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  #1  
Old 25-03-11, 09:18 PM
Santana Santana is offline
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Default An experiment

A semi-rigid sheet of plastic, measuring 50 x 30 cm. The surface was sanded with fine sandpaper, number 180, and then primed with two coats of acrylic resin. In the painting I used egg tempera, to see what kind of result I could get with this kind of technique, my first tempera, the strokes flow naturally through this material, in a very smooth way, as if painting on a linen canvas. I have to study more about this technique. I have not yet finished this work. It seems to me that the photos are not of good quality. But I wanted to show you and hear your comments and critics.









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Old 28-03-11, 12:33 AM
Santana Santana is offline
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This is the final image.

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Old 01-04-11, 05:42 AM
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Salamander Salamander is offline
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I'm wondering why you chose egg tempera for this work?
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Old 01-04-11, 04:16 PM
MatG MatG is offline
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Default Try it all

It's always exciting to push the limits of a given medium. To find new ways of working and challenge one's self. I've been known to paint with oil on flexible sheets of lead, to work on poured sheets of latex, and to make paintings with acrylic on glass so I could scrape the painting off and have a film of a painting attached to no substrate.

I'm very interested to know how this weathers and I'd be interested to hear what your intentions were. As egg tempera is naturally luminous, for example, the idea of painting on a translucent substrate implies a concern with light. The painting itself is handled well and conveys a bold, energetic vision.

You have gone against three major egg tempera 'no-nos,' and that leaves me curious. Once cured, egg tempera is extremely brittle. a) Applied to a flexible substrate (such as paper or mylar), it will certainly crack and flake off unless mounted securely to a firm backing. b) Egg tempera does not hold up if applied thickly, as with an impasto technique, which you seem to have used. c) Egg tempera needs an absorbent ground to bond to, which is why many insist on a traditional gesso. Acrylic is anything but absorbent.

It's difficult to invest time in experiments--knowing that all your labor may be lost, but it is an essential part of any creative journey. It's just as difficult, I think, to submit these experiments for review by peers. I doubt anyone here cares to say anything negative about your painting, but egg tempera is an odd pairing with your choice of substrate. You may want to elaborate on your goals and why you made the choices you did. My guess is that acrylic paints would be an excellent medium for further work of this sort, but you may have different reasons for using egg tempera, and knowledge of those could help the forum make suggestions for further successful experimentation.

Regardless, thanks for sharing, and thanks for pushing boundaries.
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Old 02-04-11, 10:18 PM
Santana Santana is offline
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Salamander and Matt, thanks for your well reasoned comment. Sorry everyone, I had no intention of challenging the foundations, long used in painting with egg tempera. You're right when you say: egg tempera is an odd pairing with your choice of substrate. Probably this is it. In this experiment, a delicate layer of paint is deposited on a strange substrate.

I thought of using plastic by accident. I thought that surely, the plastic would be a suitable ground for oil painting and also for painting with acrylic paint. I'm a fan of egg tempera, although my experience in this area is minimal, I would say a neophyte. For some time I know the professional work of all of you here on the forum. I am studying and researching the subject fairly. For this reason I decided to use egg tempera in these experiments.

You also are right when you say: It's difficult to invest time in experiments--knowing that all your labor may be lost, but it is an essential part of any creative journey. I feel a need to do these experiments for my own learning. There are many variables ... and, perhaps in the end, everything goes wrong. Thanks again for your attention and for taking the time on commenting this work. If I may, I will keep you informed of the progress of this work. Thanks.
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Old 04-04-11, 08:10 PM
MatG MatG is offline
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Default No apologies

Please, no apologies are necessary. It's good work, and it's important to push limits. The foundations you challenged are not offending anyone. They are simply points of the craft intended to help your work last longer and accomplish your artistic vision more successfully.

If you pursue a similar interest using a sheet of 3/8" acrylic, lucite, or other transparent plexiglas that is more rigid that would be of great interest to me.

Please keep trying new things, and please let us know how this experiment holds up.
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  #7  
Old 06-04-11, 11:13 PM
Santana Santana is offline
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Mat, thank you for your comment. I feel encouraged and excited about these studies, Thanks for the suggestion of the materials. I will certainly try them too. Watch the little movie that I posted on Youtube (1 minute) showing a little of this experiment. With more calm I'll post the photos as well as some details.

This is an experimental study, in its earliest stage. This test uses egg tempera medium, in a semi-rigid sheet of plastic. In this case, both sides of the plastic were painted with egg tempera. Children’s painting still is in its early stages. The video aims to show the flexibility of tempera with this kind of support. See the movie.
Thanks.



http://www.youtube.com/watch?v=4m7QvlftekI
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