Grey colour

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megroot

A Fixture
Joined
Jan 7, 2004
Messages
28,322
Location
Netherlands, Arnemuiden
hello guys.

Yesterday evening i was painting a coat in grey. I made this grey from Raw Umber, adding white and a little touch of Peyns Grey.
Shading was done with more raw umber and the deepest shades with black.
Highlighting was done with more with to the base colour.
Well, everything looks allright so i put the figure in the drybox (100 w Bulb).
So this morning pull out the plugg and going to work.
This evening i returned from work the first thing was to look at daylight to the colours. Well i was no longer satisfied because it looks muddy grey.
I do not know what is happened..
Now i wonna do a glace of grey. My quistion is: Is it possible, how many liquin should i ad to the paint (what consistency) and would it work.
O, i paint with W&N oils.
So please any help is welcome.

Marc
 
My friend marc, as you know never judge a figure painted in oils, unless is fully dried from a drybox. The lights or shadows when they are close to the basic color, they tend to disappear when drying in that way. What I do, is to use the same technique as you did.. but then, when it's fully dried I go with a color or a bit darker (in case of shadows) and apply it carefully on the shadow area. By doing that, I tone up the shadows and highlights. Careful though.. do not overdo it... choose a color very close to the shadow or highlight.. and apply it smoothly and slowly.. so you don't lose the blending.
I hope that you understand what I'm trying to say. If you have any further questions.. feel free to ask away.

Xenofon
 
Marc-

I have to agree. I am making a very strong effort to only paint Wet on Wet as I find I have the best results by not doing the wet on dry. Mainly, becuse of the fading that you have noted...

So, you have to be quite bold with your contrasts in the wet on wet phase. :)

I also recommend testing your palette out on a plastic card. This will give you a pretty good idea of what to expect when you put it on your figgie.

Keith
 
Marc,

One of the problems you have is simply the question of the undertone of the colours you used. I explain myself: raw umber has a red undertone and Payne's grey a blue undertone. Then the blacks of which you didn't mention which one you used: ivory black has also a red undertone whereas lamp black has a blue undertone. Mixing all these whitout taking care and you'll simply get a 'muddy colour'. Go back to the colourwheel and the colour theory and you'll know what I mean. Otherwise, we'll talk further next Tuesday.

Johan ;)
 
Marc,

Which colour effect do you need, a brown grey (warm) or a blue grey (cold)? I don't think that it will be possible to turn a brownish grey into a blueish grey with a glaze. I presume that is the tint you are searching for. The word 'glaze' says it itself: it's transparant, so the brownish colour will shine trough and the effect will stay muddy. Bring your figure with you next Tuesday and then we can discuss this further.

The amount of Liquin you use depends on the effect you want, from a mere staining to a more consistent colour. That's something that you have to discover yourself. Mind though that the Liquin will give the paint a satin or shiny look, even when you bake the paint in the oven afterwards.

Johan ;)
 
The way I do it Marc is the following: I make a mix for the shadows and one for the highlights first. This mix need to be very close in color with the color of the shadow or Highlight. The reason for doing that is the blending that you don't want it to disappear. You can't brush straight black lets say in a shadow.. cause you will lose the already blended areas. Also note that you take very little paint on your brush as a time, you pass it from the shadow area and spread it accordingly, toning up the areas that need to be toned up.


Xenofon
 
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