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  #1  
Old 19-03-10, 05:59 PM
VK VK is offline
(Ramesh Vyaghrapuri)
 
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Default Life sketch, RSG sized paper

I did this sketch on watercolor paper sized with RSG (left over from making a bunch of panels). While I had tried gelatin sized paper before, I had used it thinly but with this one, the RSG was applied a little heavily (the paper feels stiffer but not so much that it is likely to crack).

I was surprised at the feel of the paper -- it didnt feel at all like the panels (not as absorbent) and I could wipe-out all the way back to the RSG (sort of like how some oil painters do their underpainting). This was done with pure egg tempera. I might have to try to mount paper to panels and size with RSG, seems easier than using all those layers of whiting.. and sanding..




Any feedback welcome.
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  #2  
Old 22-03-10, 03:41 PM
llawrence
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Very cool effect of the transparent colors overlaid with the opaque highlights. I'd like to try pushing my work in that direction. Nice sketch.
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Old 23-03-10, 05:39 AM
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(Ramesh Vyaghrapuri)
 
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Thanks! Regarding the effect, I agree it looks nice but will be honest and admit it was just a side effect of using a three color palette (burnt sienna, carbon black and titanium white) and the only way I could make warm colors was to use the burnt sienna transparently. Mixing white cooled it down appreciably.

Actually, I have this problem even when I use more colors.. I find it very hard to reduce intensity or value accurately (while mixing colors) without changing hue.
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Old 26-03-10, 03:17 PM
Alessandra Kelley Alessandra Kelley is offline
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I love that effect, and it helps to consider it a feature, not a problem. The change of hues, especially the cooling-down of colors mixed with white, can be really stunning. Somewhere once I did a painting where the sky was only black mixed with white, but it came out really blue in context.
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  #5  
Old 01-04-10, 05:02 AM
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mona mona is offline
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Default Life sketch, RSG sized paper

I appreciate the boldness yet completeness of your approach here. Not an easy feat with egg tempera, yet you pulled it off so beautifully.

re: Alessandra's input ~ I like your thought, Alessandra, about viewing it as an advantage, especially because of how layering produces surprises in egg tempera too. What an interesting result too from the mix you mentioned turning bluish, & yet it makes sense.

Mona
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Old 24-04-10, 03:05 AM
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(Ramesh Vyaghrapuri)
 
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For some reason, just saw the responses now.
@Mona -- thank you. the paper surface was beautiful (mostly because of the RSG glue) and the strokes didn't streak at all (it helped that I used a bristle brush).
@Alessandra -- I think there are several effects here, not sure if you are talking about the one that bothers me most:

1. Effect of colors in context (i.e. if you have a mostly warm sky and throw in a neutral gray in the middle, it will appear cool -- Chevreul's effect)
2. Effect of colors in layers (weird special effects of egg tempera such as zinc white on cool colours appearing beautifully warm, burnt sienna in very thin layers giving an intense look to the reds underneath etc)
3. Effect of colors when mixing on the palette, with unexpected hue and chroma shifts.

#1 also used to be a problem (more for skies and reflections) but it is a very predictable effect, does not depent on specific pigments but just the actual colors and can be compensated for and taken advantage of easily.
#2 is less predictable but very subtle, and it is almost always a welcome thing.
#3 is the one that often gets in the way of me mixing colors accurately. It looks like I need to invest the time to produce a giant color mixing chart at some point, it might save me a lot of time in the long run.
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