I use this grisaille underpainting, followed by multiple, thin, glaze layers of color routinely for still lifes, and flower paintings.
Following is the mix for my "dark" for the grisaille: Equal parts Ivory Black, and Raw Umber. Then, into that mix I add Chromium Oxide Green, until it has created a bit of a cloudy appearance, as well as being a bit greener, of course--and a tad lighter.
In use, this creates rather a "moonglow" appearance when mixed with white for the many values required in the subject, and it works very well as an underpainting.
Avoiding alkyd materials in my paintings, my glazing medium consists of traditional materials, and is as follows: 1 part Linseed Oil, 1 part Walnut Oil, 1 part Venice Turpentine, and 2 parts Oil Of Spike Lavender.
Linseed Oil is the faster drying oil.
Walnut Oil is slippery, and is the slower drying oil.
Venice Turpentine is NOT a liquid/solvent, as its name might imply--it is a resin or a "balsam" to be more precise--the sap of a Larch Tree. It is as thick as chewing gum.
Oil Of Spike is the solvent in this recipe, and it has the following characteristics: it is slow drying. It is slippery in its action. It is more aggressive a solvent than Turpentine, and it is MUCH more aggressive than Odorless Mineral Spirits. It is low in toxicity. It smells very good, and it costs a bunch!
This medium will remain open (wet/useable) on my palette for an entire day, without tacking up, or becoming gummy, or draggy on the brush. Yet, once applied to the canvas, it usually dries within a day or two.
To use this medium, I apply it to only the area upon which I intend to work, and I literally massage it in using my fingertip, or a small, cosmetic sponge. There should be no runs, drips, or high-gloss areas. Once applied very thinly, it should exhibit a slight sheen compared to the surrounding, untouched areas, when glancing a light across the surface.
Then, using full-bodied, undiluted paint, I apply paint right into this couch of medium while it is still wet, using the applied medium as a
lubricant for the paint, rather than as a "thinner" or a "diluent" for the paint.
The following is a recent painting that I did in this manner. I painted it on a nice, test, Raymar panel that is an oil-primed Claessens Linen panel. Effective glazing is not the diluting of paint with volumes of clear medium; instead, it is the use of minimal amounts of medium, and spreading (scrubbing) the paint out, into a very thin layer. I use my underpainting as a value map, putting light glaze where it is indicated, and darker glazes where they are located on the grisaille underpainting.
When someone tells me that the grisaille underpainting looks good enough to frame, I figure that it is good enough to begin glazing color onto it.
Here is the final painting:
"Gem Of The Garden"...11" x 14" oil on Oil-primed Linen, RayMar Panel
Hope that gives you some ideas, and may have helped you in your quest for doing this method effectively. I use traditional materials throughout the process.
Linear Mode
