The Teaching Studios of Art®

Video 1 - Buchanan discusses methods of transferring the drawing to canvas, using charcoal or oil transfer, the use of a double ground, the proper use of imprimatura ( with raw umber in this case, because it dries so quickly), using both subtractive and additive methods. Buchanan demonstrates the method of Imprimatura, to represent both the light mass and shadow mass of the painting, by applying an even dark tone and then using a rag to wipe down to the lighter tone of the canvas underneath.

Video 2- In this second video, Buchanan continues with the underpainting stage, called Impramatura, where the white of the canvas represents the light mass of the painting. The shadows are applied flat—with no reflected light. Adding a slightly darker, more opaque version of the imprimatura allows for cast shadows.

Video 3- A demonstration of the application of a Velatura —the use of lead white applied over a (now dry) imprimatura, by dragging a thin white layer over the darker ground., using medium to make the paint more fluid. This creates an “optical cool” or turbid medium effect. This blueish tone helps to create the illusion of flesh. This method helps to create beautiful form, and in fact most of the form creation happens on the Velatura layer, that is then modified with glazes of color—and occasional opaque layers of color. Buchanan gives an analysis of Carravaggio’s “The Martyrdom of St. Ursula.” In addition, he discusses the use of colored velaturas, that control temperature changes as well as shifts in value.

Video 4 - The use of velatura to flow from one form of the body to another, to transition between subforms to create an overall believable human form. 


Addition of chalk (calcification) thickens velatura layer. Or simply do two layers.

The application of the “working glaze” of color, know as a Couch. Then the artists uses a palette of full color, blended directly into the the Couch, a reworking of the form. This new layer of paint slides easily into the new glaze. 


Video 5 - Buchanan describes his palette , the colors, the brands, the pigment composition of each.
 The proper use of medium(s). 
A discussion of color harmony in painting, and the proper use of the palette when working
: 
value, temperature (warm, cool or neutral.) 

A working glaze of an average color is brushed smoothly over the form that the artist then works into with opaque and transparent paint, blending as you go along. But careful not to overblend



Video 6 - Shifting his attention away from the light, Buchanan describes painting the shadow mass in full color with opaque and transparent glazes, or directly painting with thicker, solid color. He discusses how to manage reflected light, as well as tips for painting convincing folds of skin and bunches of muscle mass.