Posted on May 29, 2018
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!
Posted on August 1, 2017
Tommy- underpainting in progress. Underpainting is a technique used since the renaissance. It usually refers to a monochrome foundation or base layer, and layers of paint are applied on top. This one is a grisaille or grey, but there are various different kinds, and not always of the monochromatic variety. Titian used coloured underpainting. The idea is that it supports further layers of paint, as a foundation supports a house. For me it is purely a pragmatic solution where I can be confident that the drawing is correct and can continue applying further colour layers without having to backtrack and amend the drawing as I go. If I’m painting a portrait to commission I like to work as efficiently as possible, and in the past I have found myself in tricky situations where I have had to keep going over the drawing because its not right, and this can be very time consuming. As I have said elsewhere, you can throw a lot of good painting after bad if the drawing isn’t right first.
The other type of underpainting I have used is called ‘verdaccio’, which is a green version, and usually made by mixing black, yellow and white although I think a nice version would be with Michael Harding’s Sap Green and Titanium White only. I never used black as my art teacher at school was a hardcore impressionist with a love of purple who could not abide it. Honestly it took me 20 or more years to get over that – just couldn’t use the stuff.
Anyway there were a lot of impressionists or those painting at the same time who loved a good bit of black, think Manet and Degas. But we were taught to mix optical blacks with reds and greens or browns an blues and these are very beautiful, and deeper than your average black in a tube. When I learned how to mix oil paint for skin tones from Louis Smith using reds and greens, that struck a chord with my earlier learning and its stayed with me as the basis of all the glazes I’ve found the most useful when painting portraits.
In every portrait painting I paint using the grisaille method, I use the same mix of Alizarin Crimson, Cadmium Red and Sap Green to start off (has to be a warm Sap Green – Michael Harding does a beautiful but cooler version which is different to the one I need). I have a Winton Sap Green that is good for now. Maybe a little Raw Umber as well.. All the other glazes I mix hover around this mix on the palette, depending on the person I am painting of course.
Posted on March 6, 2017
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
Posted on November 15, 2016
Grisaille underpainting finished for another portrait. Ready for a glaze very soon. #devon #portraitpainting #glazing #underpainting #contemporaryart #art #portrait #oilpainting #oiloncanvas #painting