1st session: start with Raw Umber (all colors mentioned are Michael Harding) on Claessens Belgian canvas, Quality 20 (that’s how they identify the kind of canvas.)
2nd session: next day, continue to perfect the drawing in Raw Umber. Let dry.
3rd session: cover entire painting with Burnt Siena glaze, meaning, Burnt Siena mixed relatively thin with Linseed Oil. Wipe off excess oil with a rag. Let dry.
4th session: bulid up the light areas with Flake White; lighter the area, thicker the paint (paint is thickest in the forehead, where flesh meets bone). Add Ivory Black to eyes and dark shadows (like under the nose).
5th session: begin glazing with Crimson Lake and Aureolin. Add some touches of Vermillion on lips, in corners of eye and around nose. Always try to improve the drawing.
6th session: include Vermillion in some of the glaze mix for the forehead. Add greater detail to eyes and mouth with touches of Flake White (light reflected in eyes) and Ivory Black (creases and lashes around eyes). To beard and hair, add some touches of Flake White with Ivory Black.
https://www.americanartistinrome.com/wp-content/uploads/2013/03/copying-van-dyke-5-2012-11-05-at-06-59-30.jpg1024829tjahttps://www.americanartistinrome.com/wp-content/uploads/2018/02/tja-logo-280-dark.pngtja2012-12-21 21:38:252017-09-04 11:35:48Copying Van Dyck
To be a figurative painter in the 21st century is to send a hand-written letter standard post in a world of immediate encrypted text messages or to be a mechanic of a steam engine in an era of rockets to Mars…
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