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  #21  
Old 27-02-07, 10:33 AM
sabine sabine is offline
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I now have always several paintings going one at the same time and so I can let some dry :lol:

But I thinks it's a character thing (not sure I can say that in english?) and I won't change it... I prefer to change the qualities of the paint I use...

I do repaint on the paintings I don't like (after a few new gesso coats)
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  #22  
Old 28-02-07, 09:56 PM
maplebrush maplebrush is offline
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I usually like to use some type of toned down blue or purple for my grisaille, though I really liked the green I saw, and green does make sense. (We are all capable of turning that hue from time to time.) Treating my first attempts at ET like my WC washes has taught me that putting that painting away for a while is a whole lot less frustrating then trying to throw a wash over a still damp painting. As I've said before, egg tempera is so very much like guoache in the controlability department, but you don't have that kind of chalkiness that comes with guoache that just drives me nuts and ruins my sable brushes.

How did I survive without this forum?

-M
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  #23  
Old 01-03-07, 03:10 AM
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jeff jeff is offline
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This forum is a great place, Maplebrush.

I have been experimenting doing grisaille with a sort of orange iron oxide that I've got. I do it using homemade chinese ink sticks that I've made with it. I am not sure that it fully works on the skin for instance - possibly hence this original post. It works well for the basis of a whole painting though with still life or landscape and gives this wonderful unifying glow to the whole work. It has an interesting advantage since it remains water soluble and can be removed and spread about easily by rewetting. It permits me to do the grisaille using both positive and negative space. After I'm satisfied with the result I spray it with a layer of ET medium as a fixative, then maybe begin refining it in more ET layers. I've got another system that I'm planning to try out using Cera Colla.

As an update, I have been assiduously applying the advice I'm getting here after twice scraping back to the gesso on a face I'm currently working on. So far the results have been good. I appreciate the help of received. My main problem seems to have been mainly in not taking it slow enough with thin enough coats.

I should make an effort to post some of my works here.

jeff
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  #24  
Old 03-03-07, 03:46 PM
JanMoore JanMoore is offline
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Try this for your underpaintings: Warm under cool, cool under warm, and complementary colors. This creates some of that shimmer that is the beauty of ET. Green was used extensively under skin tones, which are "rosy pink." I saw an early ET portrait by Peter Hurd (who taught Andrew Wyeth) where the green underpainting was clearly present, especially in the shadow areas. This principal will always work! I don't do a griselle, but I do underpaint every bit of my paintings and allow some of the underpainting to show through.
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  #25  
Old 22-03-07, 01:09 AM
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Thanks to all for the help I've received here. It has advanced my use of ET significantly. This really is a great forum!

jeff
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  #26  
Old 23-03-07, 08:41 AM
sabine sabine is offline
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:grin:

I think it's a great forum too!
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  #27  
Old 23-03-07, 11:31 AM
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Bert Congdon Bert Congdon is offline
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You are absolutely right Jan,and that is why I use green under skin tones.
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  #28  
Old 10-04-08, 10:03 PM
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jpohl jpohl is offline
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Quote:
Originally Posted by Bert Congdon View Post

Didn't I say here one time that I had a teacher who said it took two people to finish a painting? One paints, the other hits you over the head when it's done.
I can relate.
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  #29  
Old 07-05-08, 07:59 AM
Paul B Paul B is offline
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Quote:
Originally Posted by miss pixel View Post
Are you using a feed colour which you pass all the other colours through first to harmonise the painting?
Sorry I have taken so long to ask this I have been out of action for a few weeks.; Miss pixel could you explain more about using a feed colour?
I really want to concentrate on colour in my paintings. I consider it to be the weakest part of my work. I find books on colour theory are often dry uninspiring; possibly because I find it difficult to relate what they say to the actual act of painting. I know about warm and cool colours and how colours relate to each other on a colour wheel (I make use of this) but that is just about it. Could I ask are there any sources of information about this subject that have inspired you.
I would be very grateful if you could pass on any information.
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  #30  
Old 08-05-08, 02:20 AM
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Online I have found that www.handprint.com is very comprehensive on this subject especially when looking at his information on artists palettes.
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