ARTtalk
...the link between you, the visual artist, and the manufacturer
of art materials.
established 1990
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Painting
The grisaille technique of painting has been around for quite some time and is still valued for its unique tonal appearance and depth of illustration. These qualities are achieved according to a two-step process of enhancing an underlying compositional image with an overwash of transparent color.
This technique is typically begun by making a light pencil sketch of the subject to be illustrated. Then oils are used to develop a monochromatic painting of forms and light, usually in black, white, and shades of gray. The work continues until all desired detail is completed, except for color. After the grisaille underpainting has dried, colors are mixed with transparent medium and then glazed over the image.
When this is done, the values in the underpainting become enhanced, as its detail of form remains visible through the transparent overwash of color. Also, multiple washes of different colors over a grisaille underpainting help produce a deep luminosity in the image.
For black and white underpaintings, neutral grays can be created by mixing alizarin crimson and phthalo green. These colors have considerable staining properties, which is desirable in an underpainting. Full-strength darks must be overstated, since the crispness of their value will be diminished when they are glazed over.
An initial painting should be developed by concentrating on strong values and areas of light. Leaving white canvas exposed is an effective way to create light values. Feel free to use suitable painting techniques, such as wet-in-wet, in an underpainting. Always develop the initial painting to the finest detail before an overwash of color is applied.
Underpainting need not be limited to a range of black and white. Any monochromatic range will do as it applies to the subject matter. Other colors that are effective for an underpainting are burnt sienna, phthalo blue, lemon yellow, viridian, cobalt blue, rose madder, Winsor red, and violet. In essence, any strong colors that are monochromatically close in value and will beneficially illustrate the subject matter should be used.
Avoid using intensely opaque colors in an underpainting, since they tend to mix and bleed into an overwash. These colors include ultramarine blue, cadmium red, cadmium yellow, cadmium orange, and yellow ochre. If you decide to use these colors, apply them thinly and don't agitate them when applying an overwash of color.
For variation, the underpainting can be thickly applied in a painterly or impasto style to create surface relief or an understated bas-relief appearance. If this style is used, additional time must be allowed for the thicker areas of pigment to dry before an overwash of color is applied. If the underpainting pigment is still moist, an applied glaze may rupture the texture and cause colors to bleed uncontrollably.
When finished, the oil underpainting should be allowed to dry for at least one day. At this point, a wash of color can be applied over the value painting. As color is applied, it should be added thinly and with a light touch so that the pigment underneath is not obscured or agitated.
Overwashes of color can be applied in many techniques and colors. Those new to this type of painting should try beginning with a glaze of color that has a value slightly lighter than the middle value of the underpainting. Try beginning with pale values and then build them up as you progress.
If the underpainting contains a strong value range, then there is a well-defined structural image to build upon. If the underlying image is less defined, you can compensate by introducing darker colors in the final glazes of color. Remember that it may not be necessary to glaze over the entire underpainting; some of the lightest values may be achieved this way.
Always try to vary the color of glazes by mixing various pigments and adjusting the viscosity of the dilution medium. For example, a resultant green tint can be created by applying a yellow wash over a dried blue wash. Keep in mind that colors in an underpainting will be similarly affected by any glaze of color that is applied over them.
For a separation of color, washes should be applied locally to specific compositional elements. For example, if you are creating a still life of a flower arrangement within a vase, each type of flower should have its petals overwashed with a suitable, unique color. Likewise, portions of the vase can be colored to help depict value, shade, and any highlights that may be reflected from its surface.
Grisaille paintings are most effective when subject matter is a still life or interior view--essentially, any subject where form is key and composition remains strong and well-defined with a range of color. Landscapes and similar subjects will not benefit from this type of painting, since the overall composition tends to be more uniform and less structural in appearance.
This type of oil painting should take about two days to complete, when allowing sufficient drying time between the two stages (which is recommended). If you tend to work fast, try dividing your time between two separate paintings.
The grisaille method of painting can be used with other mediums such as acrylic or watercolor. These pigments can also be applied in solid, opaque colors or diluted for transparent washes. For best results, try a few sample illustrations to get a feel for how the different mediums behave. Whichever medium you prefer, you should try this painting technique to assess its attributes firsthand.
Oil Painting on Acrylic Primed Canvas--Acrylic primed canvas will, in most cases, accept oil paints satisfactorily. In some cases, however, the surface of the acrylic prime becomes slick and will not accept oils well. When this happens, the surface can be corrected by applying a light wash of one part linseed oil and one part mineral spirits over the painting surface. Allow this to dry and the surface will be ready to paint in oil.
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Copyright ARTtalk Vol. 8 No. 6 -- April 1998