Hi there, I’ve been looking forward to doing this for a while, and now I’ve completed the films of both the glazes. Here is a photo of before and after the 2nd glaze.
So this is the painting again showing the change from the 1st to the 2nd glaze, and then following on from that you can see the 2nd glaze next to the original. The 2nd glaze took about 90 minutes, and you can see it in real time on Patreon, and off camera I spent another 10 minutes painting in the dark lines around her eyelids and some details of eyelashes. I feel this is close to the working method of Rubens, and now I’ve done it I think I can get even closer and work even more efficiently. I’m really looking forward to making some more copies from Rubens, Van Dyck, Velasquez and Caravaggio. Each time is an amazing learning experience and I have gained so much from it. I will still work on this painting a bit more but have to stop for now due to time restrictions. I didn’t really do much to the mouth which is OK, but I would model some of the transitions around there next time. In terms of the film I’ll leave it for now because I think it shows you how to achieve these results. It has been a revelation for me just working in this very limited palette, and I’m looking forward to using it in my own work in the future. If you would like to see how I did it in real time you can see it all on patreon.
I have just finished the first glaze in oil paints on my grisaille underpainting. This short video project was all about trying to work out how Bouguereau made his paintings, something I have often wondered about.
His works have a particular translucent quality and it was my mission to try and fathom the processes behind this. I think the only real way one can do that is to use the glazing technique over a grisaille. Of course you may get an idea of how it was done using different painting methods or materials but I wanted to stick as closely as possible to his generally agreed method of glazing.
The only real way to understand another artist’s technique is to try and do it oneself. I have not copied many works in my art practice but this has been an invaluable exercise in understanding glazing generally. That is my real and only goal actually; to find a way to develop my own practice with glazing in my paintings. But in the process I hope to leave a course of videos that might enable anyone to achieve similar results to Bouguereau with a little practice. I feel that actually this technique is deceptively simple, but I am still trying to work out the most efficient way of doing it. If you look at Caravaggio’s paintings you can see that once the underpainting was done it was a small step to add some colour, although being able to do it is another matter entirely.
I still feel that anyone can begin to approach painting in the same way as these artists, it just needs practice.
This piece obviously needs some more work to get close to Bouguereau’s, but its only the first glaze, so I’m really looking forward to doing the second glaze and more. I’m thinking of getting a print of the grisaille and trying all over again, and that way I think I might actually crack it, based on lessons learned so far. It was never about making a perfect copy, only trying to come close to the original so as to learn the process generally.
I’m still getting used to filming myself working. The hardest thing about it is making room for the painting and the palette, where I would normally be much closer to the painted surface. I normally spend the whole time panicking!
This is a detail of a painting that I have shown before of the effect of glazing over a grisaille underpainting in a short time. You can see the first glaze which took around an hour to paint, and the effects are dramatic. It is something I wish I had filmed at the time along with the other short film I made of glazing the arm, my first video!
It also shows a detail of some decorative motifs I was experimenting with which in the end I discarded. Just the sleeve of his pyjamas had some tiny star decorations on, and I enlarged these stars to create a free floating design that ran across the painting. Its certainly good to have a record of this, even though it was scrapped. I’m still interested in the idea of playing games with the picture plane. Of course the realism of the portrait is an illusion, and it felt like a good idea to juxtapose that with something that flaunted the illusion.
The portrait is of my son and it was my wife who decided she didn’t like this design! Its something else I would like to investigate more in the future though.
The palette I used here for the glaze was fairly limited: Titanium White, Indian Yellow, Vermillion, Alizarin Crimson, and Sap Green.
It shows what can be achieved with glazing just a few colours over the Black and White underpainting, but strictly speaking Ivory Black is on the palette too, it was just painted beforehand and already dried as the grisaille. You don’t need umbers or ochres for the hair necessarily, and just a mix of reds and the Sap Green will do, as it did for the shadow tones. Like in a Zorn palette the Ivory Black mixed with white gives a cool bluish hue to the skin tones where it shows through.
