I've finally finished my oil painting "Diana." This piece probably took four-13 hour days over a period of
three weeks. I allowed a good bit of drying time in between some of the painting sessions because I had responsibilities watching my three year old granddaughter, Deven.
This painting is 36X11 on a wooden board I found at the SOS thrift store. I love to upcycle when I can, and have found working on wood easier for painting faces than working on canvas.
To complete the painting, I did some more work on her dress, finished scumbling the zinc white over dioxiide purple and finished her right hand, Rembrandt was known for scumbling and tthe technique of scumbling is often used for the backgrounds for portraits, allowing the face to stand out more than by being distracted by the details of an interior or landscape background. Although I've used this technique a good bi in figure's faces,backgrounnds and landscapes, it's a bit hard to describe.
Marion Boddy Evans says on her website -
"Scumbling can be done with opaque or transparent colors, but the effect is greater with an opaque color and with a light color over a dark. When you look at it from a distance the colors mix optically. Up close you'll see the brushwork and texture in the scumbled layer."
The hand is still not quite the way I'd like it, and I decided not to put anything symbolic in her hand, but I decided to stop because it was not as noticeable once I toned down the color. I'm pretty happy with this piece. It's more than I expected working on such a large scale for me and working in oils, which I love but which is always a challenge, especially when I tend to paint s many critical areas wet on wet, as I did the face.
Paul Easton described the effects on his blog -
"It was fun to try the new technique for me of using a wash I've done it in furniture refinishing and wall painting, but never on my oil paintings. Atmospheric. Translucent. Radiant. Painterly. Chances are if you’ve ever applied these descriptive terms to an oil painting, you were looking at some of the effects scumbling can give you."
This painting is 36X11 on a wooden board I found at the SOS thrift store. I love to upcycle when I can, and have found working on wood easier for painting faces than working on canvas.
To complete the painting, I did some more work on her dress, finished scumbling the zinc white over dioxiide purple and finished her right hand, Rembrandt was known for scumbling and tthe technique of scumbling is often used for the backgrounds for portraits, allowing the face to stand out more than by being distracted by the details of an interior or landscape background. Although I've used this technique a good bi in figure's faces,
Marion Boddy Evans says on her website -
"Scumbling can be done with opaque or transparent colors, but the effect is greater with an opaque color and with a light color over a dark. When you look at it from a distance the colors mix optically. Up close you'll see the brushwork and texture in the scumbled layer."
The hand is still not quite the way I'd like it, and I decided not to put anything symbolic in her hand, but I decided to stop because it was not as noticeable once I toned down the color. I'm pretty happy with this piece. It's more than I expected working on such a large scale for me and working in oils, which I love but which is always a challenge, especially when I tend to paint s many critical areas wet on wet, as I did the face.
Paul Easton described the effects on his blog -
"It was fun to try the new technique for me of using a wash I've done it in furniture refinishing and wall painting, but never on my oil paintings. Atmospheric. Translucent. Radiant. Painterly. Chances are if you’ve ever applied these descriptive terms to an oil painting, you were looking at some of the effects scumbling can give you."
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