This is my finished painting “Duplicitous Dionara and Devious Diandra”. It is 11 x 14 inches, oil on wood panel.

Duplicitous Dionara and Devious Diandra

Duplicitous Dionara and Devious Diandra (detail)

For this one I used a monochromatic underpainting / dead layer which I later glazed over in color. Here are the work-in-progress posts I did which include some photos of the dead layer: Duplicitous WIP posts

I spent about 30 hours painting this over about 8 months. I’m not sure how much time I spent doing studies and planning but I would guess 10-15 hours. That’s more than I usually spend planning…it helped me to avoid having to change stuff in the middle of the project.

Overall I spent the most time on the hair. When I first started this project it was supposed to be a quick one…I ended up making the hair complicated though and spent a rather long time on the faces too, so the project ended up being much longer and more complicated than I had expected.

Here are the main oil colors I used for this painting:

Underpainting of flesh areas: Raw umber and titanium white

Flesh tones – glazed and opaque color: Yellow ochre, cadmium red hue, titanium white, raw umber, burnt umber

Dress: Titanium white, phthalo blue, raw umber

Here are a some of the preparatory drawings I did for the hair and dress as well as a detail of the main drawing:

Hair studies for Duplicitous

Dress studies for Duplicitous

"Duplicitous" sketch

I don’t look on the studies as being just useful for this painting since they help me increase my drawing skills in general. On the hair I also wanted to learn how to do ringlets and curls better and I’m sure I will use that style in other works.

Categories: completed, dead layer, oil painting, portrait, surreal by Airn
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It’s been a few painting sessions since my last post on this…since then I have started glazing transparent color over the “dead layer” underpainting of the faces and done more work on the hair:

Duplicitous work in progress (detail)

No part of this is quite finished yet, but the hair ringlets and faces probably only need another session or two. I might add ribbons to the hair and dress and am debating what else to do on the dress, I don’t like the way it looks right now. I’m also going to put something in the background; I will probably paint a traditional-looking wallpaper pattern.

I’m happy about the glazing, it works very well over the dead layer and is surprisingly quick to do, like an hour or less was spent on each face adding color. In the same and subsequent sessions I also add opaque highlights, clean up lines, darken shadows, slightly alter features and fix any issues I notice, etc.

Categories: dead layer, oil painting, portrait, work-in-progress by Airn
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One of the paintings I am currently working on is below…it’s tentatively called “Duplicitous Diandra and Devious Deirdre”. I’m working with oil on panel and doing a dead layer underpainting for this. I’m definitely having some flashbacks to my Petrus Christus master study and have also been trying to channel some Hans Holbein the Younger as well

Here’s what I have so far (detail):

"Duplicitous" work in prog April 11 2010

This is the drawing I did for this, which I transferred onto the panel:

"Duplicitous" sketch

Categories: dead layer, drawings, oil painting, portrait, work-in-progress by Airn
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I finished my Petrus Christus master study. This painting is usually referred to as “Portrait of a Young Lady” or “Portrait of a Girl”, etc. His version was painted c. 1470.

Here’s my version, completed and in a nice frame. Portrait of a Young Lady, Airn LeBus after Petrus Christus, 11×14 inches, oil on panel, 2009:

Portrait of a Young Lady, Airn LeBus after Petrus Christus, 11x14 inches, oil on panel, 2009.

My version differs from the original in many ways, mostly on purpose with a couple things unintentional

Here’s the original: Petrus painting at wikimedia

I wasn’t looking to copy the original painting exactly and did my own thing on stuff like the background, eyes, highlights, and overall tone. Also, because the original is very cracked and small I had difficulty seeing how some parts looked. The necklace and decorative metalwork of the hennin hat look a lot different than his.

Petrus Christus study - detail

I painted this with oil on panel, and used a “dead layer” underpainting in raw umber first for the face and body. After I was satisfied with the way it looked, I started glazing flesh tones over the dead layer, very thin, with bleached linseed oil and just a small amount of paint.

The main colors I used in this painting were mars black, raw umber, burnt sienna and burnt umber, vermilion (hue), yellow ochre, and titanium white.

