Face of the man

surface prep

The surface should be prepared to accept oil paint, likely primed to allow for the layering techniques described. While La Tour’s specific oil ground is not detailed in the sources, traditional practice involves a stable ground that supports the 'fat over lean' rule, where each subsequent layer contains more oil than the previous one to prevent cracking (Source 3).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint. This initial step establishes the composition and form before any opaque color is applied (Source 3). The drawing should focus on the essential lines and shapes that define the face, adhering to the principle that the artist must select qualities of nature suitable for the medium (Source 4).

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white. This layer establishes the values and forms of the face without the complexity of color. The goal is to mentally extract red and yellow tones, focusing on the structural light and shadow (Source 2). This step is crucial for artists who may struggle with 'smallness' or over-modeling, as it forces a focus on broad masses (Source 1).

Glazing

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

Scumbling

Using semi-opaque paint to modify tones and textures, allowing the underlying layer to influence the final appearance.

Fat over Lean

Ensuring each successive layer of paint contains more oil than the previous one to allow proper drying and prevent cracking.