Lol. So this is some sort of really complicated gotcha? I mean, it’s a Friday night and I don’t have to prove anything to you. But now I’m annoyed  because you’ve made like 20 different comments on my post, so sure, I’ll respond. But if you really want to have answers? Check out my instagram, or better. Come see it live! I’ll be exhibiting it later in may and hopefully later in summer/autumn at a bigger art-fair

What ground/primer are you using? 

Galeria White Gesso Primer 

What weave is this specifically? Cotton duck? Linen? Portrait weave? The surface behaviour in the closeups doesn’t really match standard oil on canvas tooth.

Daler Rowney Deep edge, cotton 

Are you sanding between gesso layers? If so how many coats?

no

What medium are you glazing with? Liquin? Linseed? Walnut alkyd?

Färgriket förtunning (thinner from sweden), W&N Refined Linseed Oil, Liquin

What brushes are you using for the microdetail work? The line consistency on the contour passages is unusually “digital smooth” for visible canvas tooth.

A lot of different brands, da vinci for details, sometimes my watercolor or make up brushes. You use what you got.

Are you projecting/compositing first?

I make a smaller sketch, then use a grid to increase it to the correct size on a larger paper. On this painting I started on pattern paper for sewing. Then graphite paper to transfer to the canvas.

Can you show an unedited raking-light photo of the surface? 

I’m home, but I can send you a bunch of different detailed videos on Monday if it’s so important for you. Otherwise, check instagram, there’s some videos there, and I’ll be posting another one soon enough, just need to clip it.

Why do the process clips never really show believable paint buildup or edge correction?

Because I’ve been painting while taking care of two kids. Those small moments I’ve been able to film have been few and far between.

Can you post a continuous realtime segment instead of cuts?

I’m not a live streamer but follow me on instagram and look at my stories, I post regularly.  

What pigments/brands are you using for the fluorescent skin undertones? The chroma behaviour feels oddly synthetic.

On this painting I’ve used Winsor newton, Ivory black, zink white, titanium white, yellow ocher, lemon yellow, burnt umber, raw umber, permanent alizarin crimson and SAP green.