IMG_6436.JPGProof that I have not, yet, fallen off the edge of the world! I am enjoying this more than I should perhaps, because I am studying the original by Panselinos to really understand it. Layers in drapery can easily become solid and flat or we can lose our sense of the form beneath the fabric: resist the temptation to ignore basic rules of drawing, especially when painting something complicated! I will share this with you again when it is completed. In the meantime, please let me know if you have any questions 🙂

4 thoughts on “Drapery”

  1. Hello Catherine! Here comes a question from another Katherine, working on her Panselinos studies in Finland. The transparency of St Thomas himation looks so good! Is is reft on hematite you are using? Do you make an underpainting with shadows?

    1. Hi Katherine! I’m so glad you like it, thank you for your kind comment. For St Thomas, I used a combination of verdaccio (a black green from Zecchi pigments in Florence) for the darkest shadows, red ochre, very thinly applied and zinc white plus azurite for the highlights. Zinc tends to foam and applies a lot more opaque but dries to a good transparency so sometimes you will need to apply it many times. This is the best way I’ve found so far to maintain the transparency so the gesso is still visible. I hope that helps, do share your work on Panselinos, he’s my favourite Iconographer of that period.

  2. Here in Finland it is common to use a zinc/titanium 50/50 mixture. The titanium keeps the zinc from fading. Maybe I should try pure zinc. I found Zecchi on the net. Their leaf gold is really affordable, compared to what we get here!

    Do drop in at my blog:
    You´ll find a couple posts on the stages of the Panselinos -studies. There is an English translation in the end of most posts.

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