Grey Reshel, Poland

surface prep

Prepare a rigid support (panel or stretched canvas) with a standard oil ground. While specific preparation for Malayan is not detailed, traditional oil practice requires a sealed, non-absorbent surface to prevent the oil from sinking into the canvas fibers, which would dull the glazes. Ensure the ground is completely dry before beginning.

underdrawing

Sources do not specify Malayan’s underdrawing method. However, Source 8 emphasizes that a painter must first be a 'sound craftsman' and suggests that copying works can help correct weaknesses in outline or modeling. For this recreation, use a light, non-oily medium (such as charcoal or diluted paint) to sketch the cityscape composition, focusing on the 'broad masses' rather than fine details, as advised for correcting tendencies toward 'smallness' (Source 8).

underpainting

Execute a grisaille (monochrome) underpainting using only black, ultramarine, and white, mixed with oil of copavia (Source 1). This step involves 'mentally extracting the red and yellow colours' to translate what would remain in nature if those hues were absent (Source 1). This establishes the value structure of the cityscape. Allow this layer to dry completely before proceeding.

Grisaille

A monochrome underpainting using black, ultramarine, and white to establish values before adding color. This allows the artist to focus on form and light without chromatic distraction.

Glazing

Applying transparent coats of color (yellow and red) over the dry grisaille to reintroduce hue and create depth.

Scumbling

Applying semi-opaque paint over the underlying layers to modify tone and texture, particularly to create cold, atmospheric effects.

Fat over Lean

Ensuring that each subsequent layer contains more oil (fat) than the previous one to prevent cracking and ensure proper drying. This is a fundamental principle of oil painting.