Hot off the easel is my new coyote skull still life. By now, my readers pretty know what the stages are to my still life paintings, so I can forgo a wordy description. It pretty much goes as follows; blah blah blah drybrush blah blah blah ebauche blah blah blah fix some crap that looked wrong blah blah blah first and second painting blah blah blah done, time for a beer.
Oleogel in a painting. We picked some up at the PSoA conference. According to manufacturer George O'Hanlon, Oleogel is a thixotropic painting medium made with linseed oil and pyrogenic silica, but he can't pull the wool over my eyes because I always recognize the magical properties of rendered down unicorn lard when I see it. Usually I oil out an area for second painting with a mixture of Linseed Oil, Stand Oil, and mineral spirits, but this time I tried using a thin layer of Oleogel instead (still applied with a make-up sponge). It worked fairly similarly, but it did have the advantages of easier application, and less absorption into the underneath layer. This in turn, enabled for a longer working time (which is counterproductive in generating excuses to support my laziness). However, the most appealing aspect was that it interfered very little with the layer underneath. My other medium has solvents which can sometimes be problematic if the last layer hasn't completely cured.
NOTE: I know some people are not familiar with the term thixotropic. Thixotropy is the property of some fluids to change viscosity as they are agitated. I think Kate must be thixotropic too, because if I agitate her while she's painting I ruin her flow. (cue punch line drum)