New video on youtube of the grisaille and glazing process

I wanted to share the magical transformation an oil painting undergoes, glazing oil colour over a monotone underpainting.

I filmed myself painting the glaze and velatura over this portrait for one hour, in 3 short videos – this being the first. Its the first glaze and there will be a few others to finish the portrait, but this video shows the process, and I hope shows why I find it such a rewarding method to work with. It shows the dramatic results you can achieve in a relatively short amount of time.

Oil painting demonstration: Glazing over grisaille – Portrait of Amy

This is Amy’s portrait, glazed in oil paints. I filmed myself doing this and it will shortly be on my youtube channel. Its still in the early stages, and when this layer is dry I’ll go over it again, up to 3 or 4 times. I don’t know if I’m going to film those other stages – they might be a bit boring as its just a lot of tinkering. In the early stages its quite dramatic how a few glazes of colour changes the grisaille into a very nearly finished portrait. Stay tuned!

Image showing before and after views of a portrait painting commission where the first glaze in oil paint has been painted over a grisaille underpainting

Before and after glazing over grisaille. The first oil glaze took roughly an hour to complete. The grisaille underpainting was painted using Titanium White and Ivory Black oil paints, and the glazes are mixed from Alizarin Crimson, Raw Sienna, Cadmium Red, Titanium White, Ultramarine Blue and Sap Green, to name a few

Titian’s Ecce Homo – underpainting and glazing

This beautiful painting by Titian from the Prado Museum is the reason I wanted to try and learn the technique of painting with a grey layer, or underpainting in grisaille, a technique that Titian pioneered.

The flesh appears both taught, as if it was carved out of marble, and fluid at the same time. Titian painted this in Rome, and you can clearly see the influence of Michelangelo in the rendering of the forms and their monumentality. Another interesting fact is that he painted it on Slate. You can see the colour layers as applied over the grisaille and they seem to dance and flicker on the picture plane. It is as if Jesus Christ is illuminated from the inside, and the strokes of glaze glow like flames burning in a furnace. The cloth Christ is wrapped in has an extraordinary quality which maybe I could get to the bottom of by copying.

I don’t paint portraits with this kind of chiaroscuro and extreme passages of light to dark, but maybe I should. Chiaroscuro as seen here feels like it belongs in a different age, but it would be interesting to see if you could do it today, and make it something worth looking at, without pastiche.

These paintings of Christ on his way to the crucifixion were meant as devotional images, painted in such ways to elicit empathy from the viewer. You can feel the depth of Titian’s religious faith in this painting. There is more information on the Museo Del Prado’s website about it.

It feels a bit shallow chatting about it in this way, or that I’ve somehow understood it when I don’t think I have at all. Perhaps the only way to come to terms with it is to try and copy the painting, but the subject is so raw that personally I don’t think I can. I am able to admire this painting, but not as a devotional object and certainly only in a small way appreciate it in the way Titian intended. But as much as being a devotional object it is also celebrated because of the skill and grace he displayed in handling the paint after all. I do believe though that it was his religious faith that gave rise to his superlative technique here.

fb994100-587a-45db-8672-0160d39e273d

SaveSave

First glazing over grisaille portrait

I’ve put the first colour glaze put on this portrait in 2 stressful hours! A few more glazes needed and I’ll add them over the coming days. I use M. Graham’s Walnut Alkyd medium which dries overnight – or to be extra sure within 48 hours. I enjoyed painting his ear and chuffed with the result! It felt good to achieve some economy of handling with the paint, and not get bogged down in it. #ear #chuffed #figurativeart #contemporaryart #portraitpainting #portrait #grisaille #underpainting #oilpainting #oiloncanvas #realism #art #painting #glaze #devonartistnetwork #devonopenstudios #devon

Devon open studios

I’ this portrait for promotional material for Devon open studios in September 2017 #portrait #portraitpainting #contemporaryrealism #art #oilpainting #devonartistnetwork #devonopenstudios (at Kenton, Devon)

Portrait painting in stages

This is an early example and one of my first efforts at glazing over a grisaille underpainting, a portrait I painted of Dai, in stages. You can see the grid system I used to copy the original photograph reference. I don’t have a strict methodology of working from darkest darks to lightest lights that you can sometimes read about on academic portrait painting sites, but generally work by guessing. The painting doesn’t use so many glazes, maybe 3 or 4, but at the time I felt it had a nice quality and I left it. #contemporaryart #realism #underpainting #art #portrait #grisaille #underpainting #portraitpainting