Page 70 - International Artist2 110

My Art in the Making Artisan Cheese

STAGE 1 THE DRAWING AND THE TRANSFER
I was trained in a method known as sight size, which allows for the and the firm support of the panel provide a lovely surface on which to
direct visual comparison of the drawing and the subject. Seeing your work. I sometimes use a thin (create a wash using odorless mineral
drawing and subject at the exact same size based on your viewing spirits (OMS) and perhaps just a few drops of linseed oil) transparent
point and the position of your subject to the canvas is very beneficial. application of raw umber or transparent brown oxide to tone the
This technique is the cornerstone of the teaching method I use with white of the canvas before starting, and sometimes I prefer to let my
my students. However, I always emphasize that while it is a great way underpainting serve this purpose and work directly on the white in
to start and quickly assess the overall proportions and the location of the first pass.
important angle breaks (turning points),
I do recommend using your eye to judge
back and forth between the subject and
your drawing as opposed to falling into
only a mechanical method of measuring.
I often draw directly on a linen panel,
for simpler subjects, such as the figure,
with thinned raw umber (do not use
pencil as it may show through later!).
However, I prefer to transfer a drawing
for more complex subjects like portraits
and still lifes.
Once the drawing is firmly established,
I transfer it using conté (on the back of the
original drawing) to my painting surface.
I prefer to use oil primed linen mounted
on birch panel. The fine grain of the linen

WHAT THE ARTIST USED
STAGE 2 UNDERPAINTING
Support The underpainting stage is an important step in establishing the value relationships.
» Oil primed linen mounted on birch panel Value refers to the dark and light areas and is important to establishing form and
Brushes composition. I always begin with my darkest areas. Once I have completed the darkest
» Most of my preferred brushes are darks I take note of the
from Rosemary & Co Artists Brushes lightest areas and am careful
Colors to preserve them as I paint
» Alizarin crimson permanent the middle values. Using only
» Burnt umber raw umber with a very small
» Cadmium yellow pale amount of a mixture of OMS
» French ultramarine blue and a little oil, I block in the
» Raw umber large shapes. I control the
» Titanium white amount of light and dark by
Other Materials adjusting the amount of paint
» Odourless mineral spirits (OMS) while being careful to keep
» Linseed oil this layer very thinly applied.
» Liquin Fine Detail or Walnut Alkyd It is intended as a guide and
(optional to add to speed drying) should not be painted thickly
» Conté pencil (sanguine color) Continued
» Pencil or too opaquely.
» Tracing paper

Oil Demonstration 69

Laura Thompson_Demo.indd 69 6/16/16 6:08 PM