Ever purchase some art supplies that fail to live up to the hype, or even sadly disappoint you? I had that experience just recently.
While stocking up on some stretched canvases, I decided to try a different brand. Royal & Langnickel stretched canvases came in economical packs of ten, and I thought “Well, my usual Omer Deserres are just fine, but maybe these are better?”, and, um… no.
I felt like I was trying to paint on burlap that had been given a generous coating of water repellent! Worst of all, I was also testing out a new set of Daler-Rowney water-miscible paints at the same time. How could I tell how the paint was behaving on such a lousy support?
And here is a close-up of the canvas texture, just for fun. Smooth as a baby’s bottom, no?
Ah well, at least I’m happy with how the image turned out! I had started a second painting at the same time, and because I had only put down a value study in acrylics, I gave that canvas a few coats of matte medium in hopes that it would kind of “fill in the holes” – but I think it was only moderately successful. As a final attempt to salvage my investment (and I say that with tongue firmly in cheek because I am a total cheapskate), I slapped two more coats of gesso on two unused canvases. I don’t know if I feeling brave enough anytime soon to give those a whirl, but if they ALSO turn out to be failures, then it looks like my kids are going to inherit a whole bunch of stretched canvases, whether they like it or not! 😉
Study of Lilias Torrance Newton’s “Lady in Black”, oil on canvas, 8″ x 10″
I thought that it might be fun and different to try copying a proper oil painting. I was blown away by the Beaver Hall Group show at the Montreal Museum of Fine Arts a little while back, so I opted for a classic 1920’s portrait by one of my favourite painters from that group, Lilias Torrance Newton.
Face Study no. 16 – oil and acrylic on canvas, 6″ x 8″
Here she is, folks: my final (finished) painting for the “30 Paintings in 30 Days” challenge! I don’t know if I can really call them daily paintings anymore, though, because I’m taking longer and longer to finish them, but I digress…
Some notes about this specific painting:
painting albino skin tones is NOT an easy feat. If you’re up for the challenge, proceed with caution! 😉
I finally realized with this painting that it’s in my best interest to add another coat or two of gesso (with some light sanding in between) to my pre-gessoed canvasses. The basic Omer Deserres canvasses are fine, but these small Apollon ones would pill here and there and leave tiny bits of matter in the paint.
Things I’ve learned about oil painting in general thanks to this painting:
I really should use more paint.
Next time: A complete rundown of the pros and cons of doing this daily painting challenge – what I learned, where I stumbled, how often I asked myself “why the frig am I doing this?”, etc! Stay tuned…
I must be moving up in the world because I’ve graduated from canvas boards/panels to actual stretched canvases!
This one looks better as a .jpeg than it does as a painting, for some reason. I can’t say I’m incredibly happy with it, and that’s mostly because I think I started to treat the oil paint like watercolour*. I was so focused on keeping the skin pale – knowing that if I made it too dark I wouldn’t be able to fix it later, because, y’know, OILS – that I may have made this painting a little linseed-heavy. Consequently, I had tremendous trouble painting her eyes, eyelids, and eyelashes. Her hair is the only part of her which is actual meaty PAINT.
And ok, I may have exaggerated her wall-eyes.
Tomorrow: back to acrylics!
*Speaking of watercolours, I keep wondering if I should give them a go. I’m at the halfway point in the “30 in 30” challenge, and quite frankly, I’m getting a little bored**, and may need to change things up a bit.
**But honestly, how much novelty was I expecting when I decided to paint women’s faces for 30 days? Three eyes? A nose growing out the top of her forehead??