Vernis

Today, I add the vernis to my painting.

Gloss coat. Finishing coat.

On this painting, for some reason, I had collected my fine brushes to the office. And I painted with those less fine cheaper ones. And I discovered there is a difference. If there is not stiffness in a brush, the variation in brush is almost pointless.

Cheap brushes are looks like tools, not tools.

I did the job, but with retouches as necessary. And I discovered I like the brush I invested in, like selecting a specific leaf for my tree.

For the fine add, I did felt. And I will see if it gets impacted by the vernis or not. I do have a couple very fine brushes. I did find them late. And in the future, I will try them for outlines and drawing, but not now. It is time for hanging the image, dressing it from behind, and making it sturdy for the wall.

I will apply the finishing coat, like the top coat on a woman's finely finished nail, and wait.

That is what is up today. And I don't know if I will code it. I might. We will see.

Update:

In my previous application of gloss coat, the painting had sat and cured for months. And there was no issue with adding gloss coat. And honestly, I don't recall adding felt. However, I had done fine lines.

What I have learned about gloss coat is you need to let your paint cure, particularly for fine lines.

In Photoshop, for layers, you can apply transparency features. In real life paint, you apply gloss as a transparency layer or seal layer to add a different layer on top without smudge.

I did fine lines a day before my gloss coat application. The gloss smeared the day old fine lines.

It needed more cure time.

Second, the felt was impermanent. It lifted. And I lifted the gloss which picked up black.

And then, I painted the gloss in with a fine brush, between the lines.

However, the lesson stands. The painting needs cure time. Possibly even the felt would not move with more cure time. And get acrylic pens. I had them, but they dry out quickly, so when I went to use it, it did not work. And I did not feel like spending another ten or so bucks, for something which would dry out quickly as a product.

I already have several dead new products which I merely tried.

Today, I redo the lines on the horse. And I redo it with black paint. I use my fine brush. And felt and paint are mixing. And we will see. Whatever. And then, it will cure for a year. And in a year, I will gloss coat that section again.

I am a believer in improving your practice. For those images I have done once, I will do them again. And I will improve the overall impressions. I want to do something. I would like to add a transparency rainbow over the whole thing. I won't do that to this copy. This is still new in my mind and heart. Later, on a new version of this same thing, I will transparency rainbow it.

And in the meantime, I will practice rainbows.

So, there we are. It is done. And it needs rework. And today, I will do that bit of work, similar to how I have done it before. Confidence builds as one fixes mistakes. This particular painting is a confidence builder. And it is a wisdom builder. Don't paint with cheap paint sets if you can manage it. It might be okay for a child, but not for an adult. And if your child's paint is not perfect, no wonder. The quality of the brush lends itself to a certain quality of output.

I put off hair.  We have joked around here that we should make brushes of my hair. And why is that? My hair is a stiff bristle. My hair would be a great paint brush. I've only done acrylic successfully so far. And I might move toward oil, but not quite yet. I have quite a bit of paint I want to get on canvases first. One of the issues with acrylic is the singularity of color, when you buy these paint sets. Some output looks like paint by number. And I see it. So, if one were seeking to enhance the mystery of their image, the glaze transparency concept would help. By getting a few layers on there, you can create depth into the image, to create the more mysterious gaze, as the output of your glaze.