Glazing oils

My painting technique

My oils show a very personal imprint that is clearly identified in the way light and color work, a technique that underpins my signature identity.

I get this imprint by working with oil based on glazes, the most widely used painting discipline during the Renaissance.

I paint on a cloudy wood support, a wood lined fabric on which I apply two or three coats of plaster and then polish until smooth. Once the substrate is finished, I apply a layer of white oil over the entire surface.

Once the background is ready, I can start painting. I only use a few pure, transparent colors: ultramarine blue, manganese blue, alizarin crimson, “bladder” green, “viridian” green, gold green, permanent mauve and natural sienna. Combining and mixing these oils in the right proportions I get the rest of the color tones. Since the white is opaque, I don’t use it to paint the glazes, so if I need it, I have to remove the color from the glaze I’m working on until the white from the base is visible.

The glaze consists of applying very thin layers of transparent color, sometimes diluted in medium, so that the lower layer is transparent. Thus, the color we will see is the result of the sum of all the given layers. The more layers applied, the deeper the oil will feel. Once the painting is finished, the light points are highlighted in white.

Here you have a series of images where you can see, very briefly, how a work gets form and light with the application of glazes until it becomes a pictorial work.