Shown is the glazing method used for the copy of Bouguereau's Nymphs and Satyr This is same method as used by the early Masters and studied by the masters apprentices
click to enlarge
Original artwork by
William Addolph Bouguereau
Tittled Nymphs and Satyr
William Addolph Bouguereau
Tittled Nymphs and Satyr
Stage 1 of a copy of
Bouguereau's nymphs and satyr
Firstly drawn in with light pencil
then the tonal values are placed
with a mix of oil and medium number 4
(Tip its easier to build colour slowly
than to remove it with white as the drying
time slows the whole process)
If you achieve a perfect tonal underpainting
to start with, the rest comes easy
Bouguereau's nymphs and satyr
Firstly drawn in with light pencil
then the tonal values are placed
with a mix of oil and medium number 4
(Tip its easier to build colour slowly
than to remove it with white as the drying
time slows the whole process)
If you achieve a perfect tonal underpainting
to start with, the rest comes easy
Background and tonal values ar first painted with burnt umber.
Once this is established the areas of colour are layed in with
thin layers of colour and a medium number 4 mix
Note: The nymphs in the background are still the
original underpaint colour, their form was established by
painting the edges and developing their tonal values
Once this is established the areas of colour are layed in with
thin layers of colour and a medium number 4 mix
Note: The nymphs in the background are still the
original underpaint colour, their form was established by
painting the edges and developing their tonal values
Colours are added and tones are adjusted
by adding more layers of colour mixed with
medium number 4
There will be five to six glazes layed over
a painting to reach the final picture
by adding more layers of colour mixed with
medium number 4
There will be five to six glazes layed over
a painting to reach the final picture
Detail of original