1909 Seated Woman 2018 Seated Man

surface prep

If using wood, ensure the board is well-seasoned and radially cut to prevent warping, a practice noted in Early Netherlandish craftsmanship (Source 1). If using canvas, ensure it is properly primed with gesso to create a stable ground that holds pigments well, as canvas became the preferred support in the 16th century for its durability (Source 4).

underdrawing

The sources do not specify Padgett’s preparatory drawing methods. However, given the Post-Impressionist style and the emphasis on light effects, a loose charcoal or thinned oil sketch is likely used to establish the composition and major value masses before applying color. Dürer’s tradition of outstanding draftsmanship suggests that precise initial planning may be beneficial for figure placement (Source 3).

underpainting

Apply a lean underpainting (using solvent-thinned paint) to establish values and composition. This follows the 'fat over lean' principle, where initial layers are thinner and later layers are richer in oil content to prevent cracking (Source 4). This layer allows for easy manipulation and changes to facial details or figure poses while the paint is still wet (Source 4).

Fat over Lean

Applying increasingly thick layers of paint over thinner ones to ensure structural integrity and prevent cracking. This is a main principle of oil painting technique (Source 4).

Glazing

Using transparent layers of paint to create depth, luminosity, and realistic light effects. This allows for smooth transitions of color and minute depictions of light (Source 1).

Wet-on-Wet Blending

Manipulating paint while still wet to achieve smooth transitions and naturalistic textures, taking advantage of oil’s slow drying time (Source 1).