This is the time lapse video as promised in last post. When you are viewing the video, you will notice the brush appears to be a ‘blur’ at the blending of the shy colours. This is a technique I use to create the ‘misty’ effect in skies or water surfaces. Basically, you place the colours in their approximate positions without a lot of medium in the mix. With a wide flat long bristled brush (a ‘filbert’ shape is the best) you swipe across the surface of the painting at approximately 45 degrees. You repeat the process at right angles to the first strokes. This is a process which requires a bit of practise. A light touch and speed in the ‘swipe’ gives a better result.
The things to watch out for:
Over run of the brush strokes onto other parts of the painting. It is better to apply this technique before you paint-in any surrounding areas. If you refer to Woodland Stream you will see a similar method to produce the surface of the stream. This was applied before any details of the stream was painted.
The process effectively removes any ‘brush marks’. You might like this, but I don’t. I think it looks ‘machine’ like, a bit like an air brush effect. So I will reintroduce the marks of the brush after the blending is completed.
Because of the lack of absorption of the surface the painting is taking longer than usual to dry. I thought when I finished it looked as if something was missing and I was prepared to make additions when the painting dried. Now I’m not so sure, it looks OK. Something missing can add to a painting.
Should I be worried about painting on a non absorbent surface from the point of view of the paint not staying stuck? I think it will be OK for a few decades. I have a painting I painted about 1970 on shiny wallboard which was a commercially sealed board (manufactured locally in a Bowaters factory, now long gone) and although it is not stored in ideal conditions, still looks to be in good nick.
I’m thinking about a ‘blue’ still life. Glass with a slight touch of blue, blue ceramic…