Did some compositional sketching and stretched a new canvas for this commission. I'm using Claessens double oil-primed linen, which I used previously on the portrait of my girlfriend (pictured in gallery below); I really like the Claessens and put a tone down on it with some earth colors and Gamsol. The tone will be dry by tomorrow so I can sketch in the underdrawing and then get to work!
Obviously there are many approaches and philosophies to beginning a painting, but I want to share more about my own approach. I begin with a general underpainting using a full palette of colors. My approach might sound like direct painting, but it isn't "alla prima" painting because I wait for the layers to dry before I begin a new layer. I've tried alla prima painting, but it's very easy for the colors to turn muddy and for the detail to be completely lost. Some painters can work with alla prima painting successfully, but I've always had trouble with it.
There's also a technique called dead coloring, which means that you begin the painting in monotone shades of black and white or sometimes brown and work indirectly. Before I add color, I use some burnt umber to draw out the composition, but that isn't a full dead color underpainting. With dead coloring, you add color in very thin layers, called "glazes". For glazing, you add a lot of medium to transparent pigments (such as ultramarine and alizarin crimson) and then thinly apply the paint. I only use glazes to create darker colors and I mostly use them in backgrounds, but very rarely.
Whatever method you use to begin an oil painting, I would recommend beginning with patience. I try to think of the painting progressing like a slow burning ember instant of a flash fire. I like the first day or two of painting to progress naturally and not to rush into detail. Another way to think of the beginning is like a game of golf; the first drive is a long hit in the general direction of the hole and then you work your way down to smaller and smaller strokes.
Beginning a new painting can be difficult and intimidating, but remember the most important thing is to just get started. Academic painting isn't meant to be completed in one day, it's a slow process so remember to have patience and enjoy the journey!
My materials list has evolved and I feel like now is a good time to document it. This post is more for my own documentation, but I also always love sharing knowledge. I'll go through my materials, color palette and medium one by one.
As a side note: my own color palette is based on Bouguereau's palette, but with my own additions which I feel are necessary. Also, never blindly follow someone else's technique or materials without thinking deeply about it yourself.
-White boar's hair bristle brushes (rounds and flats)
-Small synthetic watercolor brushes (for detail work and signature)
-Brush cleaner jar filled with Gamsol OMS (for brush cleaning)
-Wooden paint box
-Refined linseed oil (for oiling out)
1 oz. Dammar Varnish
1 oz. Stand Oil
5 oz. Gamsol
15-20 drops cobalt drier
-Winsor & Newton High Gloss Varnish (for final varnish, 1 layer)
-Gamsol + Masters brush cleaner for cleaning brushes
-Chrome Yellow Bright
-Chrome Yellow Deep
-Brown Red (or Venetian Red)
-Van Dyke Brown
*My palette is in this order mainly because I'm colorblind so I arrange it in order of color value.