What's your ideal order for materials/general rendering

>>2310031
You use the material you need for the desired effect.
Only amateurs let their material dictate their flow.

>>2310031
>rendering traditionally

shiggy diggy

>>2310031
lol what?

why did you draw your tools...just take a picture of them or write it in

>>2310031

wat

gross

>>2310031
hey op, ignore the shitters and keep having fun with what you are doing! thats what matters

Good for him, if getting results were what meters he would be fucked.

I swear to god I'm a nice person IRL

>>2310031
?????????????

>>2312538
autism

File: rembrandt copy_20151213_121432.jpg (295KB, 711x1000px) Image search: [Google]

295KB, 711x1000px

If I'm working on a small piece, say a portrait study or just a thing to fuck around, I'll start right away sketching in oils on my surface. I block in values of shadows with a bristle brush, then I do the lights with thicker, more opaque paint. I use the two value, light and dark system to render shapes, then with softer brushes I begin rendering and softening edges.

If I'm working on something larger, I'll do a drawing on paper full size, do a tracing on bond paper or tracing paper. I'll do a burnt umber transfer using the tracing and let that dry while I do value and color studies. It should be dry enough to go over in a day, when I lay in a monochrome wash, and begin in the same way I would with smaller pieces, doing shadow and light shapes.

If the colors start to sink, I'll either add a stand oil coat to paint the next layers into, or hit it with retouch varnish and paint over that. I try to use as much oil as possible as opposed to turps, to avoid that sunken in look. I generally paint in one or two layers so stability shouldn't be an issue if I use more oil as I go.

Here is a Rembrandt study I did using this method.