Portrait of a Man with the Medal of Cosimo

surface prep

Construct or acquire a solid wood panel, preferably radial-cut poplar, willow, or linden, excluding sapwood (Source 4). Plane and sand the wood. Coat the wood with a mixture of animal-skin glue and resin, then adhere a layer of linen to this 'size' (Source 4). Once dry, apply layer upon layer of gesso, sanding down each layer before applying the next. This process may involve up to 15 layers to achieve a smooth, hard surface resembling ivory (Source 4).

underdrawing

Lay out the design on the gessoed panel using charcoal (Source 4). The drawing must be highly finished to acquire the habit of minute visual expression, ensuring that subtleties become instinctive so the mind is free to dwell on bigger qualities during painting (Source 7). The drawing should not merely be scientifically accurate but must present the form in a vivid manner that conveys emotional significance (Source 7).

underpainting

Egg tempera is typically applied directly over the white gesso ground. Unlike oil painting, which allows for extensive underpainting and glazing over days, tempera is fast-drying and applied in small, almost transparent brushstrokes (Source 4). There is no specific source indicating a distinct underpainting phase for this specific work, so the artist should proceed to the first pass of color application.

Egg Tempera Layering

Using small brushes dipped in pigment and egg-yolk mixture, paint is applied in very small, almost transparent brushstrokes. Thin layers create volumetric forms (Source 4).

Gesso Preparation

Applying up to 15 layers of gesso, sanding between each, to create a smooth, hard surface not unlike ivory (Source 4).

Expressive Draftsmanship

Drawing must be more than accurate; it must present form vividly and convey emotional significance, becoming instinctive through hard application (Source 7).