Verdaccio: An Italian term for black, white and yellow pigments when mixed give a grey to greenish tone depending on how it is mixed.
In this layer I will finalize the tonal values and have a complete monochromatic painting.
The drawing will be refined in this final layer before any color is applied.
The beginning layer of verdaccio.
I am leaving some of the bistre to show through in the shadows.
As I work across the painting I am correcting my drawing. The fleur de lis atop the doorway along with the perspective is also refined.
By painting this verdaccio layer I will be able to brighten up the painting since it will be hanging in an area that is not always lit.
I used a ruler (48 inches!) that has both a vertical and horizontal levels. This made it much easier to correct the hutch drawing.
Completed the decorations on the top of the hutch.
The objects in the hutch still-life were refined.
There are a few more elements to complete before I’m done with this layer.As I work across the painting I am finding elements that need attention. Such as the doorway top decorations. The clock and window.
Lady Alice, the dog and monkey (or is it a lemur?) are left to be completed.
All the elements are done. Along with the top of the doorway.
The next step is to paint the verdaccio layer which will complete the tonal under painting of the composition.
The paint has finally hit the canvas. The bistre is raw umber. I have had a few areas that needed to be adjusted those are painted in the ground color.
These photos show the progress of putting the ground on the canvas. It is a close approximation of the the salmon color used by Holbein.
The painting is ready for the bistre layer. The transfer layer is preserved under the salmon ground.