Care is taken not to cover the imprimatura completely allowing it to show through the final paint layers, this is effective in particular in the middle to dark shadow areas of the work. The successive layers of color are then applied in transparent glaze or semi-transparent layers. It is most useful in the classical approach of indirect painting, where the drawing and underpainting are established ahead of time and allowed to dry. The term itself stems from the Italian and literally means ¨first paint layer." The imprimatura provides not only an overall tonal optical unity in a painting but is also useful in the initial stages of the work, since it helps the painter establish value relations from dark to light. It provides a painter with a transparent toned ground, which will allow light falling onto the painting to reflect through the paint layers. Since I couldn't describe it better, here's a portion of the text: "Imprimatura is a term used in painting, meaning an initial stain of color painted on a ground.
One of the best definitions I have found to describe the painting stage called "Imprimatura," was on Wikipedia. I'd rather have all of the elements just the way I want them at this stage, and create a composite - rather than to have one" final" drawing done on one layer. In this way, individual elements of the picture are refined and resized by using my copier machine, and the final result is a combination of both xeroxed and drawn elements - which then get pasted up (or in my case, waxed) onto one sheet of layout paper. I liked it enough from the first stage, so it was reused. One element that didn't change in this step was the face. The details on the inside of the moon also needed to be refined. Also, elements like the quilt and pillow have been redrawn based on the photo reference.
In addition, other elements, like the owl and the clock, have been enlarged for greater emphasis. For example, the final tilt of the character's body has changed, along with the positioning of the hands and foot. It's still the best way to really get a feel for what something looks like.Įven though this might look exactly like the drawing in the value study, it actually incorporates subtle differences that were redrawn after I had the new photo reference. Taking my own photos works well, but nothing really takes the place of drawing from life, under controlled lighting. I have also purchased a few mannequins that can also be dressed up for reference. It wasn't necessary for "The Man in the Moon," but in some cases, I've sculpted models in Sculpey for characters, or set up still life arrangements that I can draw to get the background elements to look realistic.
I group photos together on photo boards that will help me determine which details I'll want to include to tighten up my final drawing. In terms of reference, since I usually take a lot of photographs wherever I travel, I already have various files for things like architectural details, costumes and landscapes that I can draw on for different compositions. As you can see, I have also been known to pose myself! These folks tend to be friends and family members who will be good sports about dressing up in costumes. Once the basic composition has been approved, I assemble reference material and, if necessary, take photos of models for the main characters.
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