I wanted to do the text inscription after looking at some paintings by Albrecht Dürer and Hans Holbein the Younger. That part on my painting was pretty painstaking to execute and plan; it was the most complicated text I have painted so far. I did it over 4 or 5 sessions, getting the overall lettering correct first and letting it dry before embellishing it, and putting the raw umber drop shadows last when the rest was dry to avoid smearing what I had already done. I lightly oiled out the area each time before starting a new session.

Here’s a photo without the frame, you can see the detail of the inscription and stuff better:

Petrus Christus study without the frame

One of my favorite things about this painting is that her gaze really follows you around the room. Anywhere you are, if you glance towards the painting she is looking right at you. It’s a little creepy

I spent about 45 hours painting this. The drawing took an additional 6 hours or so. A lot of the painting time was spent painting and repainting the metalwork and trying to figure out how to do that and the necklace. I spent at least 3 times longer on the necklace and maybe 6 times longer on the hat metalwork than I would have if I had known exactly how to proceed. So as always, this was a learning process…that was one of the primary reasons I did this painting in the first place, so I guess it worked out

I have two other posts about this painting, to see them look at the master study category.

Categories: completed, dead layer, master study, oil painting, portrait by Airn
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I just finished this painting, which I started in late November 2008. It’s called Graveyard Girl from the Dream City and is 11×14 inches, oil on panel. It’s a kind of surreal portrait of an imaginary girl in ornate finery standing in front of a tombstone-strewn night landscape with a dream city background.

For all posts about this painting, see the dream city category. I have a lot more info about this project in the earlier posts.

Graveyard Girl from the Dream City by Airn LeBus. Oil on panel, 11x14 inches, 2009.

I’m pretty happy with how this turned out, it has a kind of shining dark clarity which I think is unique. Painting on panel and leaving a lot of hard edges yielded a crispness which contrasts with the surreal nature of the painting. It took “too long”, but I learned a lot. A lot of time was spent on the face fixing some issues, and a lot on the clothing which I had not planned out properly and which I changed halfway through. So like many of my paintings, much time was spent re-doing stuff or experimenting / figuring things out. I think painting on panel is more difficult for me than canvas, but I can’t glaze in the same way on canvas so I have been using panel when I am going for harder edges and lots of glazing.

Total time spent on this: about 40 hours painting and 14 hours drawing and planning.

Graveyard Girl from the Dream City (detail)

On the clothing, I suffered from lack of reference material and the small size of the details. I wanted to do some gold embroidery like in the Ghent Altarpiece but after trying it for a few hours / sessions, I ended up painting over it and adopting a simpler approach. The gems in the middle ended up looking cool but part of the effect was accidental — I wiped off some paint and removed some lower layers by mistake. It made a kind of glow-effect that I kept and built on.

I like the final glazed-over face, even though I initially painted a dead layer that was too dark and it took me many careful sessions to lighten it. I left some parts “too dark” since she looks kind of corpse-like and it fits with the graveyard scene. I’m not quite sure if she is undead, or a ghost, or what. Her eyes follow you around the room though, so that must mean she is still alive

I glazed vermillion (hue) and yellow ochre over the raw umber dead layer underpainting to get the flesh tone. I also put more opaque white/yellow/vermillion for highlights and to lighten up the underpainting.

Graveyard Girl from the Dream City (background detail)

Once I finished this, I didn’t using retouching varnish. Varnish in general can really unify and deepen a painting and just overall make it look way better, but you can’t use a final varnish on an oil painting until it is truly dry; a general rule of thumb seems to be a year. You can put retouching varnish on when it is only touch-dry though, like maybe a week or two after your painting is done. I used to do that with all my paintings but a few of them are still sticky months later so I am going to stop using it. This one would be at major risk for the same thing, since many parts are thick with many fairly oily layers so I am already concerned about drying times.

