Excursion

Pictures from our excursion to the SRAL:

Slideshow and lecture at the SRAL

Restoration in progress, tempera painting

Great detailed wing, tempera panel being restored

Oil painting, possibly up for restoration

Annemie and the backside of a panel

Warped panel being restored

Madder root

Some of the fabulous sources of pigments (red bole in the foreground, mmm!)

This is Anita's second cousin. He's fixing up the "long Lord" on the table next to him.

Some gilding techniques and madder root

Table full of pigment sources

Azurite

Orpiment (if I remember correctly)

And...Luuk brought delicious taartjes. Yeay, thanks Luuk!

Time for taartjes!

Alchemy

I'm doing the research for my writing project. The subject I've chosen is alchemy (surprise!). So far I've found some *very* interesting sources, including Gage's Colour and Culture, Bucklow's The Alchemy of Paint (my fave so far) and Elkins' What Painting Is. Funny, I ran into the last title nearly simultaneously with both my partner and Luuk, who's generously loaned me the copy he just picked up in the UK during winter break.

If anyone has any other suggestions for good reading on this subject, I'd love to hear them!

Tempera V: bont & blauw & borrellen ... (or, in other words: fur & blue & cocktails)

Well alrighty then, school's started up again. So this week's lesson was about painting...fur. We're still working with egg tempera. We had a variety of fake fur bits and the manky-looking stuffed squirrel that I've decided to name Hieronymus. A couple of my classmates used him as their model, and I just adore their excellent renderings of his...specialness. Here's a picture of him:

(he is rather cute, in a special way, I think!!!)

It was time to stock up our supplies of pigment dispersions (pastes), so several kind classmates made up some new batches -- the ultramarine was so pretty in the bright January sun, I had to take a picture of it.

After hours of focusing on fur, we let things get a bit blurry at our New Year's cocktail party. Long live the sprezzatura!

Finally, one of my classmates asked that I post all of our studies online, so here they are, with a couple of shots of the fur models/samples in between it all as well...

Tempera IV - working with a live model

This is the first time I've ever painted a live model with tempera, and the method we're using has about half a dozen steps, in two phases. Complex! Here are some photos of our work in progress.

Hester working on her underpainting

My underpainting

My tablemate Els' work, next to mine

Brieke at the easel

Luuk demonstrating the 'final touches' on Annemie's painting

Tempera, part III - alla prima

In this lesson we worked on generating a couple of spheres (one with and one without white added) using a technique in which the paint was worked around a bit while still wet. I had pretty good success with this and enjoyed experimenting with it. After that we started learning how to represent skin using our own hands as a subject.

Anita working on her hand

My alla prima spheres (still wet) and my COFFEE (the brown motor, mmmmm)

Two nice little spheres (left no white, right using white) and an underpainting of my hand

Step two, applying the protoplasmos on my hand sketch

Steven showing us...his nice apron? :-)

Tempera, part II - folds in fabrics

We're working out several kinds of "classic" exercises lately. These photos below were from our work on studies of folds in fabrics (red velvet, in this case) and they range from mixing the pigments up to a couple of finished versions by my classmates.

This is my favorite red: toluidine red. It doesn't play well with water (above) but once it starts to get along, it begins to manifest a golden sheen -- like alchemical magic (below).

Cochineal -- first a pale pink but, after Hester added water, it became a fiery red!

The folds in the velvet cloth from my angle

Anita's work

Brieke at work

My work (yes, it did look like a pile of brains at that point!)

Final finished products by Hester and Annemie