Re: Painter of Light 782 by Susan Rettela on 08/13/01 at 3:53 PM
Re: Painter of Light

In Reply to: Re: Painter of Light posted by Sira on 08/09/01 at 7:28 PM:

I believe what Kincade does to bring about the glow in his work is to use transparent oils over white in the areas where he wants this particlar "glow". When you have a bright white underpainting and then run transparent paint over it, the light goes through the layers of transparent color, bounces off the white and comes back to you through the color again. This causes the paint to have an inner light. When a light is aimed at the painting and dimmed, it gives the impression of sunset or sunrise as the light is held for a second or two and then slowly fades. If you merely mix white with the color, it becomes opaque. This causes light to merely hit the surface of the paint before bouncing back to your eye. Not nearly as beautiful. It is similar to the technique employed by the Masters when they painted an imprimatura and then employed a deadcolor layer over that. They frequently did very detailed drawings, painted a monochromatic high key underpainting and then glazed over it with transparent oil - hence the glowing look. In Kincaide's work, he appears to employ a lot of opaque paint as well as transparent, thus the areas where he glazes look all the more dramatic. Check the back of your tubes for transparency. Different colors have different levels of opacity/transparency. Indian Yellow, for instance is transparent, while the Cadmiums are opaque. If you are working on a sunset, the best way to get a really good glow to the sky is to use very small amounts of Zinc white which is moderately transparent or at least less opaque than the other whites. Mix it with a glazing medium and spread it very thinly over your color. Alternate with color and white until you get the look you are aiming for. This takes experimentation. Good luck.


Follow Ups:

Re: Painter of Light wannabe   Posted at: 09/22/01 (1)
Re: Painter of Light Susan Rettela   Posted at: 10/15/01 (0)
Re: Painter of Light Sira   Posted at: 08/14/01 (0)

Post a Followup 756,759,782"> Susan Rettela"> pinehillart_hotmail.comRe: Painter of Light_08/13/01 at 3:53 PM"> "Re: Painter of Light"
: I believe what Kincade does to bring about the glow in his work is to use transparent oils over white in the areas where he wants this particlar "glow". When you have a bright white underpainting and then run transparent paint over it, the light goes through the layers of transparent color, bounces off the white and comes back to you through the color again. This causes the paint to have an inner light. When a light is aimed at the painting and dimmed, it gives the impression of sunset or sunrise as the light is held for a second or two and then slowly fades. If you merely mix white with the color, it becomes opaque. This causes light to merely hit the surface of the paint before bouncing back to your eye. Not nearly as beautiful. It is similar to the technique employed by the Masters when they painted an imprimatura and then employed a deadcolor layer over that. They frequently did very detailed drawings, painted a monochromatic high key underpainting and then glazed over it with transparent oil - hence the glowing look. In Kincaide's work, he appears to employ a lot of opaque paint as well as transparent, thus the areas where he glazes look all the more dramatic. Check the back of your tubes for transparency. Different colors have different levels of opacity/transparency. Indian Yellow, for instance is transparent, while the Cadmiums are opaque. If you are working on a sunset, the best way to get a really good glow to the sky is to use very small amounts of Zinc white which is moderately transparent or at least less opaque than the other whites. Mix it with a glazing medium and spread it very thinly over your color. Alternate with color and white until you get the look you are aiming for. This takes experimentation. Good luck.

 
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