Switching to mars black has helped, since it dries much faster than ivory black which I was using before. I also started ‘oiling out’ much more lightly after parts were sticky for many days due to too much oil in the oiling out and glazing process. Dust is also a major concern when the painting is sticky like that. Now I very lightly apply oil with my fingers and wipe as much off as possible, again with fingers or very gently putting a paper towel against the painting and running a finger over it to get the excess oil up. Even after a week of drying, rubbing a paper towel over the oiled-out painting seems to remove paint. I usually try to paint very thinly so depending on the color used and oil amount, a week is usually enough time for me to oil out and do another session. I use bleached linseed oil which I understand dries faster than normal linseed and also yellows less.

Who knows about all this stuff though, because scouring the web or books gives conflicting info, and there are so many different combinations of technique and materials which can yield different results. I just read books and search on the web, take everything I read with a grain of salt, and try stuff and if it seems to work I keep doing it.

Categories: completed, dead layer, dream city, oil painting, painting tips, portrait, surreal by Airn
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A couple months ago decided I should take a bit of a break from my own original paintings and study some more old-master type paintings and drawings in order to learn.

Here’s one of the paintings I am working on, I started this in mid-February 2009. The original is by Petrus Christus and is referred to as Portrait of a Young Girl or Portrait of a Young Lady, etc. I’m painting it with oil on panel in an 11×14 inch size, although I think the original is closer to 8×10 inches:

Petrus Christus study work in progress

I found two fairly hi-res photos of this work, one is very cracked and the other seemed to have less cracks in it. After comparing the two though I realized that it just looks like they blurred one to remove the cracks, as well as cropped it, and the coloration and contrast is way different than the other and it’s even a bit rotated too! I now know that I need to seek out a bunch of photos of a famous piece of art since they can be wildly different.

Even though the drawing is pretty simple, it took a while to get her to look the same, she kept looking older in my version. The original is kinda odd, especially the nose and the right eye. I noticed that the original looks really strange when you look at it in a mirror. This is the first master-level painting that I have seen that looks weird when viewed in that way, every other one I have tried looks perfect in a mirror.

Partly because the original is so cracked and it’s hard to see some details, I am deviating in many respects from the original. I’m basically duplicating the form of the painting but partly in my own style. One thing that is awesome about this is that her gaze really follows you around the room, it’s rather eerie.

I did the face and skin in a raw umber dead layer underpainting first. Once I was satisfied with that, after many sessions and many hours, I started glazing transparent combinations of yellow ochre, burnt umber, and vermillion (hue) over the dry underpainting. The background was also painted with a few layers of glazed burnt sienna and burnt umber.

I still have a ways to go on this one. The decorative band around the hat has been very difficult, but I think I am close to figuring out how to do it.

*Update: For the completed painting see: http://www.chromaticblack.com/completed/petrus-christus-study-completed-portrait-of-a-young-lady

Categories: dead layer, master study, oil painting, portrait, work-in-progress by Airn
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I’ve been working on this painting since late November 2008, this is tentatively called Graveyard Girl From The Dream City and is oil on 11×14 inch panel.

For all posts about this painting, see the dream city category.

You can also jump to just the finished version here: graveyard-girl-from-the-dream-city-completed

Graveyard Girl from the Dream City (work in progress)

Detail view:

Graveyard Girl from the Dream City (detail) - work in progress

Planning, transferring the drawing, imprimatura

I initially wanted to paint something like a combination of Pigtail Gurl and Dream City in a larger format and with the idea that I can do a better job now that I have more experience. I wanted to experiment more with the “dead layer” technique too, especially after trying it with my Christmas Angel painting and having some success with it there. As I was planning it out the drawing got more complicated and the buildings and such ending up being a bit less weird than the Dream City, although I will still use a similar palette and the skyline and sky will be similar.

I used Poser software to create a model of the girl that I lit and posed as I had envisioned and then used that as I would a normal photo reference. I did the line drawing all in Photoshop, and then printed it out at Kinko’s. I also did some color study stuff in Photoshop. I used graphite transfer paper to get it on the panel (tracing over my printed-out drawing). This is the first time I’ve tried this technique and it worked well, but I dislike the overall process and aesthetic of digital art so on projects I have been going back to traditional media (pencil/paper/etc) for everything, including the planning and initial drawing. After recently looking at some Albrecht Dürer stuff I’m even more inspired to get better at drawing and to generally eschew digital techniques. I ended up changing the drawing considerably later, I will post that later as a comparison to the final painting.

