Dame Mary Latchford Kingsmill Jones

surface prep

Prepare a rigid support (panel or stretched canvas) with a smooth ground. While specific preparation for this exact portrait is not detailed, traditional oil painting practice for this period often involved a neutral or white ground to facilitate the glazing techniques described in the sources. Ensure the surface is dry and free of dust before beginning the underdrawing.

underdrawing

Create a precise underdrawing to establish the likeness. Since portrait painting historically required centuries to acquire the distinct skills for a 'good likeness' (Source 2), the drawing phase is critical. Focus on the proportions of the face, particularly the eyes and eyebrows, which are the primary vehicles for expression in this genre (Source 3). Avoid excessive detail in the drawing; it should serve as a structural guide for the subsequent monochrome layer.

underpainting

Execute a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia (Source 1). This layer establishes the values and forms without color. The goal is to mentally extract red and yellow tones, translating what would remain in nature if those colors were absent (Source 1). This creates a solid foundation for the transparent color layers to follow.

Glazing

Applying transparent coats of color over a dry monochrome underpainting to build depth and luminosity, as practiced by old masters and described by Reynolds (Source 1).

Scumbling

Using semi-opaque paint over darker grounds to create cool tones or grey blooms, allowing the underpainting to influence the final color (Source 1).

Simultaneous Contrast

Being aware that adjacent colors affect each other's perception; the painter must account for how the eye sees the complementary of a previously viewed color (Source 8).