I used a hogs hair brush to start and then blended colours using both that and then a sable brush to finish. There was an additional glaze to this but in the main I was happy with this first glaze, and it demonstrates the efficiency of the grisaille technique. Get the drawing right first, and the correct value tones, and then the glazing can achieve very quick results. Even though its quick to paint, every glaze is painted very slowly, very carefully, never committing too much paint.
Here is the final painting which is still not completely resolved. I think I preferred the earlier version and its just been left which is sometimes the only way I finish paintings. I may go back to it one day, but can’t now though because its being exhibited. Paintings though pass into one another in a linked chain of learning where all past failures and successes are handed down and carried through to future works. The point is to keep moving forward!
Here is a portrait of my daughter at ballet class that I painted before attending Louis Smith’s glazing workshop. To begin I painted the whole thing in a ‘dead layer’ or monochrome using Burnt Umber, Ivory Black and Titanium White. Then I did some very thin coloured oil glazes and some ‘half-pastes’ where you’ve got a bit of white mixed with the glazes, which are more opaque and not completely transparent. See my videos page for examples of this. Working in glazes is very methodical, and is sometimes called ‘indirect painting’. Initially I found working in this way too removed from earlier observational painting I had done in the past and at first I found I couldn’t get my early schooling out of my head.
The most crucial point in painting anything is the drawing, and drawing is paramount to painting a portrait. Without correct drawing, drawing that conjures a likeness of the sitter, the painting can fail as a portrait. It might still be a good painting though, but here we are concerned with painting a portrait. And if it has been commissioned the person who commissions the portrait expects a likeness above all. Surely a good likeness is the sine qua non of a portrait painting. The reason I developed an interest in indirect painting and working first in the grisaille is so that I could finish the drawing. Everything follows from there.
Generally in the past I would prefer trying to paint all the colours directly, drawing as I went, but occasionally this method is a bit hit and miss. If I got the drawing wrong initially there was always so much back tracking, and in this painting I saved myself a lot of messing about by getting the drawing right first. Rushing ahead without completely resolving the drawing is like building a house with a wobbly foundation.
In the long run there is no wasted effort in art, as we are always growing and developing as artists, and we grow through work and effort. But my project has also been an attempt not to waste any effort! Hence a focus on drawing first and foremost.
As well as painting is a grisaille, there is also a lot to be said for diving straight in and drawing with colour directly onto the canvas, which is what I did here:
Looking back at the above portrait, it is one of the occasions I got both the drawing and the colour right at the same time. There were a few further glazes to refine the drawing but its all finalised in this first glaze. Its a case of taking the time to get it right and not rushing or guessing in any way. Its like sudoku. You can never guess what number should go in a particular square, and when you do you are doomed to failure. Drawing a portrait requires an extremely high degree of concentration which I am better at maintaining now. In the past I might have just let myself slip, guessed the line or the proportion, and continued in a shallow self-satisfied way. You can never assume you’ve got it right until you’ve checked and checked again. Of course you can go back over it but why not get it right first time? Its much harder to go back over it, and for some reason if I’ve committed to having an eye in a particular place for example, its hard to admit to myself its wrong and change it. This is something I did here when I realised I had been happily going along with eyes which were wrongly spaced:
On the left the eyes were too far apart so I had to take a deep breath and repaint her left eye, moving it over by about 1cm. It was the ‘full stop’ on this painting. It wasn’t a nice thought having to repaint it but it only took around 30 minutes in all. This is what I mean by not settling for a shallow version of the painting, and oneself, complacently self satisfied or just plain avoiding the discipline required. I think the problem arose because much of the drawing was incorrect in the first sitting and everything had to be adjusted. In the end I was happy though and could draw a line under it as finished.
Sap Green is a generic name for a warm, deep green. Perhaps its difficult to tell, but the above detail of a portrait painting was made possible with the invaluable Sap Green and even though impossible to see really its all over it! Sap Green cools reds. Red and green are complementary colours so together they neutralise each other. People generally aren’t that green, but they are greener than you might imagine.. skin in shadow is invariably greenish in hue. Maybe greenish is too strong a word (it might not be a word) but generally when I paint shadows there are always greens silently working their magic.
