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PAGE 7:
Painting a Copy of Jan Vermeer's "Girl with a Pearl Earring"
Using Oil
Glazing Technique and a Grisaille (Monochromatic Gray) Underpainting
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This closeup
shows some of the texture of the stretched linen canvas and the paint
applications. There is a still a need to unify some of these colors with
further glaze applications. One of the characteristics of the grisaille
underpainting is the manner in which the gray tones showing through slightly
from underneath can add a pleasing cool tone to the shadow areas. |
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Although the face is still in
need of more work, the rest of the painting needs to be brought to a higher
level of completion so that the final coloration of the face is executed
more accurately than otherwise could if it was still surrounded by a gray
underpainting. In this case, a heavy uniform glaze of cadmium yellow is
applied to the turban. Notice that the shadow areas of this area are still
showing through the yellow as a gray color. Again, this illustrates the
need to bring out the true color in these shaded areas, which will be done
in subsequent steps. |
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A uniform glaze of cadmium
red, yellow ochre, and raw umber is applied to the face, creating a more
unified appearance, but also flattening out the light areas a bit too
much. |
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White is carefully and sparingly
scumbled into this wet glaze, to bring out the highlights a bit. |
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The whites of the eyes are also
modelled. Remember that eyeballs are spherical, and must be modelled accordingly,
to convey their round form. The whites of eyes cannot be painted by simply
applying a uniform white application of paint. Remember that nothing can
convey a sense of three dimensional form if it is not modelled to some degree.
Otherwise it will simply look flat. |
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Some more carefully applied
scumbled paint, to emphasize the lights. |
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