Friday, October 11, 2013

Still Dreama-ing

I'm still mesmerized with Dreama's process and have been reviewing it in my mind all day.  Unfortunately I won't be able to work on those paintings until late tomorrow because I have a portrait session with model in the morning but I will try this technique there on the portrait.  I'll report my results for sure.

Here are the two paintings that we did during the workshop with Dreama.  The routine was that she would talk us through the first third of the process and then we would go to our easels and paint up to that point.  Then a second talk and demo through the second phase and again we go back to our easels.  After lunch the final phase.  Actually I'm not sure about where lunch fell in, but lunch was provided and it was tasty fresh and wonderful each day.

The key to the procedure is to use only transparent paint on the first layer, not necessarily a notan but to be planning for the next layer and how this under painting would work it's way up through the second layer which uses your full palette.  Importantly a 50/50 mix of turp and linseed oil is the medium for the first layer and then as little medium as necessary for the second layer, preferably only paint.  It is meant to be an alla prima application, wet into wet.  If heavier application of paint is desired then more oil (as is usually the case, fat over lean) would be used.  In this way the paint will dry properly from the outside in.
Unfinished Mary Pyche painting, I'll be increasing the intensity and key.

Unfinished Mary Pyche painting, I'll be making adjustments to the design.
 Here is the community effort painting (the paint-a-round or Musical Painting) which I won't change a thing on and by which I will always remember this great group of painters and the experiences of the past few days.
8x8" Sunflower by Musical Painting
Tomorrow--portrait session, I wonder how this process will work then?

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