Wednesday, December 28, 2011

Abstract Glazing

Yesterday's chart is still drying. I need to get a better glazing medium, probably some sun thickened oil. Until then, thin mixes with linseed oil do dry slowly and don't provide for much durability. But, it's just fine for practice.

I'm working with those same glazes here and they remind me of the delicacy of egg tempera. I think I'm leaning towards the thin and smooth oil painting, that is compared to an impasto or alla prima method. This is a small painting, only about 5" wide. The pastel assignment in my upcoming course is framed as a landscape. This piece could just be my pattern.


  1. Glazing in oils has always been a bit of a mystery to me- I can definitely see the value of doing a chart, as you posted yesterday and will be watching your progress with great interest; Your glazed piece today really has lovely light and I agree- it would lend itself beautifully to a smooth surface; I can already visualize it finished, with a gorgeous depth of subsequent glazing and framed with a simple soft gold moulding.
    ~ gretchen

  2. You know, I think I sometimes miss egg tempera's ability to lay down glaze after glaze.

    I kept wondering why the light just seemed so bright. After cropping about this way and that, it seems that having the reflected light makes that brightness. Try cropping out the bottom. Adding the darks on the right is a plus.