This will be my first painting utilizing the Classical Academic Techniques of the Italian Renaissance Masters.
I'll need to be as accurate as possible in my drawing, so I'll be facilitating the Grid Method to transfer and enlarge the initial drawing from the photo that I have to work from.
Below is my initial sketch in Charcoal and it's still got a long way to go, but I am pretty happy with how it's coming along thus far.
This is now far enough along that I may begin the Verdaccio underpainting. I just popped it into a frame in order to keep it safe from damage in between drawing sessions. Workable Fixative is sprayed over the surface of the drawing in order to prevent smudging.
The initial value sketch is basically a map which allows me to follow with Verdaccio (green-grey colors) values. The Verdaccio Values will then serve as a map for the flesh tones and garment colors which will bring this piece to its completion; which is still quite a few months away.
The Verdaccio is now complete. I've raised the values in the Verdaccio in certain areas to one level above their true value in order to allow them to return to their true values after glazing had taken place.
Glazing a painted surface normally brings the value level down a level.
This will be the first in a series of several glazes that will be brushed onto this piece. The humid weather has the drying process taking longer than usual. I'll also do some glazing on her garment; within the major shadowed area (lower left) I've also got some painting left to do within her hair in order to accentuate the highlights. The book in her hands will also be painted, along with the background in the lower right side. Painting these areas will bring their values closer to that of the original painting. All flesh areas need painting as well.
The Classical Academic Techniques of the Italian Renaissance Masters that I am utilizing here is not for those who are lacking patience. Museum Quality work takes time and careful attention to detail.
I'm in no rush to produce a quality work of art.
*Please Note: The sheen that you may notice at the top of the painting is from taking the photo outside in natural light. This is the best way that I know to capture a paintings true colors but also a big pain to avoid a glazed (glossy) painting's surface reflection.
The beginnings of adding flesh values to this piece.
A quick peek into my work area allows you to see yet another week-long effort. I'm well into the color phase now.
Hair and other gesso imperfections have been smoothed with the use of a Dremel tool.
I'll be able to give her garment and the book my full attention in another week, once the skin tones are to my liking and another glazing in a few areas of hair color, followed by retouching some hair highlights. I'd waited a bit too long to be able to just rub off the color with a thumb or finger to reveal the verdaccio underneath; as is supposed to be the case. I was however able to paint the undertones in, as the Venetians preferred to do. A little more tedious but the outcome is generally the same.
Below is a close-up view of where I stand thus far. Still, not the greatest photo but you are able to see my progress much better. Shadow values need to be darkened at the hairline and nostril (left side) to mention only a couple of areas screaming for attention.
20" x 16"
Oil on panel wrapped in Belgium Linen and coated with Marble Gesso
(Still in Progress)