John uses exactly the same technique as the greatest of the old masters, Titian. he also tries to use the same paint pigments whenever possible. Some of the ancient pigments however, are sadly no longer available.
First stage:
On a stretched canvas or hand prepared wooden gesso panel, John first gives it several primer coats of gesso (sanding between each coat). Sometimes colouring the “white” with a small amount of iron oxide pigment. This can either be introduced into the white gesso, or preferably, rubbed on to the dried white gesso ground so as to produce a thin transparent layer of non uniform reddish colour. This gives a very nice pinkish/red coloured ground on which to work. He also uses the standard white of the canvas whenever the painting calls for this.
John draws in the outline of the figure or image. Sometimes this is reinforced by the use of indian ink, usually a brown/red colour. This technique permanently fixes the drawing to the canvas. This is not strictly Titian technique, but more of a Rembrandt style. Titian used to paint his figure outlines directly onto the canvas, which John also does whenever this technique is required.
Second stage:
The highlights of the painting are now quickly “knocked in” using traditional flake (lead) white. Then the lightest and darkest areas are established, using the Flake white and a cool black. This creates what is called the “Grisaille” underpainting stage. “Grisaille” meaning an underpainting consisting of an entirely monochrome effect, which is basically cool in tone. Sometimes, “warm” areas will be brushed in with a red, which is either Indian red (Iron oxide) or true Vermillion (very expensive paint!). Titian used to regularly work this way. One of Titians more well known sayings, states: “A good artist needs but three colours, Black Red and White.” There is a great truth in this statement.
Notice how some of the ground canvas colour is allowed to show through here and there? This is how Titian (It is believed) would have done this stage, as it creates a much more interesting effect upon which to glaze the colours, rather than laying them on a purely flat colour.
The underpainting (in the cool stage) is carefully built up until it is as the image below:
The painting at this stage now shows the tonal contrasts in a cool grey, over which the glazes can be applied once this stage is totally and absolutely dry. John generally leaves the painting for a couple of weeks before starting the glazing stage.
The painting has now had its first layer of glaze. When thoroughly dry, several more layers of glazes will be laid on the top. At each stage, the highlights and other affected areas will be “qualified”. That is, they will be gone over again to strengthen and also harmonise them with the rest of the painting.
The final glazes are applied and the painting is finally finished (below). The painting will not be varnished until at least six weeks after this stage. Usually oil paintings should not be varnished for at least six months, but as the layers of paint are so thin, it can be varnished much sooner. Sometimes, the painting does not need varnish at all, as the glazing layers should substantially protect the painting anyway.
See the next page for instructions on making the glazing medium that John uses and also photos of his studio. Techniques - Making the medium
