Venetian Method
Cedar Crossing- A Step-by-step Demo.
STEP#1. The Drawing
Submitted by Aaron Holland on Tue, 2007-03-27 08:03.
Winter has come and is gone for another year.
This winter I decided to tackle a painting I have thought about for a number of years. I am just finishing up on it, and I thought I would share it with you.
I was inspired by a scene I saw once upon a time. ..The town I live in has many buildings that date back over a hundred years, on a quaint main street with vintage lamp posts. The lights hanging in the trees and the freshly fallen snow gave the town a timeless christmas feel. When I saw the horse and carriage trotting slowly down the street knew I had to paint it someday!
The next few steps show the progression from start (drawing, above) to a finished painting.
STEP #2. The Transfer
Submitted by Aaron Holland on Wed, 2007-03-28 10:02.
I traced the finished drawing (shown step 1) onto a piece of Acetate with a fine-point Sharpie, and now I am shown transfering it onto a linen canvas (toned golden).
This is a little time consuming, but I can save all the work I did in the drawing and concentrate more on the painting...
STEP #3- Imprimatura
Submitted by Aaron Holland on Sat, 2007-03-31 07:53.
I start by painting in the darks with a wash of Brown paint thinned with mineral spirits. I do this rather quickly to give me an idea of where the darks and lights will be (the values) throughout the picture.
The toned canvas helps me see the values more accurately (a white canvas is too bright and throws the values off when comparing them next to it). The toned canvas also allows me to see white paint when applied.
#4. The Underpainting
Submitted by Aaron Holland on Mon, 2007-04-02 06:12.
At this point you can start to see the picture develop! I find it helpful to get a feel for how the finished picture will look, and to begin to see the overall placement of objects as well as the values.
#5. Building up the Lights
Submitted by Aaron Holland on Wed, 2007-04-04 16:55.
I now begin building up the lights with white paint. Of course there are several methods of painting. I could have continued developing the transparent washes and that way brough it to a finish, but rather this is just the imprimatura (or initial start before the actual painting begins) that helps me to "map out" the painting.
#6. Venetian Method
Submitted by Aaron Holland on Mon, 2007-04-09 06:16.
I am creating an "underpainting" that is monochromatic (one color). This is called a Grisaille (pronounced Griz-eye' ).
I now begin to paint opaqualy (and rather smoothly). For a less complicated picture I might have chosen to start painting like this from the beginning. When you create an opaque underpainting and then glaze color over it, that approach is called an "indirect method". Instead of black and white, however, (which is the traditional colors for a Venetian Approach underpainting) I am using brownish umber and white.
There are various styles of "Indirect Painting" the two most notable styles are the "Venetian" and the "Flemish", and every conceivable variation between the two. As I understand them, the main difference between them (keeping it simplified) is that the "Flemish" approach keeps transparent darks throughout, and the Venetians created opaque underpaintings and then glaze colors in the darks for depth and luminosity. There are other notable differences, but that will suffice for now.
Technically, the most important consideration for Indirect Painting is not the specific approach or even the finished result, but rather the oil content and the application. It is very important that the "Fat-over-Lean" rule be applied correctly; or, more oil over less oil.
One way to do that is to start with a "Lean" paint in the Imprimatura (thinned with Odorless Mineral Spirits), and as you begin to paint opaquelly to switch from a thinned paint to a mixture of oil that has gradually more oil and less thinner in it- the oil increasing in proprtion in each successive layer).
STEP #8. Working The Whole
Submitted by Aaron Holland on Wed, 2007-04-11 07:09.
I start to add some details such as lights, and definition to the horse and carriage, yet it is more important at this stage to maintain unity. I am looking to make sure that the "big picture" reads well. Notice how I am adjusting the values. I am trying to keep the lightest lights and darkest darks in the foreground to help create a sense of depth.
The paintings success will be determined by how well I paint the underpainting.
One very important aspect to indirect painting, is creating a solid foundation. I have taken this as far as I intend to, without over-working it. Now it is time to let the paint dry. In order for it to be a solid foundation to recieve layers of glaze it is necessary that this part of the painting dry thoroughly.
STEP #9. Starting to add glazes
Although this is not a very "colorful" picture, I will be adding some "glazes (transparent washes of color) that will add depth and luminosity. Notice the lights and some of the awnings, for example.
It is important in the Venetian approach to avoid texture in the brush strokes until the end of the painting, and they should then be applied at the same time as the glazes and NOT glazed over. A safe approach would be to glaze the color as you want it to be, then to add thick paint right on top of the glaze- this is a safe method that is in keeping with the Fat-over-Lean approach.
The ridges in textured paint will make the glazes look uneven and the color will settle in the ridges. In most cases this is to be avoided.
Step #10. The Finished Painting
Submitted by Aaron Holland on Wed, 2007-04-18 15:23.
The Tentmaker's Letter
Step 1. The Idea
Do not proceed to step 2 until you have a sound idea. The clearer your vision, ultimately the clearer your finished painting will transmit it. It is ok to make changes as you go, but this is the most important step in the painting process!*
I learned, after completing this sketch, that writers in 1st Century Rome wrote with a Kalamos (or Reed Pen) and wrote generally during the day-time. I changed the angle of the sitter to show light coming over his left shoulder as well as to add a diagonal for interest. This is the ideal way to write using natural light, so that the shadow from your hand is not crossing the paper where you are writing.
Step 2
Start with an accurate drawing on the canvas with charcoal. Begin to paint with large, simple masses of opaque color. This is most often referred to as a “Block In”.
I will be painting this piece in a modified Venetian Method, which consists of an opaque underpainting (with minimal texture), and glazing on top of that for added depth and luminosity. [Traditionally the *Venetian Method is considered an “Indirect Approach”, which means the color and values are gradually realized. It is painted in two basic stages, the first is called a “Grisaille” or monochrome underpainting (painted opaquely) and the second involves transparent glazes of color applied on top of that. This was popularized by the Northern Italian painters around the time of the Renaissance notably Titian. I have modified this approach by painting the underpainting in color rather than in monochrome; the basic approach is otherwise the same.
Cover the Canvas!p. It is important to cover the canvas as quickly as possible. This will “get rid of the white” (which makes seeing values difficult), and allows you to start to make comparisons and corrections early on.
Step 3: Refine
After the canvas has been covered, slow down and be more deliberate. Carefully study and refine shapes, values and colors.
I continue to paint opaquely (observing the fat-over-lean principal) until the painting is almost finished, as this provides a solid foundation for some transparent “glazing” specifically in the head and hands.
If you are working with a model it is a good idea to concentrate on the head and, if you have time, on the hands! Working from life is always advisable as it yields a truer color and depth of space, than a photograph can, it also trains the eye to be attuned to natural light and color, etc…
At this point I would like to send a “shout out” to the model- “Thanks for all your hard work, and for being so generous and patient with your time!” Also, thank you to Hales Handmades for the fine handmade costume for this piece!
Step 4: GLAZING
When the foundation is complete (all drawing and value corrections made) it should be allowed to dry completely. Then thin, transparent glazes can be applied to add depth and luminosity. (Generally, but not always, the colors are warm and added to the shadow side.) The glazes can be added in a succession of overlapping layers, or an area can be “oiled out” and the glazes mixed into it until satisfied with the result.
(In most cases I attempt to bring the whole painting to completion at the same time, but when working with a model I do not hold myself strictly to that approach, but finished, as much as possible, the face while able to work from life.)
It is a sound practice to establish the drapery while the model is in pose, however a dummy can sit in place of a model for the menial tasks of clothes and surrounding props…
