Aaron Holland Fine Art

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…