In this two week workshop, students selected and replicated a Velazquez painting, using the methods and materials that Velazquez used.
Working on a rough hemp like surface, students started the painting by establishing the "scheme" or "dry-brush" using burnt umber. From the dry-brush stage students then began to establish the color field of the painting. Students mixed an oil drying medium into their paint applying semi-transparent passages of color over the dry-brush creating what appears to be a tinted under-drawing.
Once the semi-transparent color field was established the class proceeded to render the subjects with a "fat" paint mixture (generous amount of linseed oil). This "building up" stage brings the subjects close to their final state. All that was left was the "retouch" or "Second Painting" stage, delicate painting into "couches" and applying glazes to achieve subtle blending effects.
Lectures and demos were provided to the class throughout the course to ensure students knew the goal and purpose of each stage.
Students went away with a breadth of knowledge including book recommendations, comprehensive information about oil painting materials, Old Master painting methods, theories and applications.
Palette:
Titanium White, Vermillion (or Cad Red), Iron Oxide Brown, Burnt Umber, Raw Umber, Cadmium Yellow, Yellow Ocher, Naples yellow, Cadmium orange, Ivory Black, Ultramarine Blue, Terra Rosa
Mediums: Walnut Alkyd Dryer, Calcium Carbonate, Linseed Oil
Working on a rough hemp like surface, students started the painting by establishing the "scheme" or "dry-brush" using burnt umber. From the dry-brush stage students then began to establish the color field of the painting. Students mixed an oil drying medium into their paint applying semi-transparent passages of color over the dry-brush creating what appears to be a tinted under-drawing.
Once the semi-transparent color field was established the class proceeded to render the subjects with a "fat" paint mixture (generous amount of linseed oil). This "building up" stage brings the subjects close to their final state. All that was left was the "retouch" or "Second Painting" stage, delicate painting into "couches" and applying glazes to achieve subtle blending effects.
Lectures and demos were provided to the class throughout the course to ensure students knew the goal and purpose of each stage.
Students went away with a breadth of knowledge including book recommendations, comprehensive information about oil painting materials, Old Master painting methods, theories and applications.
Mediums: Walnut Alkyd Dryer, Calcium Carbonate, Linseed Oil
Garrett's Demo for the workshop:
A sample of the student's works:
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