Indian Pots-Flemish Technique FINAL

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Comment by Cristina Mihailescu on February 24, 2014 at 17:24

Stunning!!! Incredible work Roena, love it!

Comment by Roy H. Scott on July 2, 2011 at 1:06

Ro,

Great work, I just finished reading a bio on Rembrandt and have been trying to find resources to hone my skills with the old masters style.  Currently, my work is with palatte knife and wide brush and is impressionistic but I have an artists heart for the old masters methods.  I am interested in your resources on learning this style.

Roy

Comment by Angela Smith on April 13, 2011 at 2:33

Stunning!   This amazes me,  The Detail is Awesome, the fur  I just cant get over how real, & you have the patience of a saint :)   Hugs, for you my friend :)

Comment by Lyndon Baxter on April 11, 2011 at 16:21

Roena, My apologies, I thought I had replied to thank you for your comment of 20th Feb - must have been having a Senior's moment, anyway thank you very much for your advice in that post.

I am still struggling with the portrait I was trying out, not because of the method but because I did not pre-draw the face but painted it straight on - the effect of the method was quite amazing but it was too much to try to do 2 things  at a time (not into multi-tasking) and the proportions were wrong so I have been rectifying the structure of the face. I hope to have ready to photograph by the end of this week.

Using acrylics is brilliant for this method and I intend using it much more in the future. Contary to Peter's comment that day, (or is it Pedro?) I don't really take 6 months to do a painting it just appears that way. lol

Comment by Roena King on March 4, 2011 at 1:43

NONI, thank you for your comments on all the WIP also.  One of the reasons you get the effects you do in this Flemish techniques is the theory of light passing through all the layers and bouncing back to the viewer giving greater depth than with just a 1 layer painting.  The masters did very detailed drawings (my understanding) and the Umber layer is just starting to "see" the composition as values (my thinking) establishing your darks.  Kind of like a notan sketch.  You are not committed at this point and could change anything you might not like.  The gray layer commits  you in that you paint a B&W photo of the subject.  You spend most of the time in the gray layer - until you get the values perfect.  The color layer is pretty fast as it goes on thin.  The final modeling of the subject is done with glazes and scumbling.  The process just guides you a long.  You can see the rusults and the depth obtained.  Put a 1 layer painting next to a Flemish painting and you can really see the difference.

Comment by Noni Bryant on March 3, 2011 at 22:42

This is just beautiful, Ro !

I'm so glad you enjoyed the process.

I'm sure climate has something to do with the drying time, too.  - Dry heat as opposed to high humidity, where I live.

You just go right down deep with the things you do, don't you! - So not superficial!  You're learning SO much.

I hope you stick with this method for a while.  I'm going to enjoy watching your progress.  :)

Comment by Roena King on March 3, 2011 at 10:23

Thanks Karen and Kim.  Ro

Comment by Karen Anderson on March 2, 2011 at 21:26

Sorry I should have commented on this one and not the previous one. Beautiful work. I have now read your fur piece and will give it a try, very inspirational thanks

Comment by Roena King on March 2, 2011 at 19:42

KIM....REALLY---7 weeks!  I use Delmus's recipes for the mixes.  Imprimatur Layer = 3 T turp and 1 eye dropper of Damar varnish.  The turp dries fast and the Bt Umber dries fast.  I am thinking a day or so.  (PS...I also add 5 drops of Cobalt Dryer per a "bible art book" I have.)  To each recommended mix for the layers per Delmus's instructions I add 5 drops of Cobalt Dryer.  I am really trying to remember how long between layers it took??? 3-5 days???  Only thing is - It can feel dry to the touch, but once you  put the linseed oil on for the oiling out.......and it softens the paint....you rub with the cheese cloth and it starts removing the layers/glazes.  Best to have 2 or more other paintings to work on to keep you away from that one for a long time.  I can not believe 7 weeks though.  But.....hey........I am not an expert at this! /////// The 5 drops of Cobalt Dryer in the mix aids in the drying time.  Others in the group use 60% Liquin and 40% L.Oil.....just another mix to consider.  /// I found all this info a bit confusing even though those sites tried to give great pic and info.  But, once you do it and finish a painting, just one, YOU GOT IT!  And then you just shake your head and say, "So easy"!  LOL 

Maybe I had so much trouble with smearing things, and wiping off glazes is because the paint was dry to to the touch........BUT..........not really DRY.  Maybe ArtPapa.............is saying 7 weeks to keep you from having problems.

 

Once I started the magnolia painting.......I  painted on it a day or so, the switched back to the pots, and back and forth.  I know it was not weeks on each layer.  There again, I am using Cobalt Dryer in my mixes.

 

I did have an idea to have a scrap piece of canvas board.  Every thing you to do the original painting do to a test part of the canvas board.  Before you paint again on the painting.....test......on the canvas board........no good......waite a day or so and try it again. 

I am still in the live and learn..........fast learning curve once you do it..........Roena

PS.........you can not rush perfection........the best you have ever done in your entire live takes more time!  I still love this technique...............I mean.........it is  what they call the "old masters" work.  Take your time......enjoy the journey.......it is a journey your know.  Today, tomorrow, and the day after that...............just a Ol Master's journey.........that would be your's and mine.........LOL

 

I have a friend who did a portrait in this tech in acrylic.  You know you can paint oils over acrylics.  I have read where some do the impri layer in acrylics and then switch to oils. 

 

#1 RULE............no rushing allowed.  Take your time.  You will not finish this fast, but from my experience with the tech, it was the best I have ever done. (The Indian Pots).  Once you get the Impri layer started, Immediatley start another drawing for the next one.  Just keep going back to the "next one" when you are waiting for the first one to dry.  "we" just want to paint......who cares what on.......paint.......#1 then #2, and back again.  Start a #3.  Keep busy and keep yourself away from the drying painting.  When doing the several paintings at a time, all of a sudden the just get finished!

 

This is my color journal that I have been making for every painting I have done for the past several years.

 

The top are the pure colors I have chosen to be on my palette.

Below, are all the mixes with just little dabs o

Comment by Roena King on February 28, 2011 at 17:48

Thank you again for your nice comment on my painting Peni.

Peter,  2 sites for you to look at for a wealth of infomation to get you started.  Then if you want to post on the "group" we can help more.  http://artpapa.net/content/view/29/52/  Look at his free lessons on how to paint a apple and a rose.  Then look at his photos of the details he did on each of the layers for a portrait. http://www.antonovart.com/Portrait_study/index.htm

http://www.easy-oil-painting-techniques.org/ This is Delmus Phelps, a professional artist and on the group also. Look for his free lessons, more info and about how to prepare a canvas. 

That should be enough to get you more than well on your way.  I will answer any questions you have, or post on the group and others can comment as well.  Welcome - glad to have you aboard.  Ro

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