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Description
Mixed Media
You can watch the original here: [link]

Grafito, Carbón, Pintura Acrílica y Óleo sobre Bastidor de Madera imprimado en Gesso.

Any doubt or critique, do comment, i´ll answer all your questions.

Cualquier duda o crítica es bien recibida, les respondo cualquier pregunta.

**EDIT**
-ENGLISH VERSION-
People have been asking me for an english translation of this tutorial, i´ll try my best since it´s been quite a while since i´ve tried to give detailed information about my work in other language, so please be patient and any advice will be well received. Anyway, i really think most of the process is clear through the pics.

Step 1
I started off with a MDF (if this doesn´t ring any bell, it´s some kind of processed wood) canvas, i used sanding paper to make sure the surface had a good texture, then proceeded to cover the whole thing in white gesso. if you don´t know what gesso is, i think it´s supposed to be a mixture of adhesive material (a polymer? don´t know...) and pigments, in this case a white one, some people simply use acrylic paint for this... what it does is, it´s supposed to seal the wood so moisture and other ambient stuff won´t damage your work, giving a white reference space for your work at the same time (you can find it in colors, but depends on what you find in your local art stuff store).

Step 2
Drew the contour of every object with hard pencils, 8h, 2h, etc. i tried to draw the exact space every element within my composition was actually gonna use, since the next step would imply separating tonal masses and much detail would be eventully lost.

Step 3
I used acrylic paint to separate the tonal parts in the main element, the bird, so i wouldn´t start from white and therefore could concentrate more on the general volume of the wings and the chest, rather than detailing it since here (as i knew at the very last i wanted to use the knife to achieve those details), no textures, nothing specific, only light and dark.

Step 4
When i finished the main tones of the bird (graphite on the gray acrylics), i finished the rest of the stuff that was supposed to be in the background (i actually worked kind of simultaneously everything, i just try to work from top to bottom, and left to right everytime, to keep it clean). So at this point everything has etiher acrylic, acrylic + graphite, or acrylic + graphite + carbon (only used carbon on some spaces where i needed to achieve a deeper dark, since graphite will give you only a bit of contrast, i only used the graphite for the shading stuff, the chest is mainly very raw traces of carbon).

Step 5
I could´ve just leave it there, since you get already enough information on every element, everything is detailed, except the chest, but instead of covering it with the spray you use to seal traditional graphite or carbon drawings, i used a drying agent for oil, it´s called Liquin, it´s actually a really dense layer of this liquid stuff, so i don´t smudge anything with the brush i use to apply it. With the liquin film already dry (one day over) you get this shining surface, but everything shines equally, rather than having carbon look one way, graphite glow another way and what not, so you get everything more or less homogenic.

Step 6
I used oil paint to color each part of the painting separately, i actually used a very little amount of it since i wasn´t supposed to detail anything, only give it some washed out appearance, i used liquin again, as medium, no oil or anything else, to make the traslucid layers of color.

Step 7
I waited for the oil to dry and started scratching the surface with a cutter knife, to achieve the detail in the feathers, since anything had white, being covered with the liquin, graphite, oil, etc. this tracing through little cuts would appear as highlights.

And that´s it, i think, any doubts please ask!
And sorry for any mistake in the translation, if you tell me what was misspelled or anything i´ll gladly change it.

ESPAÑOL

Proceso:

1.- Preparación de la Base:
Bastidor de aprox. 70 x 80 cm. Imprimatura con Gesso, una capa gruesa directa y algunas capas subsecuentes diluidas con agua, luego lijada sin dejar textura en la base.

2.- Trazado de la figura y cada elemento dentro del marco de referencia con contorno. Delineado con láices 8h-4h-2h.

3.- Pintura en Escala de Grises por zonas. Veladuras de Acrílico Blanco para homogenizar figuras.

4.- Trazado con Grafito y Carbón de sombras, luces y degradados a detalle de todos los elementos.

5.- Primera capa de Liquin en toda la pieza.

6.- Color en Veladuras de óleo y Liquin. Verde Olivo, Anaranjado, Verde y Sombra Tostada.

7.- Luces de la figura con Esgrafiados, obtenidos con cutter.

8.- Algunas sombras obtenidas con óleo negro sin diluir.

