Sunday, 6 March 2011

The Importance of the Stain

Study of Monet's Serie des Nympheas 1914-1926

Detail of Soleil Couchant

At Des Beaux Arts, I am learning for the first time traditional painting techniques, using pigments, medium and emulsion.

My incentive with this study, to understand the stain: the importance of its colour, and how it interacts and permeates with subsequent layers of colour.

 By applying a stain in an opposite temperature to the composition, in this case using a mixture of turpentine, linseed oil, varnish d'amar, cobalt blue pigment and burnt umber pigment, a subdued stain enables ensuing complementary colours a platform to not only contrast with, but induce and/or reduce saturation, whilst glowing through sections to recede and/or advance.


Study of Turner's Venice the Salute and Dogana 1840

With this study, I used a yellow ochre and black stain as my foreground was predominantly lilac (its complementary). I particularly enjoy scumbling over areas with a dry brush, so that a  flush of this stain and its luminosity flirtatiously interacts with this successive layer of colour.




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