, the pencil colorist, and a few of her portrait tools set. I read through the new CP treasures collection and it's really worth every cent. There are so many ways to use colored pencils.