using grisaille and glazing techniques to reproduce an old master painting
Grisaille paintings are often used to decorate art or reproduce the appearance of reliefs, but it can also be used as a base painting for portraits, still life and other art genres.
Grisaille as an underlying drawing is similar to verdacio, which I discussed on my page \"What is verdacio and how to use it in your drawing.
\"While verdaccio is usually used under fleshtones to increase the depth warmth and contrast with the earth tones applied to it, grisaille is used in this way
Although I usually use verdaccio in my bottom painting, I recently decided to try a strict grisaille bottom painting to replicate Titian\'s Venus Ana
\"I saw the original painting in the exhibition\" The Golden Age of Tianxiang and Venetian painting: a masterpiece of the National Gallery of Scotland \", which is located at the Museum of advanced Art in Atlanta, then Georgia.
I immediately fell in love with this Venus.
Her soft beauty, and the way Titian creates so much mood and atmosphere in fairly rough, expressive strokes.
Because the blue color palette for this painting is too big and her skin tone is light, I think grisaille is a good choice for a bottom-level painting so that it doesn\'t lose the purity of the Blues.
Now, I will complete the drawing process step by step so that you can see how my own version of Venus anadomini is formed.
Learn more about the Italian Renaissance masters being one of the greatest artists of the Italian Renaissance.
Any artist interested in classical style art should study the work of this master painter, this book contains beautiful images of all Titian paintings.
So far, I have completed two copies of Titian, an excellent resource tool to understand his artwork, methods and importance to the art world. 1.
Before starting the Grisaille underlying painting, I have to copy the base image after finding the high Image
Copy of the resolution on \"Venus Anadyomene\"
Line, I save it to my computer, convert it to grayscale, and print it to size to fit the panel I\'m going to use.
Then I marked a 1 \"grid on the image and marked each square with numbers in one direction and letters in the next.
I expanded the mesh to fit my 24 \"x 30\" panel and started drawing the main image with charcoal.
Marking squares reduces the chance of getting lost while tracking the outline of graphics, hair or background details.
Please note that on the face, I added diagonal lines to my mesh to help place the angle of important features like nose, eyes and mouth.
If you add a diagonal to the grid, it is important to remember that the end of the line must meet the square corner of the grid to ensure the correct placement.
In images with more angular components, I usually use more diagonal lines to ensure the correct position, but \"Venus Anadyomene\" is mainly vertical and horizontal in composition2.
The finished charcoal drawing is almost ready to start Grisaille underpainghere is the charcoal drawing I have done on the \"Venus Anadyomene\" panel.
\"Once I\'m happy with the location of the feature, I light the grid as much as I can and start adding shadows and calculating the value of the image.
I used a few bristles to mix and smooth the charcoal on the surface and then worked until I was satisfied, I have done enough research on the painting and now is the time to start painting
I sealed the charcoal with a fixed spray and used several coats until the charcoal was no longer rubbing on my fingers. 3.
Rinse the last step with a light number before starting to make the panel. This next step may seem strange to some, but before drawing grisaille, I \"cleaned\" the panel with burnt umber that diluted the spirit of the smelly mineral.
Even if I\'m going to paint in grayscale, this thin paint layer will make it easier for the next paint layer to \"stick\" to the panel.
It also helps me to see where I drew and where I only put charcoal.
I had the wash completely dry for the night before proceeding to the next step. 4.
Using Cennini Grisaille KitPre-
Mixed Grisaille paint is used for appropriate grayscale values instead of mixing a range of grisaille values in pure black and white oil painting paint to save me from using pre-
Hybrid grisaille kit for Cennini (
Unfortunately, stop now).
These eight carefully calibrated pigments have gone through precise measurement steps in value, which is the perfect way to enter the grisaille painting.
I found this paint very buttery and easy to apply even in the first coat on my panel.
While learning to mix your own grisaille is important for the artist to understand the value correctly, it is good to be ready
When you just want to start painting, make the kit on hand!
If you can\'t find pre-painted paint to make your own Grisaille collection
Make the grisaille kit
Or prepare to start mixing your own griisaille, here are the basic paints you need.
Traditional Cremnitz or lead White (
White tablets often occur today)
It is used for bottom painting due to its opaque, fast drying properties and durability.
However, it\'s hard to find or buy \"real\" lead White today --
This is completely forbidden in some areas!
So if you have a safety issue, you can switch to titanium white instead.
Do not use zinc white in the grisaille bottom painting.
Ivory Black is the traditional black used in grisailles.
It does have blue color when it is mixed, so some artists add a little bit of burnt earth yellow to heat up the tones of grisaille a little.
My favorite medium of oil painting: Liquin-
My favorite painting media is all stages of the underlying painting, glass windows and oil paintings, which I use by default for almost all my oil painting projects.
It helps to dry the paint faster and is also ideal for glass window applications.
When the blue pigment is mixed with the glass medium, it sometimes accumulates and separates, but I have never had a problem with the liquefied protein. 5.
When I finished my Grisaille, the first color test was done using the Cennini grisaille kit.
I finished grisaille in two sessions, using my charcoal pen drawing and reference photos to match the light and dark values as much as possible.
I only use a small amount of liquefied protein medium in the grisaille paint because they are very smooth and easy to paint, but liquefied protein will help them dry faster.
I started adding colors by working on the background first.
This is important because it \"outlines\" the central character of Venus and helps to make her body accurate.
The color is interactive, and the key to how we look at a color depends on the color next to it.
I started painting opaque colors on my griisaille using shades from the Maimeri Puro series pigments such as the blue light of the King, blue-green, blue-colored and green blue.
These are the purest and most beautiful oil paint at present, with rich colors, and the consistency of layered and glazed painting techniques is very good.
