Peggy Ashcroft as Juliet, London

surface prep

The surface should be prepared with a traditional oil ground to support the layering technique. While specific details of Gabain’s ground are not in the sources, traditional oil painting practice requires a stable, non-absorbent surface to prevent cracking when applying subsequent layers of oil paint (Source 7).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint to establish the likeness and composition (Source 7). As a portrait, the focus should be on capturing the 'inner essence' and character of the sitter, particularly through the eyes and eyebrows, which convey emotion more reliably than the mouth (Source 5).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 1). This step establishes the tonal values and form without the distraction of color. The goal is to mentally extract red and yellow colors, translating what would remain in nature if those hues were absent (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 over darker grounds to create coldness or grey blooms, allowing the underlying tones to influence the final appearance.

Simultaneous Contrast

Adjusting colors based on their interaction with adjacent hues to achieve harmonious and accurate tonal gradations.