Ars Longa, Vita Brevis

surface prep

The surface should be prepared with a ground that allows for the 'fat over lean' principle, where each subsequent layer contains more oil than the previous one to prevent cracking (Source 8). Hedley’s academic background suggests a preference for a stable, possibly white or light-toned ground to facilitate the grisaille underpainting method described in traditional practice (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint, as was traditional for oil painting (Source 8). Given Hedley’s training at the Life School, the underdrawing should focus on accurate proportions and likeness, essential for portrait painting (Source 4). The drawing should be firm but not so heavy that it interferes with the subsequent monochrome underpainting.

underpainting

Execute a grisaille (monochrome) underpainting using black, ultramarine, and white, mixed with oil of copavia or linseed oil (Source 1). This layer establishes the tonal values and forms without color. The artist should mentally extract red and yellow tones, translating what would remain in nature if these colors were absent (Source 1). This step is crucial for building the structural integrity of the portrait before introducing color.

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity, as practiced by old masters and described in traditional oil painting methods.

Scumbling

Using semi-opaque paint over darker grounds to introduce texture and subtle color variations, allowing the underpainting to influence the final appearance.

Simultaneous Contrast

Considering how adjacent colors affect each other’s perception to harmonize the composition and enhance visual impact.