With a little titanium white mixed in blue and green tones, the color immediately begins to \"pop up\" from the painting in grayscale and quickly forms. 6.
The first Fleshtone app applied the flesh tone on the full dirt on the background, I started layering in the flesh tone and as venus\'s skin tone was so bright my work became more and more
I used mostly titanium white, mixed with a small amount of CD orange and a little yellow och stone.
In Shadows and hair, I mainly use burned Umber soil, burned Siena and yellow och stones.
If possible, in the darkest places of shadows and hair, I applied the dark color to a thin layer of glass for some of the original griisaille underlying paintings to be shown.
However, in the bright area of the meat, I draw very thick.
The paint becomes more transparent over time, so it\'s important to paint the light color thick and make sure that any original drawing line or charcoal sketch is good --covered.
Please note how the original grisaille brings the overall cool, blue look to the painting, even at this stage of the process, the painting is very disgraceful.
In addition to the CD Orange from winsol and Newton, I once again insisted on using the macery plow paint.
The color used in the meat of Venus
This is the color and paint I used for venus\'s meat tone palette. 7.
Building FleshtonesBlocking is thicker in multi-color than I was in fleshtones GrisailleHere first.
I finished a full layer of meat, body and face in a lumpy way, but I tried to concentrate on building the main area of light and shadow.
I hope my Venus has some real \"weight\" for her \"(
Not just because she\'s a woman with a sense of personality. )
I also gave her a little \"nose work\" from my original grisaille, softened the tip and gave her a little bit of improvement.
Learn more about the techniques of classical oil painting. . .
These books are a great resource to learn more about the methods and materials of old masters and classical artists.
If you are interested in traditional methods and painting like a master, I highly recommend these titles. 8.
Here I have started to heat the meat and give her a little more \"blood\" and \"life \".
\"This is done by applying some burnt sienna to my face, hands, hair and other parts of the body that I want to look warmer.
I also used some burnt Siena in the water and shells to keep the palette uniform throughout the painting process.
At this point, the picture will become a lot of backand-
The fourth job: add color, soften lines, establish contrast and reduce contrast.
This is the most challenging and exciting stage in the painting process, where rough images begin to really form and hopefully present an atmosphere of realism. 9.
After applying some red and brown color to the hair and body transparently, I used some lighter paint --
Mainly titanium white, mixed with a little yellow och stone and burnt Siena
Add details for hair and Shell.
When you apply an opaque color to the glaze, this is called \"scumbling\" and should be done to a minimum.
I also applied a darker color to the water and her body to keep the shape, shade and flesh color going.
At this point, I decided to take a break from the painting and come back with \"fresh eyes\" to finish it.
I \'ve been doing this almost every day for about two weeks, doing it for a few hours at a time, not very happy with the colors and details.
Sometimes it\'s a good practice to put a picture aside for a while instead of rushing to finish it.
I work on a big landscape to change speed, in fact, haven\'t returned to Venus for about two months.
When I did it, the rest of the work went smoothly and quickly. 10.
One of the main problems is that Venus looks too contrast and harsh, so in order to reduce the tone of the painting, I added more glaze to smooth the transition and reduce the tone of the color.
I touched some background blue on her skin and blurred the edge between the background and the body.
I put burnt Umber glaze on my hair and water and added a greener blue color to the water.
Now she\'s starting to look closer to finishing, but I still need to play a little more with this image before I\'m completely satisfied.
In my last day of painting, I made a very thin original Sienna light glaze in Liquin and applied it to the entire painting surface.
I changed the intensity of the Sienna color throughout the painting, wiped some in the brightest meat area and deepened it in the shadow.
This instantly unifies the entire image and gives it a more \"classic\" look.
Then I made some rose lake in the still life --
Wet glaze, touch the rose into the flesh area I want to \"pink\": lips, cheeks, tip of nose, fingers and chest.
Due to the flow of blood, any area of the body will usually appear more red, and I gently incorporate the rose color into it.
I also threw some on the horizon.
For the final polish, I added a little titanium white to my raw Sienna glaze and added the hair highlights with a small detail brush.
These tiny details are a good indication of the curl and flow of the hair without excessive contrast as before.
At this point, I decided that my version \"Venus Anadyomene\" had been completed.
She doesn\'t look like Titian\'s, but I like her too --
She is my Venus, even if she is inspired by someone else.
I always find that my own personality still exists when reproducing the portraits and character paintings of the master, and I like the feeling rather than trying to find a precise carbon copy.
I think the bottom painting method of this painting is very effective.
Compared to using verdacio, it certainly feels different and sets a different tone for the work.
In the future, I will continue to try different hued bottom paintings based on the mood and atmosphere I want to create in my work.
Looking for Maimeri supplies on Ebay? -
Find the offer from this outstanding Italian art supply manufacturer.
I really like the paint from Maimeri and they are not always easy to find. . . except on eBay!
More of my work. . .
Please visit my personal website Nicole Pellegrini Art to learn more examples of my artwork from oil paintings to various styles and mediums such as watercolor and pencil.
In addition to the classic reproduction, I also do original portraits, fan and \"media\" art, pet portraits, astronomical art and fantasy design.
You can also find some of my works for sale in my Etsy storefront, so be sure to check out the original paintings and prints there.
Art tutorial for Sockii-
Learn more about oil paintings and classical techniques and create a classical Still Life oil painting. The image on the left is an oil painting I completed entitled \"Still Life With Two pears\"
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What is Verdacio and how to use it in your drawing
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Please let me know what you think about this painting tutorial!
I hope you enjoy reading it and hope that one day it will inspire you to draw your own Venus. . .