Thank you for the questions I received for the book blog. I am so thrilled to be able to share ideas here! Next week, we will discuss keeping the language the same within a painting. Also, there will be pictures of the series of Maine paintings that I have been working on!
First question is from Joel,
Rereading
your book regarding your use of the transparent oxides, I interpret that you
use the combo as your sketch-in base of the final painting and then either
cover it over or let it shine through in some areas or glaze over it altogether
just as another painter would first use some combo of colors to first put in
the elements of the final painting (bnt sienna+ultram or whatever. Am I
correct? anything else you can inform me about the transparent
red/yellow/brown oxides in oil painting (or refer me to some more informative
material about these colors).
Answer:
You
have the right interpretation of how I use the transparent oxides. I also
add opaque to the paint when I want a full-bodied paint with out transparency.
The
transparent oxides are good workhorses. They make great glowing under paintings
and can be mixed with opaque pigments. I use them when I need to push a
temperature warmer. They make great greys when mixed with their complement.
The beauty of transparent yellow oxide is that it is a dark
in value yellow paint I can always bring up the value with a lighter value
opaque.
For more information, you can click on the link on my
website for Gamblin Colors. They have a
wonderful website full of information for the artist to read on the paint they
use.
Another question from Sheila,
I've been reviewing what I believe is the most complete instruction book to landscape painting. My only question would be is there anything you would have liked to have added now that there are several years since its publication?
Answer:
Sheila, what a wonderful question! I would have liked to have
more paintings done at the same location. As a painter, I find that I learn and
discover so much more with each painting I make. I find that the poetry in my
work comes the longer I work on location.
For next week, we
will discuss keeping the language the same within a painting. Also, there will be pictures of the series of
Maine paintings that I am working on.