Odd Nerdrum
Preparation (his student demoed it in class):
Preparation (his student demoed it in class):
size the canvas with rabbit skin glue. (PVA glue can be used as a substitute).Priming the canvas:
Materials
-Framer’s Whiting (ground chalk)
-Linseed Oil?-Galkyd (a little bit, to speed up drying time)
-Turpentine (a bit; and don't use OMS) mix using a thick long palette knife before mix will be the consistency of toothpaste. (It absolutely was similar to pancake batter) add white and English Red (or transparent oxide red) so that the final mix is a pinkish brick painting colors. Make sure the canvas is clean (can clean with acetone) before applying the floor on the canvas. Apply in thin layers, and try to enter the holes. If applying 2 coats, allow the first layer tack up first.
-Linseed Oil?-Galkyd (a little bit, to speed up drying time)
-Turpentine (a bit; and don't use OMS) mix using a thick long palette knife before mix will be the consistency of toothpaste. (It absolutely was similar to pancake batter) add white and English Red (or transparent oxide red) so that the final mix is a pinkish brick painting colors. Make sure the canvas is clean (can clean with acetone) before applying the floor on the canvas. Apply in thin layers, and try to enter the holes. If applying 2 coats, allow the first layer tack up first.
The canvas should be available in the week.
It is possible to apply this ground to acrylic gessoes canvas. But Nerdrum asserted when using home prepared canvas, it’s already beautiful before you begin. You don’t need to fight the ugly flatness of commercially prepared canvas.
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BRUSHES and PAINT APPLICATION:
It is possible to apply this ground to acrylic gessoes canvas. But Nerdrum asserted when using home prepared canvas, it’s already beautiful before you begin. You don’t need to fight the ugly flatness of commercially prepared canvas.
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BRUSHES and PAINT APPLICATION:
Uncertain what sort of hair of brush he used, but he used only modest amounts (a maximum of #4) about this portrait.
The brushes he applied to the shadows appeared as if round or filbert.
On larger areas, however make use of a rag. In reality, he used a rag (and his awesome fingers) a whole lot.
On light areas and highlights, he mainly used bights, applied a small and decisive stroke with thicker paint and not dragged it around so much. He then blended out having a rag or finger at the appropriate time.
For final touches, specifically in the sunshine areas, he would work with a fan brush to lightly layer (the motion is a lot more like gliding) the paint in broad strokes along with previous layers and allow brush stroke show through.
The brushes he applied to the shadows appeared as if round or filbert.
On larger areas, however make use of a rag. In reality, he used a rag (and his awesome fingers) a whole lot.
On light areas and highlights, he mainly used bights, applied a small and decisive stroke with thicker paint and not dragged it around so much. He then blended out having a rag or finger at the appropriate time.
For final touches, specifically in the sunshine areas, he would work with a fan brush to lightly layer (the motion is a lot more like gliding) the paint in broad strokes along with previous layers and allow brush stroke show through.
Occasionally, he'd also use a rag or sandpaper to adopt off paint and allow the red imprimatura surface inside the shadows.
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MEDIUM:
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MEDIUM:
From what I saw, he didn’t use medium much. However the medium he used was 50% “cooked” linseed oil painting techniques (not sure if that means stand oil), 50% turpentine.
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OTHER TOOLS
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OTHER TOOLS
-Smoked glass filter (to determine value/contrast)
-color gels (to determine how much of an area would appear to be with more yellow, more green, etc.)
-mirror (to test accuracy)
-color gels (to determine how much of an area would appear to be with more yellow, more green, etc.)
-mirror (to test accuracy)
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