This is the first large glazed painting I have finished! I am happy with the results and I think it shows potential for the future.
From start to finish:
Next time I do one of these paintings I want to record each layer of glazing, which didn’t always happen here, and perhaps use a tripod and a camera to photograph the painting from the same angle each time. The result would look cool!
This is the finished painting:
What works well
The glazing adds so much atmosphere to the canvas. The brushstrokes fade into a haze. The colours are so much more radiant than any painting I’ve done before.
The layering of colours creates some strange coloured effects which draw the eye towards the surface of the canvas. There is something strange and interesting about the colours.
Having lemon yellow in the column of light works really well. I first tried the light with just titanium white, but it looked uninteresting. Using the yellow adds a strangeness to the light and gives the painting some vibrancy.
Glazing highlights with a titanium white gaze worked well to bring out highlights in the painting.
This glazing technique with the brushstrokes combines old painting with new and I like that!
What doesn’t work
The painting is quite gloomy, which works well for the grey, cloudy day this painting is based on, but there is perhaps a too little grey/whitness from the sky.
The texture of the white light is too patchy. This comes from my impatience! I need to wait a full 24hrs between glazes, and build up much thinner glazes over a longer period of time. This would give the light a much softer and more radiant glow, and really improve the painting.
Comparing old and new method of painting
How different they are! The new painting has a stillness to it that the old painting doesn’t have. The older painting is so gestural and immediate, but the newer painting is quiet and aged somehow?
The older painting looks so much more refined and worked on to maximise my intentions. You can see I have much improvement for the newer painting method.