Sunflowers

surface prep

The support must be sized to prevent oil absorption. If using canvas, apply a coat of sizing such as cheese paste (casein) or traditional glue size (Source 5). Ensure the surface is smooth and even. A white ground is recommended to maintain the lightness of tones and allow for accurate color judgment, as a white palette and white ground ensure tones have the same effect on both (Source 5).

underdrawing

The outline may be executed in watercolors or thin oil. If using watercolors on a sized canvas, apply an even coat of painting varnish over the sketch before proceeding with oils; this varnish will soak into the sizing and allow oil painting to continue once dry (Source 5). This method, attributed to Paul Veronese, ensures the underdrawing does not interfere with the oil layers. Alternatively, a thin oil sketch can be used directly on the sized surface.

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 1). This stage establishes the tonal values of the landscape without color. The artist should mentally extract red and yellow colors, visualizing what remains in nature if those hues were absent (Source 1). This grisaille must be allowed to dry completely before proceeding to color layers.

Glazing

Applying transparent layers of color over a dry monochrome underpainting to achieve rich, luminous tones without muddying the colors. This was a method practiced by old masters and described by Sir Joshua Reynolds.

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or grey blooms, allowing the underlying texture and tone to influence the final appearance.

Simultaneous Contrast

Adjusting colors based on their neighbors. When two colored objects are viewed together, each appears tinged with the complementary of the other. This is crucial for harmonizing the inherent colors of the landscape.