I now let the thin underpainting dry completely. I then oil up the canvas using a variety of oils or putties (in the case of the desert scene I used Venetian medium from Natural Pigments). I then mix up a series of pigments and closely match the values to the canvas surface. I ensure correct values by holding up the brush with a bit of paint on the tip. In this way I can match value and hue with extreme accuracy. I mix up rich, thick, strokes of broken color and apply this color using the methods described in earlier videos. The thickness of the Venetian medium allows me to apply thicker paint. I like a medium that has a lot of body that pulls the paint off my brush.
For those who wonder if this technique is worth the effort I can only say that with some subjects this method will ensure success when others fail. I find that as long as I don't get impatient the process is extremely enjoyable. This method helps ensure accurate color and value and provides a safety net in the challenging and often exasperating world of thick paint.
Brad Teare © 2009