Using a Grisaille

Q: What is a grisaille technique, and how can it help me?

Q: What is a grisaille technique, and how can it help me?

A: Grisaille, as its French name suggests, is a monochromatic painting accomplished with shades of gray. Originally used by Greeks as a method of modeling forms and illustrating sculpture relief, it was also a standard method of painting indirectly (painting in layers) from the time of Cennino Cennini to the time of Ingres.

One of the most common uses for a grisaille, seen in numerous Northern Renaissance paintings, is an underpainting for flesh. The grisaille was often either a neutral gray or green color, although pink was also used for this purpose. The indirectness of the grisaille method will allow you to describe volumes in terms of light and dark values without the consideration of color.

Comments

[Jane Pakula]

I have been painting for many years but Im hot a professional and do not teach and earn a living at my craft. I resent the professional entering shows with us amatures and winning all the top prizes. My husband is writer and they dont let published authors enter a venue with uppublished authors. I would like to hear other artists thoughts on this matter

[Patricia Jesch]

I agree with Jane Pakula. while I appreciate the advice offered in American Artist and other artist's mags I often experience a certain hopelessness at my sometimes awkward attempts. Judges at shows sometimes give ridiculous "pointers" as to how to imorove my paintings, as though some so-called helpful comment must be given when indeed it is just patronization.

[Carol Ann Rogers]

I do agree with Jane Pakula. I am the same boat and I would like to see compititions among amatures only. That way more of us might have a chance to become more well known and maybe have a chance within the relm of being able to support ourselves in doing that which we love.

By the way I love the American Artist magazine but haven't entered the cover compitition because I haven't felt I would stand a chance among all of the wonderfully talented professional artists who enter.
How about a competition for us??
Thanks for concidering my thoughts.

[Carol Ann Rogers]

I do agree with Jane Pakula. I am the same boat and I would like to see competitions among amatures only. That way more of us might have a chance to become more well known and maybe have a chance within the relm of being able to support ourselves in doing that which we love.

By the way I love the American Artist magazine but haven't entered the cover competition because I haven't felt I would stand a chance among all of the wonderfully talented professional artists who enter.
How about a competition for us??
Thanks for considering my thoughts.

[sharon r. hammersley]

I agree with the thought about having a competition for non professional who do not have a prayer against professionals. I love you magazine, but give the
amatures a break too.

[durinda cheek]

As one who does make a living with my art, I would strongly recommend that the less experienced artist join local or regional guilds or organizations which sponsor member exhibitions and contests. You will gain experience and compete on your own level. The professionals have put in years of work and developed their skills. They deserve to receive recognition. A national publication like American Artist must retain its high standards for the work it promotes.

[Carolyn Nagel]

It would seem, two contest are in order. One for professionals and one for amateurs. It is most unfair to cast all in the same category.

[Lieve]

I totally agree with the earlier comments. As non-professionals, we do not stand a chance to win and I might even ad that we europeans are hardly ever mentioned in any articles even though we have many excellent painters.

[Katherine McLean]

While I understand the impulse to barr "professional" artists from competition, I do not agree with it. Many "professional" artists are deemed so simply because they are represented by a gallery and sell their work. This is indeed a fine line since both gallery representation and sales can come and go with the economy but hard work remains. If you are in a show, it should make no difference whether it is a not-for-profit gallery, an artist's co-op, a community center, a competition or a commercial gallery or museum. The work still needs to be your best and you still have to put it up against the work of others.

[Bainbridge]

By the way the word is 'amateur' and by it's title one would assume that AMERICAN Artist would be about AMERICAN artists.

There are plenty of local contests in most communities which show amateur work.

[Jane Pakula]

I am so glad that there are other artists who agree with my theory about professionals and non professionals. We should all get together and do something about it

Jane Pakula

[Jane Pakula]

This is answer to Durend Cheek who said that we amautures should enter the local competition.Dont you lthing all the professionals enter them knowing they are going to win the prizes. That was a very unprofessional answer from someone who should know better and probably enters all the local events also.

Jane Pakuls

[Jane Pakula]

I hope you all dont get tired of my comments but I have another. Ive taken workshops with artists whose work I love and would love to learn how they paint, only to find out that they do not show you how they paint and the workshop is not what you expected. They show you utter nonsense. I took a workshop sith Sue Archer whose work I just love..she paints these huge fruits that are magnificent..but that is not what she teaches. so we hafe false expections and are very disappointed at the workshop that wr paid a lot of money. Has anyone ever had the same experience.

Jane

[FiveBroomsArt]

I believe there are many artists that are in my position, selling their art without a gallery or following. We are at the beginner professional artists.

I disagree with the call for separate competitions for professional and amateur artists.

I feel the talent is more important.

Allow Artistic Talent to be your "chance."