I'm off the wall, since my Caravaggio copy is taking up most of the wall painting space, and working on a table. I have been thinking of getting into egg tempera again but I remembered my last experience with it was not positive. But I do like the slow detail process, and working with a wood panel in one hand while holding a brush on the other, some how it feels more intimate. Wanted to put to use the new technique I'm using with the copy on a small portrait. So far I'm liking what's happening.
I usually make quick painted sketches using Burnt Sienna and Burnt Umber to figure out proportions on the canvas or panel, but I never go into details. I start building with color very quickly after that. With this portrait I'm starting a detailed underpainting of browns and white. From there I'll glaze colors. I've done this with egg tempera but never with oil, and I'm hoping this might be a good change.
I'm off the wall, since my Caravaggio copy is taking up most of the wall painting space, and working on a table. I have been thinking of getting into egg tempera again but I remembered my last experience with it was not positive. But I do like the slow detail process, and working with a wood panel in one hand while holding a brush on the other, some how it feels more intimate. Wanted to put to use the new technique I'm using with the copy on a small portrait. So far I'm liking what's happening.
I usually make quick painted sketches using Burnt Sienna and Burnt Umber to figure out proportions on the canvas or panel, but I never go into details. I start building with color very quickly after that. With this portrait I'm starting a detailed underpainting of browns and white. From there I'll glaze colors. I've done this with egg tempera but never with oil, and I'm hoping this might be a good change. 
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