Here is the second page of information (referred to in yesterday’s post) that I provide to patrons so they can become more acquainted with the process that goes into creating their classical-style painting. Its title is “On The Process and Materials Used in Your Painting” and here is the link and the text:
I hope you find it helpful.
On The Process and Materials
Used in Your Painting
This painting was created with the finest professional materials,
following the procedures of the Old Masters of the Renaissance.
The process begins with a carefully selected piece of marine-grade
plywood from fine-grained hardwood or masonite. The Old Masters
would have used this if it had been available since it does not split
or crack like wood panel, and is highly resistant to warping.
Six to ten coats of Renaissance Bonded Marble are applied to create
a highly reflective white surface. The ground needs to be as white as
possible because the oil binding in the paint becomes more
translucent with age, thus more light from the white ground is
refracted through it. This is why the Old Master paintings seem to
have so much depth and luminosity.
Preparatory sketches are used to make a complete, highly-detailed
charcoal drawing directly onto the surface.
Following that, a precise underpainting is executed in verdaccio,
azuraccio, grisaille, or bistre, depending upon the subject.
The medium used is made from these ingredients:
a. the finest purified, cold-pressed, clear golden linseed oil;
b. stand oil, used extensively by the Old Masters;
c. triple-rectified turpentine, the most important of the painter’s
d. and, dammar varnish is included in the medium, as well as
being the final protective (and removable) coat.
I believe it is the professional painter’s responsibility to warrant
their patron’s trust by ensuring that their purchase will endure the
ages. I use as few mass-market art materials as possible. I make
my own dammar varnish and stand oil and trust two or three cottage
colormen for mulling and preparing my tubes of oil paint, thereby allowing
me more personal control over the quality of pigment and grinding oils used.
~~Marsha Rhodes Gilliam
© Marsha Gilliam 2005