Glazing with Venetian red and Quinacridone Red #glazing #oilpainting

Glazing with olive green 💚

Final Glazing with Venetian red❤️ and Quinacridone red💜

Glazing with Green earth🟢 and Quinacridone red🔴

How to Remove Old Oil Paint from a Canvas To remove an old layer of oil paint, you’ll need an alkaline degreasing solution - something like an oven or stovetop cleaner (it dissolves fats and oils, i.e., organic substances). Before you start, make sure to wear gloves, a protective mask, and sa

Save for later⬇️ ✅Glazing can be done with a single color or with multiple layers of two or more shades. 🪄Example: One transparent red layer creates depth, while red over blue produces a new tone. ✅Glazing can either increase the color saturation or tone it down. 🪄Example: A blue layer over

Following the old masters’ method, raw umber 🟤imprimatura first, lead white ⚪️ base next.

Part 2: An intermediate glaze with Terre Verte 🟢 and Quinacridone Red 🔴 building color and depth with subtle harmony. I'm adding delicate blending layers using a mix of white and Sap Green to shape nuance and light✨ The painting is still in progress.

Working on a thin layer with Cremnitz white. This subtle glaze helps soften the edges, allowing the next layers to blend gently into the dried surface. Yes, it takes more time, but the result is worth it.

Following our experiments with glazing techniques, I decided to use Scarlet Lake for the first time in complete work.While the skin gained a healthy color, the tone turned out a bit warmer than intended. This was further complicated by the green background, which, according to color theory (being d

I am done. Final glazing with Quinacridone red🔴

Glazing with olive green 🟢and small details with mix of white ⚪️and cobalt blue 🔵

Glazing with olive green🟢 and quinacridone red🔴

Glaze with quinacridone red🔴

Glaze with cobalt blue🔵

Time for vanishing✨

To breathe life into the portrait of Pedro Pascal through the eyes✨

How do you balance color contrast in a portrait? In this painting, I intentionally use a strong opposition: the warm, golden-red tones of the hair (in the spirit of burnt sienna) are set against cool, translucent skin, painted with hints of cobalt blue and green oxide. To harmonize this cont

Our sense of beauty often comes from how we perceive light and color.In my painting, I use the technique of optical blending layering transparent glazes to let colors interact softly and naturally. These layers don’t cover the surface completely, but allow light to pass through and reflect off the