Absolutely fabulous work. I would love to paint with this method. From what I understand the imprimatara is the burnt umber layer. The dead layer - I know is white lead, and looks like lite from the moon. Are you using white pigment? Can you explain this part of the process. Than the color layer. Also your medium liquin fine detail how are you using this. Any info you can provide would be appreciated. Any workshops let me know too. Wonderful Work!
Yeah that makes sense, because the old masters did only count on what is called today as earth colors, so flesh colors, and some reds would have been achieved through layers of sephias on top of death colors. We must consider that most colors we find in stores in our era were simply not available 4 centuries ago.
Absolutely fabulous work. I would love to paint with this method. From what I understand the imprimatara is the burnt umber layer. The dead layer - I know is white lead, and looks like lite from the moon. Are you using white pigment? Can you explain this part of the process. Than the color layer. Also your medium liquin fine detail how are you using this. Any info you can provide would be appreciated. Any workshops let me know too. Wonderful Work!
LaDiehm 3 months ago
THANK YOU !!!
gustavocologni 2 years ago
Yeah that makes sense, because the old masters did only count on what is called today as earth colors, so flesh colors, and some reds would have been achieved through layers of sephias on top of death colors. We must consider that most colors we find in stores in our era were simply not available 4 centuries ago.
tonchititito 2 years ago
So, from what I understand, what you are now doing, is painting a dead layer in sepias, and then adding the colour over it by glazing?
cristinasujoy 2 years ago