Discussion in 'vBench (Works in Progress)' started by Ron Tamburrini, Jun 15, 2011.
Any one use this style.
I'm glad to see this post as I'm curious myself. I am currently trying my hand at oils and trying to determine if it is more advantageous to let the base coat completely dry before proceeding with the highlights and shadows. Can the method of blending still be done smoothly on a dried coat of oils?
these are my questions also,as I blend wet on wet
ive have always painted in oils and over the years i have found that both techniques can work well. i.e i will paint a face in several different sittings letting each coat dry in between, you will still get an even coat over the whole face as long as the paint isnt put on too thick. I always leave the base coat to dry for about 24 hours before i start highlighting and lowlights. The thing with oils is that you have plenty of time to alter it if your not happy with it and if it all goes pear shaped you can wipe it off and start again.Just experiment, its a great medium to work in and will give you many different finishes depending on what your after
My experience with oils is that the finest blended effect is done wet on wet. Having said that there are times when you just cannot get to the next layer and are left with either laying down fresh oil at the next session and go over that, or do it wt on dry. The wet on dry amounts to feathering out the wet layer and this does make for an acceptable (to me) effect. Wet on wet is better though.
Hi Ron I use this style on all of my figures.After I have done most of the work wet on wet,I then go back wet on dry for extra shading and highlights.I use it on all areas of the figure including the face.
That's exactly what I do as well.
I do that to.
Ditto, what Marc said.
I start with wet on wet for most colors. This gives me my variety of mid tones and subtle shading over large areas like clothing. Wet on dry gives me a variety of effects including stronger highlights and shadows (flesh, leather work, worn edges of clothing, etc.). In addition, oils being basically transparent act as filters for the color underneath, allowing you to use things like Burnt Umber for shading flesh. This keeps the warm flesh tone where using that color wet on wet would grey the flesh out. Practice with these techniques and you will develop quite a repertoir of skills.
I also use this throughout having laid moderate lows and highlights wet on wet then further highs and lows wet on dry,you cannot really do it all at one sitting,you can also sharpen things up this way moreso than wet on wet. I normally thin the oils slightly at this stage also.
Are you Thinning the paint with anything when when doing wet on dry,
When i let the oil soaked out (bluepaint's) i just use a little tip of my brush with white spirit. But not much. Only enough to let the paint spreadout easy.
I know there are guys who use more thinning, almost washes.
I tend to thin with mineral spirits a bit for the shadows but rarely for the highlights.
Ditto David Mitchell
Cheers Dave Lane
Try Poppy oil for a thin wash on the flesh !
I have never done wet on wet, all my figures are done wet on dry. It is a slow way of painting as you need to leave the oils dry for 24hrs or more before the next coat, but I only get a few hours a week to paint so it suits me fine. I dont thin the paint any to add the next layer of paint for feathering purposes as i find it feathers just fine with out it. My technique is to paint the base coat (usually acrylics) and then add oils starting with the shadows and then adding highlights in varying stages until i am happy. At the end I will add washes or spot washes of oils to give some more depth to creases and around buttons etc.
Thanks for the info,
quick question, when you do the washes what do you thin with, because iI find if i thin with spirt it dulls things down to much, in the past life I have tried thinning with liquin
but if my memory serves me well it added to much gloss.
all these questions will be driving people mad but i have been away from the hobby for many years and things have moved on so much.
I use just straight low odour mineral turpintine to thin. Getting the glossyness or dullness doesnt concern me a as I tend to airbrush a varnish (either matt or semi-gloss or gloss) depending on what I'm trying to depict on a figure. For flesh, I use a semi gloss just lightly dusted over to depict the natural sweat/greasyness of human skin. For clothing I generally use Matt coat as it gives a great dull finish. I use Model Master varnishes for this. If my use of oils leaves the desired finish that I am after, I wont varnish at all.
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