Face Study no. 17 – acrylic and oil on wood panel, 6″ x 8″
I always lose steam by the end of the week, so today’s painting for the 30 in 30 challenge might be a little late…
On the plus side, I might have figured out the best working method for me:
- Apply acrylics for the base “flats”, smooth where possible
- Paint the eyes and other fine details in acrylics ONLY
- Paint over only certain areas in water-soluble oils as needed.
And that way, I’ll get my nice, smooth surfaces, and my fine detail, and not want to tear my hair out! 😉
In case you were wondering, this painting is 90% acrylic. I only painted over in oils parts of her nose, lips, ear, and the lower part of her cheek.
This one’s a-goin’ in the garbage, yes sirree!
Well, it had to happen eventually: I finally conducted an experiment that ended up being a near-total failure. This one definitely put the PAIN in painting.
We have two bottles of oil (both Holbein products) that go with our Holbein water-soluble oil paints. The first one contains linseed oil (which I have used with some success), but the other contains a darker liquid, and it’s called “Painting Oil Medium – Water Soluble Blending Oil”. This confused me somewhat because that sounded an awful lot like what linseed oil was supposed to do. Were these products interchangeable, then? Short answer: NO.
First of all, even with proper ventilation, this stuff REALLY stinks… which kind of defeats the whole point of using non-toxic water-soluble oil paints, no? Secondly, it didn’t deliver on its promise of being a blending oil. Oh sure, it extended the paint somewhat, at first… and then it started to clot and gunk up on my palette. Behold the beautiful results above!
Anyways, between the smell and the clumping, I ended up rushing through the painting. My only goal was to approximate a portrait, then get it downstairs to off-gas in my garage as quickly as possible.
Oh, did I mention that I chose to paint on an ultra-smooth panel? Well, guess what? I now know that oil paint doesn’t like being scraped across ultra-smooth panels! Who knew?
On the plus side, I do like the unfinished clothing and the eggshell white background.
Every now and then, I like to get back to basics and do a proper study. Since most of the paintings that I have planned center on portraits of women wearing late 60’s – early 70’s clothing, an image from my copy of La Fileuse (a French knitting pattern catalog) from 1968 was a good place to start.