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ARTSTUDIO PRO TRANSPARENT LAYERS TV

The advantage to this system is you have worked out tonal values, drawing, design and. Once the monochromatic underpainting is finished and dry enough, you paint opaquely over top, using the monochrome painting as a guide.

Use ‘soupy’ paint to cover the monochromatic layer. The first stage is a nearly complete (transparent) value study done with one warm colour on a smooth, non-absorbent surface.

Instead, wipe off paint and use the canvas as your white. Introducing Artstudio Pro, the most powerful painting and photo editing app available for both macOS and iOS.

Use white paint for the underpainting.

Use Burnt Umber or Vandyke brown as they crack.

Use yellow or cools such as violets or greens which will cause a muddy over painting.

(If necessary, add Ultramarine blue to Transparent Red Iron Oxide for darker shades.)

ARTSTUDIO PRO TRANSPARENT LAYERS TV

The app features 19 different brushes, up to six layers, and TV output to share your work. Go as dark as black on the underpainting. Brushes an the essential drawing and painting app for the iPad.Keep the additional oil to a minimum to reduce problems when later placing opaques. Improve the working quality of the canvas with a very thin film of linseed oil, or a bit in the paint.Use scumbling, feathering and scrubbing for a transparent appearance. Let some of the underpainting show through the opaques.I used Transparent Red Oxide and Ultramarine Blue to paint ‘Im’pear’fect’) (Transparent Red Oxide or Terra Rosa, for examples.

Use neutral warm reds, red-browns, orange-browns for the underpainting.It should be a better surface for deductive oil painting. Next time I will use Gamblin Ground (it’s an alkyd), which is stiffer and less absorbent than acrylic gesso. The goal is that staining colours can be wiped back to the white surface. I use a triple gessoed canvas or board that is covered in 3 coats of acrylic matte polymer medium. If you like loose paintings, be careful not to be constrained by your line drawing. You can go as loose or detailed as you like. A suggestion is to begin with the focal area and do less detail as you work outwards. The advantage to this system is you have worked out tonal values, drawing, design and edges. Begin with a line drawing, followed by blocking in the masses of various shades. The first stage is a nearly complete (transparent) value study done with one warm colour on a smooth, non-absorbent surface.

These ideas are borrowed from the book Alla Prima by Richard Schmid (Oil painting technique) Above is Im’pear’fect, the monochromatic block-in. Following is one of the monthly Saturday mid-day art talks provided during art mentoring.