Portfolio

Academic Reconstructions (my work) (original)

Flemish Oil Painting on Panel*

Deposition, Rogier van der Weyden

* The steps that I performed to make these reconstructions Are shown at the bottom of this page. Jump to the "Process" section By clicking the button below.

See Process

Encaustic Fayum Portrait on Board

Unknown Soldier, Artist Unknown

See Process

Pastel on Paper

Woman in the Bath, Edgar Degas

Venetian Painting on Linen

The Origin of the Milkyway, Tintoretto

See Process

Feather Quills and Bister Ink

Two Frogs, Jacques de Gheyn the Younger

See Process

Buon Fresco

Temptation of Christ, Sandro Botticelli

See Process

Silverpoint on Paper with Toned Ground

Negress Katherina, Albrecht Dürer

Personal Artwork

Artistic Techniques and Processes

Deposition

Flemish Oil Painting on Panel

Deposition, Rogier van der Weyden

Step 1: Apply an Ink Underdrawing To a Sanded, Gesso Grosso Ground on Panel

Step 2: Apply Lead-White-Rich Oil Layers Over the Underdrawing

Step 3: Glaze over the Lead-White-Rich Layer with many Layers of Warm Hues

Step 4: Paint Highlights with Additional Walnut Oil Medium

Step 5: Paint the Highlights of the Tears and Other Final Touches

Near Completion

Step 1

Step 5

Near Completion

1/6

Step 1

Step 2

Step 4

Step 1

1/4

Encaustic Fayum Portrait on Board

Unknown Soldier, Artist Unknown

Fayum

Step 1: Make encaustic by mixing earth pigments with the binder Beeswax

Step 2: Use heat (In this case an electric Palette) to liquify the paints

Step 3: Apply Encaustic to a Board Primed with a Dark Ground

Step 4: Use Separate Brushes for light and dark colors to maintain color saturation

Step 1

Step 2

Step 4

Step 1

1/4

Venetian Painting on Linen

The Origin of the Milkyway, Tintoretto

Tintoretto

Step 1: Size the fabric support and apply a dark, oil ground

Step 2: cut, stretch, and tack the fabric support to a stretcher

Step 3: define the highlights in the composition in A Lead-White underPainting

Step 4: Glaze over the underpainting with Saturated, Dark hues to give a luminous, warm effect to the paint surface

Step 1

Step 2

Step 3

Step 1

1/3

Feather Quills and Bister Ink

Two Frogs, Jacques de Gheyn the Younger

Quill and Ink

Step 1: Make The ink (Image Shows Gauls being Ground to make Iron Gaul Ink)

Step 2: Burn the oils off of your Feather and Then Fashion it into a Quill with three cuts

Step 3: Draw precise hatched lines by continually sharpening your Quill and allowing your work to Dry before adding Cross Hatches

Step 1

Step 2

Step 4

Step 1

1/4

Buon Fresco

Temptation of Christ, Sandro Botticelli

Fresco

Portfolio

Academic Reconstructions (my work) (original)

Flemish Oil Painting on Panel*

Deposition, Rogier van der Weyden

* The steps that I performed to make these reconstructions Are shown at the bottom of this page. Jump to the "Process" section By clicking the button below.

Encaustic Fayum Portrait on Board

Unknown Soldier, Artist Unknown

Pastel on Paper

Woman in the Bath, Edgar Degas

Venetian Painting on Linen

The Origin of the Milkyway, Tintoretto

Feather Quills and Bister Ink

Two Frogs, Jacques de Gheyn the Younger

Buon Fresco

Temptation of Christ, Sandro Botticelli

Silverpoint on Paper with Toned Ground

Negress Katherina, Albrecht Dürer

Personal Artwork

Artistic Techniques and Processes

Flemish Oil Painting on Panel

Deposition, Rogier van der Weyden

Step 1: Apply an Ink Underdrawing To a Sanded, Gesso Grosso Ground on Panel

​

Step 2: Apply Lead-White-Rich Oil Layers Over the Underdrawing

​

Step 3: Glaze over the Lead-White-Rich Layer with many Layers of Warm Hues

​

Step 4: Paint Highlights with Additional Walnut Oil Medium

​

Step 5: Paint the Highlights of the Tears and Other Final Touches

Encaustic Fayum Portrait on Board

Unknown Soldier, Artist Unknown

Step 1: Make encaustic by mixing earth pigments with the binder Beeswax

​

Step 2: Use heat (In this case an electric Palette) to liquify the paints

​

Step 3: Apply Encaustic to a Board Primed with a Dark Ground

​

Step 4: Use Separate Brushes for light and dark colors to maintain color saturation

​

Venetian Painting on Linen

The Origin of the Milkyway, Tintoretto

Step 1: Size the fabric support and apply a dark, oil ground

​

Step 2: cut, stretch, and tack the fabric support to a stretcher

​

Step 3: define the highlights in the composition in A Lead-White underPainting

​

Step 4: Glaze over the underpainting with Saturated, Dark hues to give a luminous, warm effect to the paint surface

Feather Quills and Bister Ink

Two Frogs, Jacques de Gheyn the Younger

Step 1: Make The ink (Image Shows Gauls being Ground to make Iron Gaul Ink)

​

Step 2: Burn the oils off of your Feather and Then Fashion it into a Quill with three cuts

​

Step 3: Draw precise hatched lines by continually sharpening your Quill and allowing your work to Dry before adding Cross Hatches

Buon Fresco

Temptation of Christ, Sandro Botticelli

Step 1: Make Pigment Pastes by mulling Ground Pigments into Water (add Ethanol to Discourage Mold Growth)

​

Step 2: Apply the Arricio Plaster Layer and Leave it to Dry completely

​

Step 3: Wet the surface of the Arricio Layer and then Apply the Intonaco Plaster Layer, Which Stays Wet For Approximately 6-8 Hours

​

Step 4: Paint With Dilute Pigment Pastes Into the Intonaco Layer like Watercolors