Many artists shy away from the practice of glazing,
unconfident and fearful that certain disaster lies ahead. The techniques of
glazing may seem arcane and vague, perhaps a bit “old fashion” for the
fast-moving world of today’s art. True, producing a beautiful, flawless
glaze can be time-consuming and, at times, tedious. The end results, on the
other hand, can be dazzling and bewitching.
To begin with, glazing is simply the application of a thin, transparent
layer of color over a previously applied layer of color. So what’s the big
deal? Try this experiment: mix a bit of alizarin crimson with white oil paint
and apply it to half a white painting panel. Next, mix alizarin with a little
damar varnish and apply that, smoothly and thinly over the other half (the
white of the panel would be considered a “previously-applied” color). Let
dry.
The characteristic of luminosity that you see in the glazed half of the
panel would be impossible to achieve through the exclusive use of mixed
paints. This is why we glaze.
Here’s a brief, not too scientific explanation of how glazing works:
light travels through the layers of glazed paint (remember they are
transparent) until it strikes the substrate (your canvas or panel). It is then
reflected back out through those layers of glaze. Because the light travels
through the colors, as opposed to simply bouncing off the surface, we get an
optical effect best described as shimmering, glowing, luminous, etc.
Additionally, the more transparent colors are usually applied over the more
opaque colors: alizarin over yellow ochre, for example. This is not a hard and
fast rule, of course, just a suggestion. You must try various techniques and
decide for yourself.
And speaking of substrates, or supports, the smoother the surface which
holds your paint, the more effective will be your glazing technique (ever
wonder why mirrors, whose main job in life is to reflect, are so smooth?). So,
if glazing will be a major part of your painting, I would suggest that you
work on a white hardboard panel sanded to an appropriate degree of smoothness.
There are many mediums used in glazing; some can be purchased pre-mixed and
some you can prepare yourself. For a good, all-purpose, easy to mix glazing
medium, try this: 1/3 damar varnish, 1/3 linseed oil, and 1/3 turp. For a
richer mix leave out the turp and replace with more damar varnish. I would
encourage you to experiment with various mediums until you become thoroughly
familiar with the differing properties of each.
For smooth glazes, choose soft brushes with rounded edges, filberts or fan
brushes for example, as opposed to flats. Good brushes are an investment (read
expensive), so clean and care for them properly. Discard for glazing purposes
brushes that have become stiff or have developed ragged edges.
The glazing technique itself is fairly simple and straightforward. Be sure
that the under lying layer of paint over which you are glazing is thoroughly
dry and free of dust. If the undercoat is not perfectly smooth, sand it
lightly with automotive sandpaper. Grade #1200 should do nicely. Again, clean
the surface of all residue, using a bit of drafting tape if need be.
When mixing your glazing color do not use too much medium. This can create
an overly glassy surface that will not be receptive to further glazing.
Experimentation and practice are the best ways to prevent problems.
Once a layer of glaze has dried completely, it can be
sanded in preparation for the next glaze.
Again, sand lightly, using a little water if necessary, then dry and
clean thoroughly before proceeding. Generally,
a varnish is not applied between glazes.
Experience is your best ally.
After a glaze has been applied, the painting should be
placed in a dust-free environment until it dries completely.
Once the painting has been finished and is dry, a final varnish of
damar can be added, thus enhancing the luminosity created by the glazes.
Next month’s article will continue our look into
“getting stared” in the business. Until
then, good painting!
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