Alla Prima vs Layering

Strada Challenge Days 6-12

Hi!

The Strada Easel Challenge is in full swing!

Here are Days 6-12. It's fun to look back and see the progression from sketch to final painting...kind of like how athletes will watch the replays after a game in order to improve their next one.

With the challenge came a few comments and questions about my painting process from people following me on Instagram.

Several people said that they appreciated the timelapse videos. One topic that came up relates to why some paintings are done in steps over several days while others are done all in one sitting.

I thought you might enjoy hearing about the reasoning behind that.

Painting Alla Prima

Alla Prima paintings are done all in one sitting. They are painted wet-in-wet, which is just like it sounds. Paint color is carefully mixed and values checked, and then laid down next to each other with very little blending.

In fact, a purist would say that true alla prima is done with no blending at all.

The result is loose and quick, full of interesting brushwork.

Here are a couple of examples.

Brown Egg 4"x4"

Silver Spoon 6"x4"

This is useful for doing quick studies where time and opportunity are limited, such as when painting outdoors where the light can change unexpectedly.

Many artists paint this way exclusively, as this is their normal style.

I do most of my miniatures and small landscapes this way.

However, there are times when a more studied and exacting approach is in order, especially if one is aiming for high realism. It all has to do with personal style and the purpose of the moment.

Layering and Glazing

I use a layering process much of the time, and nearly always on larger works where my goal is to capture intricate detail.

Silver ladle - photo

The delicate patterns in antique silverware fascinate me.

I have collected some lovely pieces with the intention of painting them one day.

The Strada Easel Challenge was the perfect time for this beautiful ladle to make its debut.

To do it justice, I took my time, allowing thin layers of paint to dry partially in between sessions.

Silver ladle underpainting 16"x12"

First came the detailed drawing.

I scaled it up somewhat so that the painting would feel larger than life.

This allowed me room to capture at least some of the delicate scrollwork without my hand cramping up.

Then came the underpainting using a thin mixture of transparent Earth orange and Gamsol.

I deliberately dissolved and blended the graphite from the drawing into the paint to mimic the silvery grey in the model.

Antique Silver Ladle (in progress)

Next were the full color layers using paint mixed with a small amount of linseed oil.

Some detail from the drawing was lost during the underpainting process, and it took some fancy footwork to get it back.

Here is where I left off.

This will fit nicely into my "Inherited" series.

This will need some dry time before I come back in with the final details.

These will include darker transparent glazes of red, gold, and violet in places to deepen liven up the silver patina and reflections in the shadow areas.

Finally will come the brightest highlights and any other refinement I choose to do. After a few weeks will come the protective varnish and this will be ready for a new home.

I can almost see it now...living proudly above a buffet in some family dining room, reminding someone of a beloved grandmother who brought out her finer things for special times with people she loved.

I really do love my job...and you being here to enjoy it with me makes it even better!

So reward yourself this week with a little ladle full of birdsong.

Jan

P.S. Just a reminder that everyone who follows, likes, and comments on two or more of my Instagram posts this month will be entered in a drawing for one of the artworks created during the Strada challenge. I will select three small works (8"x8" or smaller) for the winner to choose from. The drawing will happen live on Instagram shortly after Strada announces their challenge results.