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A Work in Progress...

The imprimatura:

This stage is about setting the general value of the piece. I cover the whole panel with a solution of 2 parts turpentine to 1 part Damar varnish into which a few good slugs of burnt umber oil paint have been mixed. It is very lean, and when painted on the panel should give me a light middle tone. I let it dry about a minute or two and then wipe it off with a soft cloth.

Predijkherrenrij Grande front imprimatura Predijkherrenrij Grande front, Bruges, Belgium 2010. Imprimatura over egg tempera, india ink and silverpoint 44 cm x 59 cm

The tonality has the effect of unifying the image, then I go back in with clear turpentine to reclaim the highlights. In some areas the white does not come back strongly enough, so I return with a paint I have mixed of titanium white dry pigment (a bright, opaque white) with emulsion. This paint covers well and dries within a few hours. I reclaim all the important highlights. And set it aside to dry. The image is starting to come together nicely. There is yet a distance to go, but this underwork shows me what I hope to achieve in a more viscous fashion through the succeeding layers of oil paint.

For the back side, a clear tonality to unify the background. I'll bring the white text back in on the next layer.

Predijkherrenrij Grande back imprimatura
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Techie Stuff

The value study
Check out the Atelier Artisanal informative discussion blog on this topic.

The support
Check out the Atelier Artisanal informative blog on panel selection.

Gesso
Atelier Artisanal informative blog on preparing a panel for painting.

Silver point
Atelier Artisanal informative blog discussing using silver point as an underdrawing.

Egg tempera
The Atelier Artisanal blog covering the basics on painting with eggs. Informative experience welcomed.

Mixed technique
Atelier Artisanal blog discussing Nicolas Wacker's method from the Ecole des Beaux Art, Paris. Questions invited.


Ellen Trezevant  -  Sint Annarei 10, B-1  -  8000 Brughes  -  Belgium  -   contact me
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