I went over the drawing on the panel in sepia ink (ultra fine Sharpie) and put a thin wash of olive greenish color over everything (imprimatura) using Turpenoid, a little Galkyd Light, tiny bit of red ochre, yellow ochre light, and ivory black. It really didn’t need to be that complex…a couple times recently I have used a few transparent coats of acrylic, very thin to keep it smooth, just black and yellow, for an olive green color. The imprimatura is partly to wash away the graphite and seal the pen, and partly as a ground for the next layer since the panel I was using was too smooth and shiny. You can also let the brush strokes show through to add variety and texture, although in this one I didn’t do that. I made sure not to use too much turps as it will cause the paint to lose cohesion, that happened to me on my Two Mushrooms painting. Using Turpenoid in the paint is not my favorite thing, that’s another reason for me to use acrylic for the imprimatura.

Dead layer underpainting

With the girl’s face, I am again glazing over a raw umber dead layer underpainting. It is very nice to just focus on the tonal values and such without worrying about color initially.

My first session of underpainting for the face ended up being way too dark, partly cause I had a rather bright light on my easel and it was too close to the painting, duh. I’m getting better about physically stepping back from the painting a lot, moving the light around and viewing under other lights, looking at the painting in a mirror, upside down, etc. I also know from reading and my experience with “failed” glazing attempts that the underpainting should be rather lighter that desired for the final result, since I will be glazing onto the shadows as well as the lighter areas later, darkening most of it except the highlights.

Here’s a photo close to the end of the dead layer stage (although this was too dark!) and then a pic of the work-in-progress after I had glazed on some color:

Dead layer version of Graveyard Girl from the Dream City

In the first dead layer underpainting session I spent about 3 hours mostly on the face. I used raw umber and titanium white with no turpentine, oil, or other medium. I mixed up 4 shades on my palette and was happy at first to have a fairly nice reference (for a change) from my Poser rendering. Later I bemoaned the poser reference for the lack of realistic details, a real photo would have been superior.

I used several of the same-sized flat and filbert / tapered brushes so that I could use one for each value of umber…I painted all the darkest areas, then moved up in lightness and painted a bit wet-into-wet, doing a little blending afterward with clean dry brushes.

After that I spent several more sessions working on the face, lightening further and defining features, etc. It seems generally better to err on the side of it being too light rather than too dark…as long as you don’t lose the drawing and definition between elements, it’s easier to go back and darken shadows than to lighten everything up. It can take several sessions to cover up a dark area with light since I paint thinly, and it can look funky and chalky putting white over a darker color when the dark shows through.

Palette and glazing over the dead layer

I used cadmium yellow light (hue) + mars black for the greens so far, and have been using fairly fine bristle brushes a lot lately. Pthalho blue for water and sky, french ultramarine in the sky too. Clothing is prussian blue. For black I use mars and white is titanium.

The flesh tone glazing has been vermillion and yellow ochre with bleached linseed oil. Before I glaze I “oil out” the skin area by rubbing on the oil with my finger, letting it sit briefly and rubbing off the excess with a finger or very carefully with a paper towel. Dust has been a major issue with glazing, I constantly need to check for and remove dust from the painting as I am working on it. Storing the painting in between sessions face down carefully leaning against a wall helps. Dust on big brushes is probably the biggest culprit.

So far I have spent about 24 hours total painting this with another 10 or so drawing and planning.

The next post on this will probably be in a few weeks and will be the completed painting.

I am going to do a separate post later about what I have learned so far about glazing and using a dead layer.

Categories: dead layer, dream city, oil painting, painting tips, portrait, surreal, work-in-progress by Airn
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Update 04-08-09: I finished the Bouguereau painting, here’s the completed version.

Update 06-19-09: The Petrus Christus study is done too.

Here are a couple of the projects I am working on right now.

