...finished gold leaf inscription. A coat of liquin to seal everything, a coat of matt varnish and a nice dark chunky frame will finalise this piece.
Nearly there on this one. A few warm and cool glazes here and there are needed. A yellow glaze to give the white fabric the correct lighting colour will be sorted tomorrow. May add a broken gold leaf line around red bit.
A very limited palette has been used for this painting but a decent range of colour can be achieved through an understanding of how these paints behave when using mixed techniques. Opaque underpainting, velatura, dry brush and glazing (opaque and transparent). A limited palette also aids general unity.
BLACK IS NEVER TO BE USED AS BLACK. TINT!!!!
Raw umber, Burnt umber, Titanium white, Lamp black, Yellow ochre, French vermillion, Indian red...and probably a bit of Cobalt blue for glazing tweaks.
NOT AGAIN LEDA!!!!!!