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Leslie Bohoss · 03-05-2003, 11:57 AM

Hello!

Thank you for your responses!

I didn't make this simple test in Photoshop (transparent layer original over mine), so as to learn the "right" way of seeing without technical tools. Yesterday, I did the test and I'm very frustated. I have a lot of error. Biggest is that the face must be rounder, then nose is too long, the angle of the hands is not the same, etc.. (Shame, shame.)

Karin,

I learned from you that in the underpainting it is better to use middle values, and then I can go to dark or highlight (no shadows, no highlights [in the underpainting] leaves "room" to play). To all apperances, Sheppard took another way, always making a fully-detailed grisaille. I'm interested in how this works. My photo has more contrast than my picture. I tried to correct that.

Tito,

That is cool what Leonardo said, but the next question is, How can I paint running water?

I'll repaint the face, more roundness etc., but I'm afraid to touch the hands. Hands seem to be more complicated than all other areas.

To your problem with the covering of underpainting -- I have this problem, too. Recently, I took a piece of MDF, and painted a gray arm (simple) then added much more glazing medium to the mix and only a tiny yellow ochre (or other really opaque color in the skintone mix) and used zinc white instead of titanium. I think that will be better. You can still see the underpainting, but you must do many more layers.

I think it must be covered partially, and only in shadows can you see the underpainting. Michael Georges wrote to me, it is like a map. The helping function for me is that, in direct-painting (which most artists do), one must consider two things at the same time: shape and color. This is definitely too hard for a "limited" artist such as me.

In addition, I like it that this is an "old" technique, (and I like old things) and the pictures have a little museum-like touch and glow.
By the way, I spoke with a few 'modern' artists (who have been painting over 12 years) -- they have never tried (or even heard of!) this funny way of painting. (Funny, then the people always ask me, why do you make black and white oil paintings?

Now, prepare to laugh at me. The final version from the book:

03-05-2003, 11:57 AM	#5
Leslie Bohoss Associate Member Joined: Oct 2002 Location: Germany Posts: 204	Such a shame Hello! Thank you for your responses! I didn't make this simple test in Photoshop (transparent layer original over mine), so as to learn the "right" way of seeing without technical tools. Yesterday, I did the test and I'm very frustated. I have a lot of error. Biggest is that the face must be rounder, then nose is too long, the angle of the hands is not the same, etc.. (Shame, shame.) Karin, I learned from you that in the underpainting it is better to use middle values, and then I can go to dark or highlight (no shadows, no highlights [in the underpainting] leaves "room" to play). To all apperances, Sheppard took another way, always making a fully-detailed grisaille. I'm interested in how this works. My photo has more contrast than my picture. I tried to correct that. Tito, That is cool what Leonardo said, but the next question is, How can I paint running water? I'll repaint the face, more roundness etc., but I'm afraid to touch the hands. Hands seem to be more complicated than all other areas. To your problem with the covering of underpainting -- I have this problem, too. Recently, I took a piece of MDF, and painted a gray arm (simple) then added much more glazing medium to the mix and only a tiny yellow ochre (or other really opaque color in the skintone mix) and used zinc white instead of titanium. I think that will be better. You can still see the underpainting, but you must do many more layers. I think it must be covered partially, and only in shadows can you see the underpainting. Michael Georges wrote to me, it is like a map. The helping function for me is that, in direct-painting (which most artists do), one must consider two things at the same time: shape and color. This is definitely too hard for a "limited" artist such as me. In addition, I like it that this is an "old" technique, (and I like old things) and the pictures have a little museum-like touch and glow. By the way, I spoke with a few 'modern' artists (who have been painting over 12 years) -- they have never tried (or even heard of!) this funny way of painting. (Funny, then the people always ask me, why do you make black and white oil paintings? Now, prepare to laugh at me. The final version from the book: