Oil painting techniques - work in progress

Back to the drawing board - session 3 on the kechak painting.

The background done . . . darkened with Payne's grey and burnt umber to give definition to arms and body form to make them pop.

Depth perception is achieved by glazing (linseed oil and burnt umber applied smoothly) over selected areas. This makes foreground subjects jump out if that is the aim. Selection of areas to glaze has to be logical and depends on perspective.

The check pattern of sarongs are highlighted to add form and movement.

Whilst drawing ability is important to create a nice painting, rendering with paints to bring out lines, shape and form can be a major saving grace.

Passive momentum implies all forms flowing in one direction. Hence the two figures at the far right were added as mirror images for effect.

Adding white to colour enables coverage as opposed to translucency.

When mixing, more oil preserves the life span of the painting as there will be less cracking. Turpentine causes drying.

It turned out that this was a good choice for exploring the right brain . . . but it is still work in progress.