As I continue across the mural I am putting the paint on in very thin layers using only a small amount of medium, walnut oil alkyd and gamsol in equal amounts.
Beginning the first color layer on the figures. Starting with Elizabeth More Dauncey on the left.
Continuing with the dead color layer across the figures. Margaret Clements costume does not have much color added since they are brown. Sir John More is much more fun to paint.
Continuing with Sir John More’s robe.
Working from left to right, the fourth figure, Ann Cresacre is the next one to be worked on.
Ann Cresacre has only a small portion of her costume showing.
Sir Thomas More’s clothing is black velvet with mink lining and red velvet sleeves. His hands are covered by a muffler.
Following Sir Thomas More is his son, John and next to his is Henry Pattenson, the family fool. Henry is the only figure looking at the viewer and he is dressed like the King.
Cicily More Heron
Margaret More Roper
Lady Alice More
Window and still life
Dead color layer completed.
This part of the painting process progressed quickly. All of this work was completed from January to July of 2015.
Since January of 2015 I have been adding color over the underpainting. Interestingly it is known as the Dead Color layer. However, the color is anything but dead as you will see from the photos below.
I began on the left side with the furniture and still life pieces. During this phase I will be working out the color temperature of the painting as a whole.
Furniture and costume dead color layer.
The obstacle I am facing is the fact that I don’t have a mock set-up to work from. I am using Holbein’s line drawing and Roland Lockey’s copy of the painting for color reference. Both are somewhat lacking in color information. Reproductions of Lockey’s painting suffer from the dark areas are too dark to see detail and the light areas have no depth.
The method is very simple. I mix the color on my palette, thinly spread a layer of walnut oil alkyd over my intended area of painting and brush the color into this oil. I don’t add any shading or highlighting to the color, that is what the underpainting is for. The color should be put on the canvas so thinly that the underpainting is still visible. The next photos illustrate this process.
Dead color layer. Hutch and Elizabeth Duancey.
Dead color layer. Curtains
Dead color layer. Curtains , doorway.
Dead color layer. Floor.
Dead color layer. Floor completed.
Once the color is painted I will be finishing some areas to a high degree and others I will leave alone.