6″ x 6″ oil on board
I admire the paintings of Deborah Paris who uses an indirect painting method. I had those value studies sitting around from last week so I decided to try some glazing.
This is after a couple of layers but I think I need to get some softer brushes for the technique to be effective.
Deborah Paris explains her method here.
I’m astounded at the difference I can see between this and your pear and plum study without glazez. It’s like you’ve upped the aunty altogether. I’ve never worked with glazes, but I think I’ve been bitten now.
Hi Bill. Thanks very much for mentioning me on your blog. Nice Pear! I enjoyed seeing your other work as well. You are right about the brushes. Bristle brushes leave tracks which you don’t want in glazing- a sable brush or softer synthetic work better. I actually use watercolor brushes most of the time. Happy Painting! Deborah
Thank you Steph. Glazing creates an interesting luminosity. I suppose it’s partly because light actually enters the painting through the transparent layers and shines out through them.
Deborah, Thanks so much for visiting and clarifying the bit about brushes. Your paintings are inspiring.
I love this Bill - I’d love to learn how to paint like this. Thanks for the link to Deborah’s work!
your pear is beautiful Bill, lovely lights and darks!
Ronell
Really great Bill!
I love the fact that you don’t over-do your paintings. They always speak of whatever object it is you’re painting, there’s a nice raw quality to them.
You’ve given me a great idea. The leaves on the pyracantha I’m studying at the moment cast amazing translucent green shadows on the wall behind. Oil paint, even thinned down, is working out too dense, so it sounds like a glaze is the answer. You are a clever chap. Thanks. I know what I’ll be doing this evening.
I really like seeing artists work on several paintings of a subject with a different approach (technique). his one is very inviting.
Bill, I finally finished “Has Modernism Failed?”. Love, love, love this book!!! I think anyone who wields a brush should read it. How come you stopped painting after reading it?
An interesting experiment, and very pretty results. When I tried the technique in the past, I liked the results, but didn’t like the process–it felt too left-brained and divorced from the response to the object or place. Maybe it was due to having to stop and wait for layers to dry, I’m not sure. This is a nice painting, it still looks like “you”.
Casey and Ronell, Thank you so much for your continued support
Ambera, Nice of you to stop by. You say the nicest things
Steph, I’m glad to be of service
Frank, I appreciate that. I’ve gotten a lot of mileage out of this poor pear.
Sylvina, I’m glad you enjoyed the book. I’ll contact you privately to discuss it.
Kathy, Pretty? I’ll assume you meant that in a good way. Pretty is something my work is rarely accused of being.
It was fun to do these for a few reasons. One, I had these otherwise useless value studies laying around, Two, I could lay down a glaze in a few minutes and then go on to work on something else, Three, I started out as a printmaker and have an appreciation for indirect processes.