Saghmosavank

surface prep

The canvas should be primed to accept oil paint. While specific preparation for Malayan is not detailed in the sources, traditional oil painting often begins with a prepared surface to allow for proper adhesion and drying. The artist may have used a monochrome underpainting (grisaille) to establish values before applying color, a technique used by old masters to mentally extract red and yellow tones and translate what would be left in nature (Source 2).

underdrawing

The artist likely began by sketching the subject onto the canvas with charcoal or thinned paint (Source 1). This initial step establishes the composition and forms before paint application. For a cityscape, this would involve outlining the architectural elements and spatial relationships.

underpainting

A grisaille (monochrome underpainting) may have been used to establish the tonal structure. This technique involves painting in neutral tones (such as black, ultramarine, and white) to create a value study before adding color glazes (Source 2). This allows the artist to focus on form and light without the distraction of color.

Fat over Lean

Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.

Glazing and Scumbling

Glazing applies a transparent coat of color, while scumbling applies a semi-opaque layer through which the underlying painting shows. Used to introduce red and yellow tones over a dry grisaille.

Complementary Color Mixing

Using opposite colors to darken a hue without shifting it, avoiding the use of black which can cause hue shifts in warm colors.