color theory experiment #2
If you’d like to see the process of layering oil paint in glazes, see the photos below, stripping off the layers all the way back to my underpainting.
This step shows the horse’s head moved higher on his neck than my model. And he’s now underpainted in reddish brown.
I’m calling the foreground grass finished at this point. I had a devil of a time with it. It was difficult to mix the right color, and one day I put a glaze over the grass of a more yellowish tan and later, wasn’t sure if it looked ok. So I left it overnight to decide the next morning. When I got up the next day, that color looked sooooo bad on there, I almost went back to bed. hahahahahhaha So I used turp on a paper towel and wiped the offending tan color off before it was too dry, and tried shades of green again, which looked better. That’s one thing I like about painting this way. You have time to make corrections, and you can totally redo a large area.
This photo shows the sky and background vegetation finished.
The foreground grass is still too choppy, but ok in the showing of depth, because I grayed it up a little behind the horse, and didn’t gray the green in the foreground.
I don’t know how much you can see on your computer, but that paint is on there thick.
This is my 2nd layer of glazes on the sky. I painted it on with brushes, then went back in with my palette knife to blend the edges between the colors a little. The palette knife made a texture like icing a cake. I left the texture in it.
Then for the background vegetation, I mixed up a neutral medium gray. a tan with gray, and reddish gray, and painted on blobs of each color. Then came back in with my palette knife and scratched lines through the colors to make a grassy or tree like texture. Some of the violet ground shows through.
I went to green on the foreground from the reddish brown at this stage. Totally flopping the spectrum on the grass. Hoping that makes the green nice and bright.
This photo shows one layer of glazes in pink and blue on the sky, and one layer of glazes in reddish brown on the foreground. You can see a stripe of gray behind the horse.
When I did the glazes on the sky, I painted into the horse’s head with my sky colors. I almost obliterated the whole head. Also I cut into the horse’s body with sky colors. Not a problem. I wiped off some of the paint so I could estimate where his head should be. It took the green off all the way back to the violet tint.
So, at this point, I have a green horse, that I want to finish as reddish. And a reddish brown ground that I want to finish green. Both the horse and the ground are painted in the complimentary colors of the finished colors I wanted.
The violet tint on the canvas shows through a lot at this point. Even when I’m finished, and the paint is thick layers, I still think the violet is influencing the way the colors show up.
This photo shows my horse underpainted in green. After I finished the underpainting, I decided to move the horse’s head up to a more natural position, which means, this is going to get painted over. You can see the violet tint on my canvas. I couldn’t wait to kill the violet, so I went over the sky area with a neutral gray. Some violet is showing through. And it makes the neutral gray look greenish.
I think this color experiment came out better than my 1st try with the horses I called Wild and Free. I’m going to try the violet tinted canvas for one more painting.