A Work in Progress...

Session one, The Mixed Technique:

Applying a clear glazing medium to the surface for brushability I begin to work in layers of paint.  Using an emulsion for the paints, I slowly work up the first layer, always working fat over lean.  (The very lean egg tempera underpainting offers a big head start).  At this stage it is useful/necessary to premix a wide variety of paints to quickly establish value as well as to cover the mediumed surface with paint.  The drawing, and egg tempera levels have already set the stage, so to speak and function as guides.  The imprimatura brings it all back to a neutral but by no means blank slate.  The highlights and quarter tones can now begin to be re-established, while the deeper shadows can also be strengthened - being careful to keep them translucent.  Generally, warm strong hues, contrasting in value for the foreground, cool grey hues low in value for the back.  The glaze medium allows soft transitions to be blended without color contamination using a dry bristle brush. (very nice, very sensuous)  Note:  at this stage the water is painted as an almost mirror image. After drying,  few burnt umber glazes will create the darker, translucent effect of the water, also allowing for the introduction of sharper wind reflective highlights.

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.