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surface prep

The surface should be prepared to accept oil paint, likely primed with a ground that allows for the 'fat over lean' rule to be observed during layering (Source 5). While specific priming recipes for Hedley are not detailed in the sources, traditional practice involves a stable ground to prevent cracking (Source 5).

underdrawing

The artist likely began by sketching the subject onto the canvas using charcoal or thinned paint, a traditional starting point for oil painting techniques (Source 5). As a realist, Hedley would have focused on accurate proportions and the 'alphabet of our art' to ensure the figures were correctly rendered before applying color (Source 2).

underpainting

The underpainting likely involved a monochrome preparation, possibly a grisaille. The sources suggest a method where the artist mentally extracts red and yellow colors, translating what would be left in nature if these colors were not present (Source 1). This initial layer may have been executed with black, ultramarine, and white mixed with oil of copavia, as described in Reynolds’ method which influenced this period’s practice (Source 1).

Glazing

A transparent coat of color applied over a dry underpainting to build up depth and luminosity, particularly for red and yellow tones.

Scumbling

A semi-opaque painting technique where the underlying painting shows through, often used to create texture or cool tones.

Fat over Lean

A basic rule of oil painting where each successive layer has more oil content than the one below to ensure proper drying and prevent cracking.