I'm doing a two-day workshop in May, and I'd like to post a little demo of my process for the people in my class. I'm sticking to a simple subject in this demonstration, but we'll do something a little more involved in the workshop.
Here are a couple of pears ( or, a pair of pears, I guess) that I played around with on my table and arranged for my drawing.
I typically use Wolff's Carbon Pencils for drawing just about everything. They are super black and they handle really nicely relative to a General's ( which I also use, but they're a little more crumbly... for me).
I'm using a gessoed panel ( from my pals at realgesso.com ) that I made an oak edge banding for. I like these with a thicker band for a couple of reasons: they are easy to handle when you paint ( as opposed to a regular panel), they are ready to hang, and... if you dare... they can sit on a mantle or a bookshelf.
I loosely sketch my composition and then I'll glaze an earth tone with a little turpentine ( or mineral spirits). This will give me a nice "tooth" to start my Grisaille monochromatic underpainting.
My next post will show the progression of the underpainting and balancing tones for the glazes of color
Oh, yeah, I almost forgot. There are times when I find inspiration for painting through the carefully crafted work of others. The subtle nuanced layers of certain films inspire me to reach higher and push my medium as far as I can. This "film" is one such example:
Hey, is it me, or does Ed Lauter got some kind of neck-thing going on here?
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