R.S.Hansen
May 27th, 2005, 07:10 AM
http://www.studioproducts.com/forums/viewtopic.php?t=4652&postdays=0&postorder=desc&&start=25
I Have just read this thread
on the the Cennini forum, about Phil Hale and his
oilpainting technique and I would really appreciate
if anyone would comment on that.
Technique-wise, it seems to me from looking at this book that he often lays down some thin color on top of a light-valued surface and then builds form by subtracting paint with a clean brush which probably has a little turps in it. I would guess that the brushes are bristle, judging from the obvious subtractive hair marks. You can especially see this in the simplified dark face picture. Berry also does this, as is evident in the forearm and leg of the seated woman. I think this technique is used to great effect by both painters.
It seems that this technique was not used in the face with the frame on it. I do notice, however, that all the brush strokes in this piece suggest that a crisp-edged bright or flat was used. I imagine he used brights almost exclusively in this piece, since there is very little evident splaying of the brush.
it seems that he used the subtractive technique (I don't know what the proper term for this technique is--and frankly, I don't care) first by laying down a dark earth color and then removing it with a brush to lighten values. Then, in select spots, he layed down spare strokes of light grey or white to lighten values further and to give the greyish silvery appearance appropriate to a fish. That seems to be it for that picture.....By the looks of it, I'd say he works fast. On the other hand, he might hesitate and ponder every brushtroke for 10 minutes before he lays it down, speed being little more than a well-crafted illusion. Even still, he could be prolific, as simple as his work is.
Would this be in any way similar to Frazetta ot Jeffrey Jones?
I Have just read this thread
on the the Cennini forum, about Phil Hale and his
oilpainting technique and I would really appreciate
if anyone would comment on that.
Technique-wise, it seems to me from looking at this book that he often lays down some thin color on top of a light-valued surface and then builds form by subtracting paint with a clean brush which probably has a little turps in it. I would guess that the brushes are bristle, judging from the obvious subtractive hair marks. You can especially see this in the simplified dark face picture. Berry also does this, as is evident in the forearm and leg of the seated woman. I think this technique is used to great effect by both painters.
It seems that this technique was not used in the face with the frame on it. I do notice, however, that all the brush strokes in this piece suggest that a crisp-edged bright or flat was used. I imagine he used brights almost exclusively in this piece, since there is very little evident splaying of the brush.
it seems that he used the subtractive technique (I don't know what the proper term for this technique is--and frankly, I don't care) first by laying down a dark earth color and then removing it with a brush to lighten values. Then, in select spots, he layed down spare strokes of light grey or white to lighten values further and to give the greyish silvery appearance appropriate to a fish. That seems to be it for that picture.....By the looks of it, I'd say he works fast. On the other hand, he might hesitate and ponder every brushtroke for 10 minutes before he lays it down, speed being little more than a well-crafted illusion. Even still, he could be prolific, as simple as his work is.
Would this be in any way similar to Frazetta ot Jeffrey Jones?