plate no. 3820
Drawing of Salai
Leonardo da Vinci, 1500
recreation guide
This recreation guide addresses the painting of a portrait study in the style of Leonardo da Vinci, specifically referencing the 'Drawing of Salai' (c. 1500). While the provided sources do not describe the specific visual details of Salai’s face or clothing, they offer rigorous technical instructions for the High Renaissance oil painting process, particularly the method of glazing and scumbling over a monochrome underpainting. The distinctive quality of this work lies in the layering of transparent colors to achieve depth and luminosity, a technique championed by old masters to avoid the flatness of opaque mixing. The process emphasizes the mental extraction of red and yellow tones during the initial grisaille stage, leaving them to be introduced later through glazes (Source 1).
estimated time
40-60 hours over 8-12 sessions (allowing significant drying time between glaze layers)
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing pigments and creating glazes. | Refined linseed oil |
| Oil of Copavia (or modern resinous medium) | Medium for the first and second paintings to ensure flow and transparency, as cited by Reynolds (Source 1). | Gum mastic or damar resin in turpentine/linseed oil mix |
| Lead White (or Titanium/Zinc White) | Dominant white pigment for centuries, valued for opacity and fast drying (Source 7). | Titanium White (for safety) or Lead White (for historical accuracy) |
| Ultramarine | Key blue pigment used in the initial monochrome stages (Source 1). | Natural Ultramarine or Synthetic Ultramarine |
| Black (Ivory Black or Lamp Black) | Used in the initial monochrome underpainting (Source 1). | Ivory Black |
| Red Ochre / Yellow Ochre | Earth tones for the grisaille and subsequent glazing, providing fixedness and covering power (Source 2). | Natural Red Ochre, Natural Yellow Ochre |
| Varnish | Mixed with oil for later glazing stages to gain mastery and depth (Source 1). | Stand oil or resin varnish |
preparation
surface prep
Prepare a rigid support (panel or stretched canvas) primed with a ground suitable for oil painting. While the sources do not specify Leonardo’s exact ground for this specific sketch, the general practice of the period involved a white or light-toned ground to facilitate the glazing process described in Source 1. Ensure the surface is smooth to allow for the fine finish characteristic of High Renaissance portraiture.
underdrawing
The sources do not explicitly describe Leonardo’s underdrawing method for this specific work. However, consistent with the advice to be a 'sound craftsman' (Source 4), a precise underdrawing is essential. Use a thin wash of umber or charcoal to establish the contours. Do not over-model at this stage; the goal is to define the masses before applying the monochrome underpainting.
underpainting
Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). Mentally extract the red and yellow colors from your perception of the subject, painting only what would remain if those colors were absent (Source 1). This stage establishes the light, shadow, and form without color interference. Allow this layer to dry completely before proceeding.
color palette
Black
Ivory Black or Lamp Black
Initial monochrome underpainting (grisaille) (Source 1)
Ultramarine
Ultramarine pigment
Initial monochrome underpainting to provide cool shadows (Source 1)
White
Lead White (historical) or Titanium White
Highlights and mixing in the grisaille stage (Source 1, Source 7)
Red Ochre
Natural Red Ochre
Glazing and scumbling to reintroduce warmth and flesh tones (Source 1, Source 2)
Yellow Ochre
Natural Yellow Ochre
Glazing and scumbling to reintroduce warmth and flesh tones (Source 1, Source 2)
composition
The sources do not describe the specific composition of the 'Drawing of Salai.' Therefore, no specific compositional moves are detailed. Generally, Leonardo’s portraits utilize a pyramidal structure and soft transitions (sfumato), but these are inferred from general art history rather than the provided texts. Focus on the technical execution of color and light as described in the sources.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the portrait lightly, focusing on accurate proportions and major light/shadow divisions.
Tip — Ensure the drawing is secure but not heavy, as it will be covered by the underpainting.
Preparatory Drawing
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome, mentally excluding red and yellow tones.
Tip — Focus on value contrast rather than color. This layer must be completely dry before glazing (Source 1).
Grisaille
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as the medium initially.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through, creating depth (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Scumbling allows the underlying painting to make itself felt while modifying the surface tone (Source 1).
Scumbling
finishing
step 05
As mastery is gained, mix varnish with oil for subsequent glazes to enhance luminosity and depth.
Tip — This technique mimics the tinting of an engraving with watercolors but with greater permanence and depth (Source 1).
Varnish Glazing
step 06
Check color relationships using the law of simultaneous contrast. Ensure that adjacent colors do not unintentionally alter each other’s appearance in an undesirable way.
Tip — Be aware that the eye may see the complementary of a previously viewed color, leading to inaccurate perception (Source 5).
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting. Scumbling involves semi-opaque painting where the underlying layer shows through. This method was practiced by old masters to achieve luminosity and depth without muddying colors (Source 1).
Monochrome Underpainting (Grisaille)
Painting the initial layer in black, ultramarine, and white, mentally extracting red and yellow tones. This establishes form and value before color is introduced (Source 1).
Simultaneous Contrast Awareness
Understanding that adjacent colors affect each other’s appearance. The painter must account for this to accurately represent the model’s colors (Source 5).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to cracking or muddying (Source 1).
- →Ignoring the law of simultaneous contrast, leading to inaccurate color perception and representation (Source 5).
- →Attempting to mix all colors opaquely on the palette rather than layering them transparently, which loses the luminosity characteristic of the old masters (Source 1).
- →Over-modeling in the initial stages, which contradicts the advice to avoid being 'too much tied down to your outline' (Source 4).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific visual details of the 'Drawing of Salai' (facial features, clothing, background) are not described in the sources.
- ·Leonardo’s specific use of sfumato is not detailed in the provided texts, though it is a known characteristic of his work.
- ·The exact proportions of oil to pigment for Leonardo’s specific recipes are not provided.
- ·The specific support material (wood panel vs. canvas) for this particular sketch is not specified in the sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Selection of earth pigments and historical context of materials
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color perception
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to General information on drying oils and pigments
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
The Adoration of the Kings
Giorgione
The Annunciation
Vittore Carpaccio
Madonna and Child with Saints Liberale and Francis (The Castelfranco Madonna)
Giorgione
St. Helena
Cima da Conegliano
St. Nicholas of Tolentino
Pietro Perugino
Portrait of Elizabeth Gonzaga
Raphael
Sibyl
Dosso Dossi
Madonna with Child and Saints
Raphael