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ART FACTS
"WORKING WITH GLAZES"
by Robert K. Roark
 
 

"STRAWBERRIES AND ORANGE" detail o/p Robert K. Roark Because the process can be time- consuming and tedious, many artists are reluctant to become involved in the painting technique known as glazing.  By observing a few simple rules, glazes can be applied to an oil painting with a minimum of difficulty. A glaze is a very thin, transparent wash of color that is brushed over an existing dry layer of paint.  Light penetrates the glaze, reflects off the underpaint and exits through the glaze, thus creating a luminous, or jewel-like, effect that is impossible to achieve by direct painting. In order to maximize the luminosity, the dry base coat should always be lighter in value than the  glaze itself.  It is very important that the underlayer be completely dry and free of dust before glazing begins.  Glazes are usually applied with a soft brush, sable or camelhair.  After the glazing color has been diluted (linseed oil, stand oil or damar varnish works well), it is brushed lightly over the dry base color.  A second, dry sable brush can be used to soften the edges of the glaze. The number of glaze layers used is up to the artist.  Each preceding layer must be thoroughly dry before the subsequent glaze is applied.  Glazes should proceed from lighter to darker for best results.  A light-colored glaze (i.e. cadmium yellow pale) applied over a dark color  (i.e. burnt umber) will achieve little in the way of luminosity. While the glaze dries, the painting should be protected from dust.  Placing the painting into any type of sealed container (box, oven, etc.) works well. Experiment with various color combinations to suit your particular needs.  With a bit of practice, your paintings will glow with an inner-light that comes only with glazing. "Sunset, Provincetown"  o/c  Robert K. Roark

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