I begin with a preliminary brush drawing using Ultramarine (511) to draft the composition and establish a tonal underpainting. This stage focuses on accurately transferring the rock’s proportions and the interplay of light and shadow from the initial sketch onto the canvas. The rock formation, comprised of several prominent protrusions and fissures, requires careful attention to the diagonal movement of its lines and the placement of core shadows. Ultramarine, a rich blue with a red undertone, is my preferred color for this initial drawing. These early lines remain integral to the finished piece, subtly visible beneath subsequent layers, enhancing certain color accents.
Tempera’s versatility allows for both fluid and impasto applications. By adjusting the water content, the paint’s consistency can be modified without compromising the vibrancy or saturation of the color. My previous experience with oil painting was curtailed by allergies, leading me to explore alternative mediums. Tempera proved to be an ideal substitute, offering similar consistency, opacity, and finish to oil paints without triggering allergic reactions. It also boasts significantly faster drying times and minimal odor. While tempera dries quickly, comparable to other water-based paints, this characteristic does not hinder my process. In the initial stages, I prefer a liquid consistency, akin to watercolors, for ease of application and canvas coverage. As the painting progresses, I transition to a more impasto technique, employing thicker strokes to build the rock’s texture.
Initial sketch and underpainting of landscape rocks in ultramarine.