There a lots of different Sap Greens made by different oil paint manufacturers as each develops their paints in their own way. I love Michael Harding’s oil paints and I love his Sap Green, but it doesn’t have the particular warm quality I am generally after when I reach for it, in the context I want it. It is good for cooler shades and hues but I haven’t yet been bold enough to use it in a portrait. Michael Harding’s website says that it would be ideal for the plein air painter which is true.
The Sap Green I worked with when I studied with Louis Smith was one of the warmest greens I had painted with (Lukas studio oils), and I discovered mixing with Alizarin Crimson is brilliant for cooling down reds in shadow tones. It served this purpose in the portrait painting shown. I painted this shortly after I did a glazing workshop with Louis Smith in Manchester and it was a revelation for me. The sap green I generally use is the Winsor and Newton Winton variety, but I’m sure there are a lot of other ones out there including the Lukas one. I have just been going through what I already have in my paints box. I also have an old tube of water-mixable Duo Aqua sap green which I can use as its also warmish.
The one colour I can’t live without at the moment is sap green. What a discovery that was! All credit to Louis Smith for introducing me to it back when I was starting to seriously paint portraits. For me all skin tones seem to flow from there when this green is mixed with alizarin crimson or cadmium red. In my case I generally add both, or start with a dark mix of crimson and sap green. I have found myself recently mixing a deep colour using these two and working from there on the palette in various directions, adding white here, blue or yellow there and seeing where I end up.
If I mix Sap Green and a red for a shadow and it’s still too warm I mix in a bit of blue. It could be any blue but the blue I have on my pallet is Ultramarine. This again is a warm blue, but its cool enough to dampen the fires of Cadmium Red or Alizarin Crimson. I have to be careful not to add too much blue or it overpowers the other colours.
Honestly I think I would struggle to paint a portrait without it these days. The description on the Winsor and Newton website says Sap Green is a bright mid-range green with a yellow undertone. Originally Sap Green was a lake pigment made from unripe Buckthorn berries. Here is a picture of some Buckthorn, also once used as a ‘purgative’ which sounds nice. Perhaps its a good thing its not used anymore as its very toxic.
My palette is a fairly warm one when seen all laid out, and I’m sure at any time I could dispense with some of the colours. I generally don’t use umbers (browns) in my palette except when I’m doing drawing or underpainting. I have found its convenient to have a bit when I’m painting hair, but I usually mix my browns from various other colours, typically starting with a red and sap green together. Here is a video starting at the moment I have prepared a glaze mix on my palette using these colours, and I use it for the hair:
When mixing colours I’m always back and forth, correcting and adjusting as I go. I never get it right first time but have come to see it as a process of guesswork where I try a colour, see it in context, and then try again. I was never taught any formal method like you might see on an academic painters palette. Sometimes when I have a very warm hue for a highlight, where I have used a lot of red, it can work very well to just add some blue or a sharp green like Viridian. I want to try and get the values to remain the same with the two colours, but the cooler hue bounces off the warmer and creates the subtlest shadows. It still takes a bit of time when painting to get to the point where I can find this balance, and often I do it by accident. That is part of the pleasure of painting though, where we are constantly surprising ourselves.
Here is a new video of me working on a first colour glaze in oils, over an acrylic grisaille underpainting, which is a new medium for me. I’m trying to speed up the process a little bit. It took a while to get the hang of acrylic, something I’m still progressing with. The grisaille is done using raw umber and titanium white, but hopefully the video is self-explanatory.
I’ve nearly finished this portrait painting. Its had 5 glazes over the initial underpainting. This picture shows the grisaille, the first glaze (which I filmed and is on youtube) and then the 5th glaze which is almost the last one. I still intend to go over the hair and background again amongst other things. The background was a dark green the glaze before this! It still shows through and gives it a nice depth. The lovely thing about working in this way is that everything can change with just one glaze. This portrait has been through many stages while painting each glaze. Sometimes I misjudged a colour or hue or the values of light and dark weren’t right. In each case I was able to correct the painting in the following glaze, either lightening or darkening.
I love painting highlights in a portrait so I guess I overdid it somewhat and the lightest light ended up too bright by the 4th glaze, but in the latest glaze which you can see here I went over the whole portrait again with a darker glaze just to soften it a little. In areas where it was too dark again I just used a dry brush to pick off the paint and continue blending. I can always keep adjusting a portrait at a late stage if the client commissioning the portrait feels there is something that needs changing.
