Portrait of a young woman

surface prep

Construct or acquire a solid wood panel, preferably radial-cut poplar, excluding outer sapwood (Source 1). Plane and sand the wood smooth. Apply a mixture of animal-skin glue and resin to seal the wood, then adhere a layer of linen using this 'size' mixture (Source 1). Once dry, apply multiple layers of gesso (chalk mixed with glue), sanding down each layer before applying the next. This process may involve up to 15 layers to achieve a hard, smooth surface resembling ivory (Source 1).

underdrawing

Lay out the design on the prepared gesso surface using charcoal (Source 1). Ensure the drawing is accurate before proceeding, as correcting errors in paint is difficult and can compromise the lucidity of the final image (Source 5). The drawing should be slightly smaller than life if studying from a model, to allow for refinement (Source 5).

underpainting

While specific underpainting methods for this exact portrait are not detailed in the sources, the general tempera technique involves applying thin layers of paint to create volumetric forms (Source 1). Unlike oil painting, which requires days for layers to dry, tempera dries quickly, allowing for immediate layering. The artist likely used a monochromatic or grisaille underlayer to establish values, though the sources emphasize the direct application of thin, transparent brushstrokes of pigment mixed with egg yolk (Source 1).

Tempera Glazing

Using egg-yolk medium to apply thin, transparent layers of pigment. This allows for the creation of volumetric forms and luminous color without the heaviness of oil paint.

Gesso Ground Preparation

Applying up to 15 layers of gesso, sanded between each, to create a hard, white surface that enhances the brightness and clarity of the tempera paint.

Contrast of Tone and Color

Using complementary colors or greyed tones in the background and dress to make the complexion stand out, avoiding the monotony of similar tones.