???

Notebook

Notebook, 1993-

MATERIALS & METHODS

Thompson, Daniel V., Jr., Research and Technical Adviser, The Courtauld Institute of Art, University of London. The Practice of Tempera Painting. New Haven: Yale University Press. 1936. Fourth Printing, 1946.

Pictured here is: "'The homage of the Simple Man' - Giotto [Vatican Collection]

The Practice of
Tempera Painting - Index

???


Preface

Uses and Limitations of Tempera
Uses & Limitations of the Tempera
Tempera Painting is a Strict Discipline
Tendencies in Modern Painting
The Media of the Future
Limitations of Tempera Painting
Normal Scale
Factors in Naturalistic Ptg
A Critical Approach


Carriers and Grounds
Carriers and Grounds
Properties of Wood
Effects of Humidity
Selection and Conditioning
Casein Glue for Joining
Precautions against Warping
Plywoods
Wood Pulp Boards
Paper
Metals
Canvas
Walls
Preparation of Panels
Materials
Standard Size Solution
Sizing the Panel
Apply Moldings and Ornaments
Second Sizing
The Intelaggio
Puttying
The Simplest Gesso
Secret of Success
Application of Gesso
An Alternative Method
Scraping the Gesso
How to Test the Scraping
Stoning Down a Flat
Qualities of Good Gesso
Pastiglia
Gessoing Frames
Cennino's Gesso
Parchment Size
Gesso Grosso
Gesso Sottile
Mixing the Thin Gesso
The Perfection of Method


Methods of Drawing
Drawing for Tempera
Preliminary Studies
Form Drawing
Tinted Papers
Drawing Instruments
Brush Drawing
Modeling the Lights
Transferring the Cartoon
Drawing on the Panel
Monochrome Rendering
Incising the Outlines


How Fields of Metal May be Used in Pictorial Design
Metals in the Design
Bole for gilding
Mixing and Applying Bole
How much to Put On
Polishing the Bole
Gilding with Glair
Tools for Gilding
Gilder's Cushion
The Knife
Gilder's Tip
Substitutes
Qualities of Gold Leaf
Handling the Leaf
Use of Knife and Cushion
Use of the Tip
Laying the Gold
Order of Gilding
Faulting
Burnishing
Varieties of Burnisher
Stamping and Graining
Punch Cutting
Graining Pastiglia
Patterns in Color and Gold
Combination Leafing


Pigments and Brushes
Pigments and Brushes
Function of Pigments
Natural and Artificial Colors
The Colored Earths
Individual Pigment Characters
Experimentation
Palettes For Tempera
Whites
Blacks
Yellows
Reds
Browns
Blues
Greens
Transparent Pigments
Shell Gold
Choice of Palette
Grinding the Colors
Storing Colors for Use
Dishes for Mixing
Choice of Brushes
Sables
Bristles
Care of Brushes


Painting
Mixing the Tempera
Preservatives
Tempering the Colors
Reserves of Color
Liquidity of the Mixtures
Handling the Color
Basic Principles
Control of Form
Function of Drawing
Order of Painting
Hypothetical Case
Mixing Values
Applying the Tones
Glazing of Scumble
Tempera vs. Gouache and Water Color
Painting Drapeery and Other Objects
Development of Forms
Systematic Value Mixing Essential
Variations of Color System
Treatment of Surface Effects
Painting Flesh
Painting Hair
Variations of Method
Final Embellishments
Water Mordands
Oil Mordants
Applying the Mordant
Gilding


Permanence
Permanence of Tempera Painting
Importance of Varnishing
Cleaning the Surface
Precautions against Dust and Damp
Choice and Care of the Varnish Brush
Applying the Varnish
Flatting the Surface
Function of a Frame
Matte Gilding
Water Matte
Oil Matte
Skewing Down
Frame Edges
Antiquing
Other Frame Materials


Artificial Emulsions
Unlimited Possibilities
A Basic Formula
Casein Emulsions
Underpainting for Oil
Preparing Wall Surfaces


Appendix [Tempera Practice in the Yale Art School [ca.1936-1946]. Professor Lewis E. York]

[Thompson, Daniel V., Jr., Research and Technical Adviser, The Courtauld Institute of Art, University of London. The Practice of Tempera Painting. New Haven: Yale University Press. 1936. Fourth Printing, 1946.]




NOTEBOOK | Links

Copyright

The contents of this site, including all images and text, are for personal, educational, non-commercial use only. The contents of this site may not be reproduced in any form without proper reference to Text, Author, Publisher, and Date of Publication [and page #s when suitable].