Description
Mixed Media
You can watch the original here: [link]

Grafito, Carbón, Pintura Acrílica y Óleo sobre Bastidor de Madera imprimado en Gesso.

Any doubt or critique, do comment, i´ll answer all your questions.

Cualquier duda o crítica es bien recibida, les respondo cualquier pregunta.

**EDIT**
-ENGLISH VERSION-
People have been asking me for an english translation of this tutorial, i´ll try my best since it´s been quite a while since i´ve tried to give detailed information about my work in other language, so please be patient and any advice will be well received. Anyway, i really think most of the process is clear through the pics.

Step 1
I started off with a MDF (if this doesn´t ring any bell, it´s some kind of processed wood) canvas, i used sanding paper to make sure the surface had a good texture, then proceeded to cover the whole thing in white gesso. if you don´t know what gesso is, i think it´s supposed to be a mixture of adhesive material (a polymer? don´t know...) and pigments, in this case a white one, some people simply use acrylic paint for this... what it does is, it´s supposed to seal the wood so moisture and other ambient stuff won´t damage your work, giving a white reference space for your work at the same time (you can find it in colors, but depends on what you find in your local art stuff store).

Step 2
Drew the contour of every object with hard pencils, 8h, 2h, etc. i tried to draw the exact space every element within my composition was actually gonna use, since the next step would imply separating tonal masses and much detail would be eventully lost.

Step 3
I used acrylic paint to separate the tonal parts in the main element, the bird, so i wouldn´t start from white and therefore could concentrate more on the general volume of the wings and the chest, rather than detailing it since here (as i knew at the very last i wanted to use the knife to achieve those details), no textures, nothing specific, only light and dark.

Step 4
When i finished the main tones of the bird (graphite on the gray acrylics), i finished the rest of the stuff that was supposed to be in the background (i actually worked kind of simultaneously everything, i just try to work from top to bottom, and left to right everytime, to keep it clean). So at this point everything has etiher acrylic, acrylic + graphite, or acrylic + graphite + carbon (only used carbon on some spaces where i needed to achieve a deeper dark, since graphite will give you only a bit of contrast, i only used the graphite for the shading stuff, the chest is mainly very raw traces of carbon).

Step 5
I could´ve just leave it there, since you get already enough information on every element, everything is detailed, except the chest, but instead of covering it with the spray you use to seal traditional graphite or carbon drawings, i used a drying agent for oil, it´s called Liquin, it´s actually a really dense layer of this liquid stuff, so i don´t smudge anything with the brush i use to apply it. With the liquin film already dry (one day over) you get this shining surface, but everything shines equally, rather than having carbon look one way, graphite glow another way and what not, so you get everything more or less homogenic.

Step 6
I used oil paint to color each part of the painting separately, i actually used a very little amount of it since i wasn´t supposed to detail anything, only give it some washed out appearance, i used liquin again, as medium, no oil or anything else, to make the traslucid layers of color.

Step 7
I waited for the oil to dry and started scratching the surface with a cutter knife, to achieve the detail in the feathers, since anything had white, being covered with the liquin, graphite, oil, etc. this tracing through little cuts would appear as highlights.

And that´s it, i think, any doubts please ask!
And sorry for any mistake in the translation, if you tell me what was misspelled or anything i´ll gladly change it.

ESPAÑOL

Proceso:

1.- Preparación de la Base:
Bastidor de aprox. 70 x 80 cm. Imprimatura con Gesso, una capa gruesa directa y algunas capas subsecuentes diluidas con agua, luego lijada sin dejar textura en la base.

2.- Trazado de la figura y cada elemento dentro del marco de referencia con contorno. Delineado con láices 8h-4h-2h.

3.- Pintura en Escala de Grises por zonas. Veladuras de Acrílico Blanco para homogenizar figuras.

4.- Trazado con Grafito y Carbón de sombras, luces y degradados a detalle de todos los elementos.

5.- Primera capa de Liquin en toda la pieza.

6.- Color en Veladuras de óleo y Liquin. Verde Olivo, Anaranjado, Verde y Sombra Tostada.

7.- Luces de la figura con Esgrafiados, obtenidos con cutter.

8.- Algunas sombras obtenidas con óleo negro sin diluir.