Notebook

Notebook, 1993-

MATERIALS & METHODS - Painting - Oil Painting

Characteristics - Painting Methods & Techniques - Materials and Equipment - Work Space & Storage - Manufacture of Pigments - Protection of the Picture

Oil Painting - Indirect Painting


Indirect painting involves procedures in which the final effects in a picture are built up gradually by placing several layers of paint, one over the other, the upper layers modifying, but not altogether concealing, the lower layers.

Indirect painters put their first strokes on the canvas with the expectation that they will paint over them again when they are dry in order to change their effect in some way. Therefore when they put on the first layer of paint, called the underpainting, they do not try for a finished effect, complete in final color, drawing definition, and pattern emphasis. Instead at the beginning of the work they concentrate on one or two of these problems, and they depend upon [and make allowance for] the subsequent layers of paint to develop and modify the underpainting until the remaining problems are finally solved.

Indirect methods of painting have been employed in the past by many artists including Van Eyck, El Greco, and Rembrandt. More recently such painters as Soutine, Modigliani, Rouault, Braque, and Paul Klee have utilized the optical effects of indirect processes.

The existence of indirect painting arises from the fact that although paint may be used opaquely to conceal what is beneath it, it can also be applied so as to be transparent, revealing to a greater or lesser extent what it covers. For example, an oil color, such as cadmium red, in paste consistency may be brushed over an area of thoroughly dried yellow paint. If it is applied evenly and fairly heavily, it will conceal the yellow color entirely. Alternatively the red paint may be thinned with an appropriate diluent and may be spread so thinly over the dried yellow color that it lies over the yellow like a sheet of red cellophane, tinting the area a fiery orange color, while allowing the shape and every surface brush mark on the yellow area to remain visible. The orange tone thus obtained, by superimposing a layer of transparent red on an opaque yellow, will differ considerably in optical character from an orange made by combining the same red and yellow pigments in direct mixture on the palette. The directly mixed tone will have a weighty solid opacity, whereas the orange tone produced through the indirect, or ņoptical,î mixture of the two colors will have a more luminous vibration, rather like that seen in stained glass when light passes through it.

By exploiting this characteristic of the oil technique, painters found that they could develop a brilliant luminosity whose exact character was unobtainable in the direct techniques. The procedures most commonly used in indirect painting are called glazing and scumbling. [p. 78-79]


Technical Procedures

Technical complications and variety increase with indirect painting. One method frequently employed may be described in the following general terms:

l. A brush drawing involving only one or two colors is developed to mark out the important locations and divisions on the canvas. The paint is thinned by means of a "lean" medium (such as 1 part sun-thickened oil, 1/2 part varnish, 3 parts turpentine) to a brushable consistency which flows rather easily.

2. The dark and light contrasts are developed by the use of a "lean" fast-drying white (such as flake white) in all the light areas. In the light middle tones the white is mixed slightly with another pigment (ocher, for example, or Indian red). Darks are produced by adding more color or mixed grays to the white, but all darks are kept much lighter than they will appear in the finished painting. The main effort, at this point, is to produce strong placement and gesture of shapes and volumes. These should be expressed broadly with little surface detail but should be accurate as to the relationship of the larger major pictorial masses. At this stage, the effect of this underpainting must be lighter, both in the lights and the darks, than the artist wishes the finished picture to be...

3. When this underpainting has dried thoroughly, color relationships are developed over the light monochrome by the use of glazes. These may be brushed on and [p. 81] then modified by wiping them down with a rag or a clean brush so that they emphasize and reinforce the drawing and movement of the underpainting.

4. Color effects are strengthened and made more definite by vigorous direct painting into the glazes (either when the glaze has dried or while it is still wet) with substantial strokes of opaque color. Glazes that have lowered the tone of an area too much may be scumbled over with a lighter color to raise their tonality. Drawing and edges are redefined, especially where glazing or scumbling has caused a passage to lose its initial strength. [pp. 81-82]


Notes [on glazing and scumbling procedures in indirect methods of painting]: In considering the many possible variations of this procedure, it is wise to keep in mind a few of the possible difficulties.

A. The glaze tends to darken the general tone of the picture. To compensate for this, the underpainting must be kept considerably lighter than the final painting.

B. The glaze and the scumble tend to create soft, unified, diffused effects. Therefore the underpainting should be strong, even somewhat "harder" than the anticipated final effect.

C. If the quality of the glaze is not relieved by some opaque painting and vigorous redrawing, the total effect of the picture may become too washy, spotty, and transparent. [What is the range in the final analysis?]

D. In all indirect processes where more than one layer of paint is anticipated, successive layers should be applied "fat over lean." This rule is explained in the following section. [pp. 82-83]

[Kay, Reed. The Painter's Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1983. pp. 127-129]




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