PAINTING TECHNIQUES #1 - Mischtechnique (a step by step TUTORIAL with oil and casein - Part I.)

THE HIEROPHANT - a step by step guide with oil and casein - PART I.

It is fascinating how old-fashioned techniques can disappear with time and be rediscovered. In the last century, the "mixing technique" was forgotten - a technique that combines egg tempera and oil. With the book of Max Doerner "The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters" the painter Ernst Fuchs rediscovered this awesome technique an created tons of wonderful paintings.
In contrast to the wet-in-wet or the alla prima technique, a variety of glazes are used here. This creates a very special depth effect - really charming when you look at the finished picture. If only oil were then used for glaze paintings, this would take a very long time. This time can be shortened with egg tempera, but also casein or tempera grassa, since these paints can be applied to the semi-dry oil layers. With my first oil painting "the HIEROPHANT" I went under the guidance of Amanda Sage to this technique. In the following, I would like to let you participate in this process. Unfortunatley my painting doesn't has so many different layers like the old masters paintings - so it doesn't has such an impact of depth, but it is a first step and I hope you all can take something with you. ENJOY!

First I started with a loose charcoal drawing. I just knew I want to paint a highpriest as mixture of a Saddhu, God and Odin the allvater sitting on a throne surround by a landscape and some vanitas objects which have a big meaning for me and the painting as a whole. At the ground I wanted mist or smoke and of course the reverse rune MANNAZ. The rune should be above its head in normal alignment.

After the drawing was finished, I just fixed it with spray. Yes, I know, not very old-fashioned, but I did not want to take a diluted ink and trace everything. I was much too impatient for that, so I went straight to the "Imprimatura". This is usually done with a earth tone - usually raw umber. However, I decided to take a burnt sienna. After this first layer was dry, I immediately went with the casein to build up the forms.

...and this takes a lot of time :-)

...we need more smoke and MUCH MORE LIGHT...

Far better and ready for the first glaze, which I did as usual in yellow. I think I took a mixture of Raw Sienna and Cobalt Aureolin Yellow (a nice fast drying mixture). The effect is really nice and it pushes back the whites. The forms are still there, but look kinda flat. The next step in the process is to bring the whites back.

BRINGING BACK THE WHITES

As you can see it has more dimension now. In the close-ups you can see that hetching is a powerful tool building up the form. In the distance I brought in a lot of white to seperate the throne from the background better and because the sky near the horizontal line is of course lighter.

This is the end of part I. - THANKS FOR YOUR ATTENTION and I hope you enjoyed it so far. If you like it, give me an upvote and if you have further questions, don't hesitate to write an reply!

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