What about Technique?

The Mixed Technique
The originator of this modern adaptation of the early techniques, a Russian man named Wacker, taught at the Ecole des Beaux Arts, Paris in the early 80's.  I've received it from a friend who studied there at that time.  It is useful for brushability, quickness of drying and glaze layering.  Using this technique one can maximize the use of glaze while simultaneously painting opaque areas into the fresh medium.  The dry brush can be used to blend and unify the surface.  Strong areas can sink into the background while lighter tones can be emphasized.  It seems possible that the yolk of an egg could be substituted for the alcasit, though I have never tried it.

The Recipes
Emulsion:

• 1- volume alcasit (methyl cellulose glue)

• 1- volume half of which is pure linseed oil with 1/5 eburit dryer (or sun thickened linseed) and half damar varnish 2:1

• 1- volume water

• Put liquids in a jar in the order written ( alcasit first) and with each addition cover the jar and shake it in well. I heard water could be as much as 3 volumes but never tried it. The result looks like mayonaise.

Medium:

• 1 part damar varnish

• 1 part turpentine

• 1 part stand oil (sun thickened is also fine)

The Panel
Coat panel or canvas with a light coat of glue size.  For canvas, use a recipe for good lean priming (commercial lead white in oil, 1 pound thick paint, diluted with 3 fluid ounces of turpentine).  Add at least 3 coats brushed on in opposite directions, lightly sanded in between.  For gesso grounds on panels it is best to apply at least 10 thin coats painted in alternating directions, always sanding in between coats.

The Design
Find an image from which you wish to work. It can be a reproduction of a painting you admire, or a drawing of your own. You should be able to render it in black and white value studies as well as forsee the addition of color. Transfer the drawing to the primed canvas or prepared panel.  Render it in waterproof india ink. Be sure to erase all pencil lines after the drawing is transposed into ink.  A final glue size is applied on all surfaces after the preliminary drawing but before the imprimatura.

Paints
It is best to mix fresh white for every session.  Use white powdered pigments and emulsion.  Take a glass muller or spatula, pressing, dragging and blending the two together until a consistent texture is achieved.  This helps considerably with quick drying. Pour a small amount of emulsion into a small cup or bowl. Use this to increase the brushability of your oil colors. Remember to always honor the fat over lean principle. If you are able grind up your own colors, you will be able to avoid buttery, oily colors from the manufacturer. In additon, you will learn first hand which pigments require more oil to achieve a workable consistency or in contrast which grind up easily and are therefore 'lean'.

The Imprimatura
The inprimatura is used to cover the white ground with a translucent middle tone.  I usually use damar varnish diluted with turpentine 3(T):1(D) mixed with Burnt Sienna.  Using a wide bristle brush apply over the whole panel to achieve a common medium value for the beginning of the image. Take a clean, dry cotton lintfree cloth to wipe off the excess. The surface should be tacky and glistening.  To test for correct dryness, lightly touch the surface with the ball of the palm of your hand . When it is dried enough, it should pull a little on the skin when you lift the hand.  

The imprimatura can also function as the first level of glaze.  Work into this slightly tacky surface white mixed with emulsion for strong light areas and drag them into the background with a dry brush. This produces a soft way to suggest future values. After that come in with the darkest tones, to establish the shadows.  This quickly establishes the values of the painting and you can step back and assess how your idea is working and correct where necessary at an early stage.

Session 1
It is best to to let the imprimatura dry.a few days to a week.  Touch will tell.  Now cover the entire painting with a fresh coat of clear medium.  Take a clean, dust free cloth and wipe the surface of excess medium.  The surface should be tacky and receptive.  One can begin to work in large blocks of color, alternating glaze or emulsion for transparent or opaque effects.  Values can slowly be adjusted. One proceedes from coarse to fine detail.  Highlights and shadows can be further refined by moving away from the midtones of the imprimatura while still remaining ‘unfocussed’. Later sessions can define fine highlights and precise shadows. Let the image slowly emerge. Don’t fall into the details – yet. 
One lovely advantage of the mixed technique is brushability. You can paint one color next to another area of color, then using a dry brush gently blend one area into the other. The colors softly merge without contaminating each other. Good sable brushes are invaluable for manipulating paint; fine bristle brushes can be used for painting larger areas and dry merging. Each painter needs to find his/her own taste. Remember to keep your colors pure. Unintentional mud is – mud.

Drying
The painting needs to dry thoroughly in between sessions. By using the Mixed Technique and one’s own ground up lean colors, drying time can be greatly reduced.  A week is usually enough. In the beginning stage when the painting is less saturated, the drying time can even be a few days. Techniques to insure a lean and thirsty ground are useful to know. For example, using lead white in one’s ground can help, but remember it is poisinous so use it with caution. I prefer 10 to 20 thin coats of chalk gesso on a plywood panel (Masonite is not as thirsty).

Session 2
Cover the whole painting (or the section on which you intend to work that day) with Medium. Take a clean dry cotton rag and wipe it back off. The surface should remain tacky and glistening. The surface is now ready for fresh paint manipulations. Finer details can begin to be applied using paint mixed with Emulsion for brushability. Remember the dry brush can be used to blend one area into the next. You will quickly see when an area can receive no more paint.

How many sessions does it take to complete an image?  This is best answered by experience. In general, don’t be impatient. This is not a fast results technique. However, it can create lovely possibilites for translucent color effects enhanced in layers of glaze, yet contrasted by areas of solid color. Try it out for yourself.

Egg tempera
Some basics on painting with eggs.

Mixed technique
from the Ecole des Beaux Art, Paris.

Fresco
Some basics of painting fresco and fresco secco.

Encaustic
Some new expereince with an old technique.