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PAGE 8:
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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A second uniform glaze of
raw sienna is applied to the girl's tunic, instensifying the color achieved
by the first glaze underneath it. |
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Some yellow and white is scumbled
into the wet glaze of raw sienna to bring out the lighter areas of the folds
in the fabric. |
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Another application of yellow
is applied to the turban, although in this case the yellow is mixed with
some raw sienna to reduce the intensity of the yellow, and make is somewhat
more orange. This darker glaze also adds some more appropriate coloration
to the shaded areas of the turban. |
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And, a mixture of white and
cadmium yellow is used to bring out the light areas of the turban fabric. |
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Nearing the final
stages, the use of broad glaze applications gives way to the use of detailed
glazes, which serve to adjust small areas in order to bring the painting
to completion. Edges that are too hard are softened, hightlighted areas
that are too bright or too colorful are darkened or neutralized, and close
attention is paid to the final effect that the portrait is intended to make.
In this case, a glaze of cadmium red has been neutralized with sap green
and applied to reduce the intensity of the color of the flesh tones of the
face, and refine some of the middle values. |
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The overall effect is now
looking a little less "airbrushed" once the uniform glaze coatings
have given way to more "attention to detail", as each facial
feature is scrutinized and refined. |
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