Both are based on masterworks, one is “A Calling” by Bouguereau, the other by Petrus Christus, a work referred to as “Portrait of a Young Girl” or “Portrait of a Lady”, etc. I’ll post more about them separately later, probably when I am done with each. I’m painting the Bouguereau direct on canvas, no underpainting, and the Petrus Christus one is on panel and I’m using a ‘dead layer’ monochromatic underpainting (raw umber and white). Fun!

Bouguereau and Petrus Christus studies

Categories: dead layer, master study, oil painting, work-in-progress by Airn
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Check out the category “dead layer” for more paintings using this technique.

This was my first serious try with using a monochromatic “dead layer” which was later glazed over with color. I’ve tried some glazing stuff before but I really had no idea what to do so it didn’t work out very well. This time I used the technique put forth by Alexei Antonov which uses 7 layers to (hopefully) yield a glowing painting that’s not physically possible to do without the transparent glazes. Plus “dead layer” sounds cool and is fun around Halloween, which is when I started this

Here’s the finished painting, this is “Two Mushrooms” by Airn LeBus, oil on panel, 10×8 inches, 2009:

Two Mushrooms dead layer oil painting

There are 3 free tutorials on artpapa.com, one of Antonov’s sites; I had to bounce back and forth between the apple and rose one and also peek at the forums and do other internet searching to feel more confident I understood what I was supposed to do. I still ended up being a bit confused and not sure if I was following the instructions correctly. Antonov’s paintings are really breathtaking by the way, I would certainly call him a modern master and feel comfortable taking his painting advice.

Here are 4 stages of this painting, including the shadow layer, dead layer, a later color layer stage, and the final painting which changed a bit from the initial plan:

Some of the Two Mushrooms painting stages

I deviated in what I hoped were unimportant ways from his tutorials and guidelines, including using panel rather than canvas, using Galkyd at one point and bleached linseed oils, etc…I think much of his technique is designed to yield paintings that will last for centuries, but for this painting that’s not my top priority, I just wanted to try glazing with step-by-step instructions.

Planning

I chose mushrooms as the subject of this painting for a few reasons: since the drawing could be simple and I could get to the actual painting quickly, because they are weird and cool, and because I was visualizing them looking great glazed so they are a bit luminous and glowing when the light bounces off the brighter underlayers through the transparent layers of color.

I looked at some pix of mushrooms on the internet and did some quick sketches of them, then did some little thumbnails and decided on the composition and perspective. I was in a rush to start the painting so I just slapped something together…that’s pretty much been the case with all my paintings except the very recent ones, I was just so eager to paint for the first year or so I just started the painting without much planning.

Imprimatura layer

I drew the mushrooms on the panel in pencil and then in sepia ink, I just used a Micron pen. I put a ton of Turpenoid for the 1st layer (“imprimatura”) and it didn’t bind properly…it had plenty of time to dry but came off the panel when touched with a finger. I then re-did the imprimatura with approx 50% Turpenoid and 50% bleached linseed oil…that time it worked better.

Shadow layers

Next layer in Antonov’s technique is the 1st shadow layer…I did this with just burnt umber, Galkyd Light, and linseed oil. It dried quickly to a enamel-like finish which was probably not ideal. FYI I don’t normally use Galkyd, but wanted this to dry extra fast. I believe the point of the shadow layer is more for archival reasons, in some other paintings I have started recently I skipped that layer and went from imprimatura to the dead layer.

I repeated the process as above for the second shadow layer. At that point I was still not really sure how I was going to do the ground area around the mushrooms, but I wanted it to be pitted and worn stone. Of course it would have been better if I had planned out everything first.

Dead layer

Next came the dead layer. I ended up doing this in several sessions, it ended up being more like two dead layers. Before starting I tried rubbing an onion on the panel as instructed in the Antonov how-to guides and “oiled out” with bleached linseed oil, which I normally use. In some of the sessions my color mixture was more olive in tone…I used yellow ochre light, red ochre, titanium white, and ivory black. It was a bit frustrating to be honest, I was concerned about keeping the paint thin and smooth so it would dry quickly and so there would not be rough spots later when I glazed over it…I also regretted the lack of planning since I wasn’t really sure what to do on the ground around the mushrooms. The dead layer also did not always offer the coverage I was expecting, which is one reason I said it was somewhat frustrating. Overall the paint just wasn’t responding the way I wanted it to, the enamel-smooth surface due to the Galkyd was probably the main factor. I have started two other paintings on panel since this one where I did a dead layer in raw umber and titanium white over an imprimatura (no shadow layer) and those went on nice and easy (Christmas Angel and Dream City Girl). With those I used some Turpenoid and oil in the imprimatura but then just a tiny bit of oil or no medium at all for the dead layer.

