CB_Gray-1 _WKS25 Proj. 2

12"x9" Oil on gessoed Bristol Board

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Comment by Carolyn Brunsdon on September 6, 2013 at 2:05: LOL, Lori. One of those "happy accidents"? It was good just to put the paint down quickly and see what happened. Kind of like the possibilities.

Comment by Carolyn Brunsdon on September 6, 2013 at 1:53: Stu, I will do that, had planned on it somewhere down the time line :)) and I use Gamblin Neo Megilp as my preferred medium, used to be Liquin only. In the highest light areas I didn't use medium at all of course. Anyway, very enjoyable. Thanks

Comment by Lori Ippolito on September 6, 2013 at 1:52: You may have stumbled upon something wonderful here...definitely glaze this( next year when it dries!!!).... The sun & rays may be magnificent!!!!

Comment by Jane HM Thompson on September 6, 2013 at 1:01: Love the brush work and movement in this, but have to agree it will be hard to glaze. Look forward to seeing another.

Comment by Stuart J. Gourlay on September 6, 2013 at 0:50: Carolyn, you can still try glazing this when it's dry; Rembrandt glazed over impasto areas deliberately. If you want faster drying, go to an alkyd medium (Liquin, Galkyd, RezNGel). Stu

Comment by Carolyn Brunsdon on September 6, 2013 at 0:38: Hey MIchael, while sipping my coffee, I had to Google 'con brio', this is what I found out:

*Con brio is a musical direction, meaning "with spirit" or "with vigor".

*Con Brio may also refer to:

     Con Brio, Inc., a defunct synthesizer manufacturer
     Con Brio Records, a defunct record label
     Con brio (novel), a 1998 novel by Slovenian author Brina Švigelj-Mérat

So...my question is, am I already defunct as an artist? Or did I remind you of a character in the novel?

Jus' kdding, yes, I did attack this poor piece of paper with "spirit" (literally) and vigor! Fun. Thank you for the kudo's and suggestions. As I mentioned to Stu, this one isn't appropriate for glazing for sure. When I was studying those techniques, I started with the inprimatura, thin and smooth, usually sepia colors, and any really light highlights were added after the glazes were dry. So, while this was fun, time to get serious here. Had to laugh when I read your remarks about the top left and right, those were the clamps holding my paper. Next time I will mask off the page! Thanks, again.

Comment by Carolyn Brunsdon on September 6, 2013 at 0:16: Stu, thank you for your comments. Actually I was concerned about Richards impasto areas would you believe. I just decided to dig in and play on this one to get painting. I do plan on doing several more, and next year when this one is dry, I might revisit it for glazing lol! And thank you for the tips on the tags, will attend to that on one more appropriate to the challenge.

Comment by Carolyn Brunsdon on September 6, 2013 at 0:12: ooops, I just "liked" my own painting, a mistake guys, early morning button pushing before coffee! Thank you Lori, Mario, Linda and Laura.

Comment by Michael Chomse on September 5, 2013 at 18:49: Wow, Carolyn! You have certainly attacked this passage 'con brio"!

And you have managed the shadow tone cast by that gathering cloud on the ground well.

Maybe think of knocking out another that can dry parallel to this one, but really much thinner, less impasto. Just to get the feeling of the difference in the glazing stage. And in that one carry the marks outside of the edges of the paint surface top left and right.