vermeer study (oils)

**dorian** · January 2nd, 2009, 01:26 PM

thank you guys!!

berlasso: thanks! the basic idea of the medium is that it's a mixture of dammar varnish and linseed oil, which gets fatter (more oil) the further I move along in the painting process, in order to keep it "fat over lean". basically it's like this:

Drawing Stage: mineral spirits only
Dead-colouring: 1 part linseed oil : 3 parts mineral spirits ---OR--- 1 part linseed oil : 1 part dammar varnish : 2 parts turpentine (dammar varnish might become gummy when mixed with mineral spirits)
1st-painting: 1 part linseed oil : 1 part dammar varnish : 1 part turpentine
2nd-painting: 1 part linseed oil : 1 part dammar varnish
Glazing, toning: 2 parts linseed oil : 1 part dammar varnish

Wasker: I love it here...! Let me know if you come visiting!!

Here it is next to the original - some colour differencies are unavoidable with all this mixing of printout, oil paint, photography and on screen..

**magyareagle** · January 4th, 2009, 04:01 AM

Beautiful

**hitnrun** · January 4th, 2009, 12:47 PM

I think your work is beautiful and I have only one question: Did you pick the frame and put in on the artwork before you started? The frame always makes a difference somehow, and I had an art teacher who had this technique with the frame, and he never got it dirty - and his work was incredible. I just wish I could study under him some more. I'm really a huge fan of the "Old Masters" style. It's timeless, and always beautiful.

Again, your work is a real treat for the eye.

**dorian** · June 30th, 2009, 06:30 AM

hitnrun: no I didn't have the frame from the start but did the finishing touches when it was in the frame - in this case it probably doesn't matter all that much since the frame just has one color but I think it really makes sense for a more involved painting to work on the painting and the frame at the same time - also changing frame color/texture/aging etc. so it all creates one piece of art
frames are very important indeed, a bad frame can destroy the impact of a solid painting and a great frame can elevate an "average" painting to something really nice.
Ideally we'd like to have a killer painting in a gorgeous frame and both in harmony, creating an irresistible new entity, "the piece of art"
not easy at all, if you find out how to do that, let me know

**DefiledVisions** · June 30th, 2009, 05:06 PM

Fantastic work Dorian! I also hope to attend to Angel's, as soon as next year. The money is the main problem as allways haha.
Keep up the work, really enjoy the cast drawings you've shown in other threads, and your website.

**Noah Bradley** · June 30th, 2009, 05:12 PM

Wonderful copy. Bet ya learned a lot doing this.

Only thing I notice is that overall yours appears... cleaner, I suppose. You seem to be lacking some of the texture and grit that Vermeer has. But that's some serious nit-picking. Great job.

**Zazerzs** · June 30th, 2009, 05:24 PM

Beautiful study. This is how its done people

Just out of curiosity, did you overlay the golden section during your study?

**Sirsketchalot** · July 1st, 2009, 01:12 AM

Fantastic reproduction! I'm thinking of doing a couple of artist copies while I have some spare time too. I do have one question: how did you acquire your reproduction and what was a general breakdown of your process?

On the Vermeer site it did grounding, sketching, underpainting, working up, and retouching.

Thanks man and keep up the good work!