Watching the Grandchildren – layering process

I’ve just finished the most recent oil painting – It’s called Watching the Grandchildren. I had a lot of ideas in mind while I was painting it, and a lot of struggles as well. One thing that went pretty well, better than I had a right to expect probably, was a complex layering process on the blouse and wrap of the subject. The blouse has a complex pattern on it, and tassles as well – underneath which is a strong red color. I knew I wanted to use a rose madder glaze (can’t get enough of that madder these days), and as I’ve posted before I wanted to use the madder in a flat glaze layer so that any eventual fading will not break the picture. So, I would model forms in an underpainting and then glaze over that, as expected – but in this case some elements would have to go over the glaze layer as well. So how to layer everything? I made a plan and followed it, and here’s how it went:

Leo Carillo layer 1

Leo Carillo layer 1

The underpainting is Da Vinci Arizona Brown Ochre and Rublev Lead White #2 (lead white in walnut oil). I use paints from both of these companies regularly; I’ll do reviews here at some point I’m sure. I chose brown ochre because the transparent rose color of madder makes a nice middle red color over brown, as I’ve discovered in other experiments. As I found out later, I could have made this brunaille underpainting a bit darker. Common wisdom states that the glaze layer will darken whatever’s underneath; but I’ve found that’s only true up to a point. I wound up having to darken the shadows further at the end.

Leo Carillo layer 2

Leo Carillo layer 2

Then I laid down the pattern on the shirt. I wanted to get the pattern down first and then glaze right over it, because the pattern would still show through the glaze somewhat, so that I’d be able to use it as a template for repainting it on top of the glaze layers later. I figured if I tried to just tackle the pattern on top of the glaze for the first time, I’d wind up messing it up – erasing and lifting and correcting and scrubbing – and run the risk of ruining the crystal clarity of the madder glaze that I wanted. I think I was right about that; a pattern like this is not something I find so easy to do. My wife mentioned that I might stop painting at this point, and that was a compliment; but it wouldn’t have worked to leave it here. Besides, how could I resist the next step? It’s got madder in it!

Leo Carillo layer 3

Leo Carillo layer 3

This is what the first glaze of madder looked like. For some reason this particular color seems nearly impossible to photograph accurately. From this point on, heavy Photoshopping was necessary for each photograph, and so you may see some variation from pic to pic. I liked the color of the madder here, of course, but the blouse wasn’t really dark enough to make the composition work. It had to really stand out from all that white wall – especially since it would have all that distracting pattern in there. In a composition, focal point is everything. So more layers were necessary. Madder, of course, takes a long time to dry in oil; this stage of the painting took a while.

Leo Carillo layer 4

Leo Carillo layer 4

After three glaze layers of madder it was pretty much as you see here, dark and rich. But if I’d made the underpainting any lighter than it was, it wouldn’t have worked. I would have had to keep darkening with another layer of rose madder, and that might have made the element too saturated in color. It’s right on the borderline already (although, of course, this nice thick layer of madder gives some wiggle room for fading later on). Sometime before I try doing this again, I’m going to have to do a bunch of glazing studies over drapery, to really become familiar with just how these very transparent paints interact optically with differently-colored underpaintings. I’ll try various madder lakes, of course, but also ultramarine, Prussian blue, weld, carmine, verdigris, and perhaps lac. When I do these studies, I will most certainly post them here.

Leo Carillo layer 5

Leo Carillo layer 5

At last I was able to restate the pattern on the shirt, using the previously-painted pattern as a template. After it was down I had to knock parts of it back a little, and emphasized other parts, for the sake of the composition. After doing that, I put the tassles above everything, and did a bit of last-hour modeling on the whole thing. Below is the final look. I planned it out as carefully as I could; still, I think I was somewhat lucky. Much could have gone wrong, and I knew it could right from the beginning. It was a bit of a tightrope walk in the dark.

Isn’t that madder pretty, though? If you’d like to see the whole painting, you can see it (and a couple of life drawings) on my artwork blog here.

Leo Carillo layer 6

Leo Carillo layer 6

This is the kind of layering technique that is sometimes required when using a limited palette of traditional colors. Some colors, like rose madder, are best used transparently – and sometimes not as the final layer. Most of the time I simply paint directly, but in situations like this one, that just won’t do. I don’t think of the color palette that I use as being particularly limiting; but sometimes it is necessary to plan ahead. Though some other aspects of this painting could have gone a bit better, I’m very pleased that the blouse turned out so well, and even more pleased to have this process under my belt for next time.

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4 Responses to “Watching the Grandchildren – layering process”

  1. Watching the Grandchildren | L. Lawrence Bispo – fine art Says:

    […] complex layering process on the red blouse than I normally do. I’ll post the process over at Sunsikell, my art materials […]

  2. Jeremy Says:

    Like the layering. I even like the first layer of madder (#3). I personally love madder. It is truly a gorgeous color. You did the color justice!

  3. Jeremy Says:

    is the madder you processed from your garden? Really beautiful saturated color… Cheers!

    • llawrence Says:

      Thanks Jeremy! This wasn’t the madder from my garden, but Winsor & Newton Rose Madder Genuine. My own madder is darker and warmer and less saturated than theirs. I did consider using mine, but went for the more commercial solution with this one. I’ll use my own in a portrait soon I’m sure.

      Thanks again!

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