This sequence follows the development of Becca (Sundial), 2006, from its concept through to its finished state.
This tutorial, which also utilizes Cennini’s techniques for developing flesh tones on a green underpainting, was originally published in the July/August 2006 issue of American Artist Magazine.
I build up the surface of my tempera paintings by modeling form with crosshatched strokes of paint, one on top of another. Final color is achieved by glazing thin veils of transparent color over these built up surfaces.
Zooming in on the white nightgown shows this process off well; warm and cool colors show through the white of the fabric to make the garment visually “richer.”