Progress on the underpainting in grisaille for the Thomas panel since abandoning egg tempera.
I have been working with Tad Spurgeon’s text lately. It is chalk-full of information on the craft of painting, from technique to philosophy, historical research and criticism to in depth analysis of oils and their endless permutations, pigments, resins, additives, and etc, with many useful formulas and recipes. I have not explored enough to venture a review, but I am enjoying it.
3 thoughts on “Thomas Grisaille”
I love it. In its current state it reminds me of an old tintype photograph– and the tree has come to life as all. Somehow just that little bit of color distinguished the characters and they seems more alive. What colors are you using for the initial glaze? Thanks for sharing these, Jack. <<>>
Thank you, as always, Mikey. It is good to see this painting take shape- a long time coming. I started the concept for this over 7 years ago. When you say initial glaze you mean what colors am I using now for the grisaille? They are lead white, a little titanium white, and ivory black. The lead is from Rublev, in walnut oil, the titanium form Windsor… and the ivory black from Gamblin.
Thanks for the notes on your colors, Jack. One of the things that I really appreciate about this process so far (and about grisaille in general) is that is shows off the roots of the colors. For instance how ivory black is warm toned, but a color like payne’s grey is actually more like a purple compared to a grey mixed using another black.
I have a good lead white, but usually opt for using titanium even though it is really opaque and seems to dilute certain colors quite a bit. Gamblin has some great descriptions of the attributes of colors– makes me what to go out and get a good titanium-zinc white.