It is surprising just how close to the original grisaille the painting is, even when its possible to see how much refining and drawing has gone into the portrait over all the glazes. Its strange to see later very finished versions of a portrait where the grisaille is like a ghost, still very present but disguised under veils and glazes of colour. The grisaille functions like an anchor that holds the structure of the portrait in place, and many many changes can occur but the painting is still held firmly together by the initial drawing. Its the main reason I started learning how to paint using the grisaille method.
I always use the same mixes when I paint portraits using the grisaille method. All my glazes start with various quantities of the same colours: Alizarin Crimson, Cadmium Red, Raw Umber and Sap Green (a warm Sap Green). All the later glazes are mixed with these colours but with other additions, like Ultramarine Blue to cool it down, a bit of Titanium White to make a velatura or semi opaque glaze, some Cadmium Orange.. but always hovering around the same original mix. Of course this depends on the commission and the sitter having their portrait painted.
My latest film, another shot while putting on the first glaze over a grisaille underpainting, is now finished and on youtube. Here’s a link to the first installment:
It’s been an interesting experience filming myself working, and quite strange to watch it back as I’ve never seen myself working before. I wanted to make an authentic account of working with this method, and create the film I was looking for when trying to learn how to do it myself. Of course thats a process that never stops!
I was able to practise my dry brush blending with this portrait of a beautiful girl called Violet. This portrait commission was a staging post for me in developing my understanding of the grisaille technique. I’m now much more comfortable marrying techniques of glazing with my earlier familiar method of building up solid planes of colour. I took a lot of care over the blending and modelling of the glazed areas, and I hope that they also have a painterly quality. My goal isn’t to create a facsimile or exact copy of the photographic reference, but using that reference as a starting point I am first and foremost concerned with creating a painting using oil paint. Oil paint has its own qualities and follows its own transformation as the painting progresses. The delight of an oil painting is how this empty picture plane can somehow come to harbour all these rich layers of paint and medium, which swim around on this surface, again somehow crystallising into a likeness of a person.
Dry brushing an oil painting gives more of a ‘soft focus’ effect, but personally I don’t want to overdo the blending as (in my work) the paint gets a sort of sickly quality, especially if done in areas with more painterly underpainting. Its like more of a stain than a glaze and glazing needs a little backbone, some substance! This painting was done a while ago when I was still in the early stages of portrait painting but looking at it again I feel that I was able to create the kind of effect I am now trying to capture and that I lost somewhere along my journey into oil painting. Parts of it I would now rework but sometimes less seemingly accomplished work has a more desirable quality. I am still trying to find the space between the finished, polished oil painting and the accidental – I read somewhere about the ‘completeness of ‘incompleteness’, sounds good but I don’t know what it means. It might mean something though.
I’m still trying to find a way of using brushwork. I love the sensation of pushing paint around with a hog brush and literally feeling the paint slip around on the picture plane. More than that, paint shudders when you turn the brush this way and that, it ripples and folds and dances on the surface. The wet brush flips and turns as it goes, collecting the paint, hoarding it, spreading and stretching it, round and round, a beautiful moment during each glaze where just wet enough, the surface has a thin layer of oil paint I push and pull around, feeling it fold and eddy under the brush like butter.
I think generally very fine blending is done with sable brushes but I only use these for extremely fine details, like the line of an eyelid, as somehow when I do it the paint loses its painterly qualities. It would work if all of my brush mark-making was done in the same way but a lot of what I do leaves a painterly effect. I need to be shown how to do this by someone who knows. But I don’t want to be too fussy about the blending, again probably because my instinct is to let the paint ‘blend’ in the eye of the viewer. I’m not after a perfect finish. There’s more of a sense of the alchemy of painting and the transformative qualities of paint when it’s a bit rougher and more painterly.
The art historian Richard Elkins wrote a brilliant book titled Painting is Alchemy and he writes about how painting isn’t an exact science, but more akin to alchemy. The specific qualities that individual artists look for in paint can never be written down and aren’t formulaic. It’s transformative