Color layers

In any case I wasn’t too happy with the results and decided to move on to the color layers…the dead layer part was not as complete as it probably should have been. I let this painting sit a couple weeks while I finished The Well III, Cracky-Chan, and Dream City #1, and then thought about what to do for this to make it better. I decided it would look cool and mesh well to include a thin layer of water so it looked like a pond or swampy area in which the mushrooms were growing. I tried to find some good reference photos on the web but didn’t come up with anything good…so I ended up just kind of guessing what it might look like.

I tried to “oil it out” but the oil just pooled on the smooth, enamel-like surface of the painting…rubbing an onion slice on the dried painting did seem to help the oil absorb in better. I rubbed it in with my finger and then wiped off the excess with a paper towel. I was glad that I used less toxic paints because I used my finger for blending a lot in this session…I was using titanium white and cadmium yellow light hue which I think is less toxic than cadmium paints, it doesn’t actually have any cadmium in it. A lot of painters have said flake i.e. lead white is crucial and that titanium white will not cut it…I don’t believe them yet

After I added a water droplet, darkened the background, started adding the swampy water effects, and added a layer of cadmium yellow light hue and more shading on the mushrooms I started to get much more excited about this painting…see the image in the lower left of the painting stages photo above.

More planning and major changes

I decided to let it dry a week or so before continuing, since I was not sure exactly how to add the water highlight / reflections for a swampy / murky look…there would be some trial and error and I wanted to be able to wipe off mistakes without affecting what I already put down. At this point it didn’t look like water so much as a mist hovering over the ground.

Since I wasn’t sure how to proceed I again tried looking at a bunch of paintings and photos of swampy areas but wasn’t able to find much. I imported a photo of the painting into Photoshop and spent a pretty good amount of time trying different things and finally came up with something that seemed OK.

I had realized from looking at some Bouguereau paintings containing water and stuff by other artists that the surrounding area was very important to clue the viewer in that it’s supposed to be water. I decided that having the whole painting covered in shallow water would not be as good as having a rock or earth edge to add contrast and further suggest to the viewer that these were mushrooms growing in a kind of swampy pond or deep puddle. Later I found a slightly similar pond area in real life to what I was trying to paint but photos and observation of it again weren’t very helpful. I’m often trying to create these very dark and dramatic lighting effects without a reference, so I’m just kind of guessing as I paint as to how it should look. I’m getting over the laziness and working more on learning what something might actually look like in that lighting, for instance I could have created a scene with some of the properties of what I was painting and lit it similarly in a dark room…in this case I guessed and that caused me some trouble. Of course it also makes sense to do studies and planning first for the tone of the painting, I’ve been doing that more in Photoshop lately so that the tougher-to-change oil painting does not need to be altered. In Antonov’s technique the shadow layer also helps plan that tonality out in monochrome so you can easily set up and alter the light and shadow areas of the painting.

I liked the way the rocks came together, they were pretty quick too and fun to paint. In the last couple sessions I glazed over most of the background and a lot of the water area with raw umber in a fair amount of bleached linseed oil, this really helped to unify stuff and overall helped the painting a lot. I added some yellow to the water droplet which was too white, added my signature, and finally decided I was done (about 3 months after I had started). I put a layer of retouching varnish over it a week or so after I finished it. In a year or so when the paint is completely dry I will use a final varnish.

It was really difficult to get a good photo of this one without glare, I finally took some pictures in the morning indirect sunlight that were good enough to use.

Categories: completed, dead layer, oil painting, painting tips, work-in-progress by Airn
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