A few posts back I wrote about da Vinci’s sfumato or smoky softness of line. Because I so love the results, my most recent landscapes are all about figuring out how to create this effect. I’m still not sure whether Leo always painted wet-in-wet oils but even if he didn’t, I still find it working this method promising. As you know, that’s why I prefer oil to acrylic, which not only dries while you stop to adjust your ponytail clip, but even has the impudence to alter its colour, for heaven’s sake. Of course the car, my clothing, the living room fireplace where I lean canvases to dry more quickly all bear witness to oil’s willingness to move but at least they are emblazoned with colours I chose.
The original image of the Rocky in winter had such a quietness to it that, while I built it the painting as usual, I strove to keep each layer somewhat loose. Only the open water and some cliff crevices approach defined contours and even there I softened edges. The surface is still pretty wet and reflective but you get the idea. I feel as though I'm on the right track. Next up: actually get back on the horse and explore this technique with portraiture. Gulp.
The original image of the Rocky in winter had such a quietness to it that, while I built it the painting as usual, I strove to keep each layer somewhat loose. Only the open water and some cliff crevices approach defined contours and even there I softened edges. The surface is still pretty wet and reflective but you get the idea. I feel as though I'm on the right track. Next up: actually get back on the horse and explore this technique with portraiture. Gulp.
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