2 Comments

  1. John Morra
    January 30, 2018 @ 8:29 am

    Hey Jeffrey!
    One of my favorite moves is to use glazes when painting metal. I usually paint everything a step above in value, and then glaze down with something (Ivory black, Lamp black, ultramarine plus burnt umber, or whatever looks best) , and then I paint up to the right value again. For some reason, the glaze gives the metal a characteristic “epidermal” layer that is so often present in metal things. The same phenomenon exists in fruit too — which is why semi-transparent paint on top of a brighter underpainting makes an apple seem more, well, apple -y.
    Also, the reflections in the metal from the surrounding objects take on a different kind of reality than the actual objects when you have a glaze on top. I do the same when painting jars of preserved fruit — having the glaze makes the “inside the jar event” different from the stuff outside the jar.
    As for treating the metal as a mirror, I think of EVERYTHING as a mirror, as chrome-plated– but some of this chrome has a tint to it, and some is a lot shinier than other chromes. So this means the so-called “core shadow” on a lemon is really the reflection of the dark studio ( I got this idea from Delacroix”s journal — it’s not my idea).

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    • Jeffrey Hayes
      January 30, 2018 @ 2:05 pm

      Thanks John!

      Sounds like a really intriguing technique, and I’ll certainly try it first chance I get. I’ve worked with darkening glazes before, but only to get some subtle transitions I wanted (it can be really lovely), not for textural effects. Do I assume you’re painting in full color first, glazing down, and then essentially scumbling up to the desired value in parts?

      That idea of shadows as reflections is kind of a kicker – I’ll be sitting with that thought, too.

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