Thursday, October 24, 2013
Another jolts of creativity intervene on my list of work-in-progress. "Someone try to say it but we nail Him to a cross" Basically that was the line rushing to my head when I grab my brushes. That was my problem, when I yearn to paint something...it usually comes even when I still have other projects to finish....
I actually had some commission work to attend but I just can't push myself to work on dictates. I wan't to paint what I feel.
Telling stories had always been my goal when I paint....and the easiest way was to tell these stories thru symbols. One of the constant symbols or representations are wooden frames...this are vital on my painting when telling stories...since I have to divide sequences like a story book.
It also emphasizes where to focus attention and my style attempt not to get crowded with details.
Wednesday, October 16, 2013
Monday, October 14, 2013
Acrylic on paper
I will always be thankful to Maestro Jose Tolentino Jimenez for sharing to me about underpainting...I made a little research and now this work marks the first of that experimentations.
Verdaccio or underpainting is also called as dead painting....
Verdaccio is an Italian name for the mixture of black, white, and yellow pigments resulting in a grayish or yellowish (depending on the proportion) soft greenish brown.
Verdaccio became an integral part of fresco painting, in which this color is used for defining tonal values, forming a complete monochromatic underpainting. Often architectural details in frescoes are left in verdaccio without any additional color layers; a notable example is the ceiling of the Sistine Chapel, where verdaccio underpainting can be clearly seen, left as is on all architectural details of the composition.
In oil painting, a similar technique is used by Flemish painters, referred to as the "dead layer," is applied over the traditional bone colour (1 part raw umber to 1 part yellow ochre) priming to refine the values and remove the warm tone of the primer. The resulting "white to olive green to black" underpainting is "like being illuminated by moonlight." It does not affect the tonality of the final painting.
Friday, October 4, 2013
I've never realized the importance of underpainting till now. Thank you so much to Master Jose Tolentino Jimenez for giving me these idea to try underpainting using green as base color.
So I made some research via the internet and found quite some good articles and how to's. So it was a classical technique called verdaccio or the dead painting.
Employing this style ables me to identify tonal value.
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