Making of a Miniature

final I often hear the question, “How does one paint a miniature?” For me personally, my greatest effort is not in the technique of the painting but in the thought process that happens before even one brush stroke is made.  I think about what should be the subject and how to present it, what is its composition, and  where does the the light source come from. This takes more time than the actual drawing and painting.

 Acrylics are my medium of choice and untempered  Masonite is my preferred surface.  I start by prepping a large Masonite panel approximately 2x2 feet. I lightly sand the surface than coat it with an acrylic neutral gray, either rolled or brushed, applying two or three coats, then let it dry followed by a wet sanding.  When the large panel is dry, I cut it into a variety of sizes, preferably 3x5, 5x7, 8x10 inches which are then stored until needed.  

The panel is further prepped depending on the surface texture desired, such as pebbled with a roller, or striated with a coarse brush. To obtain a smooth surface I roll the surface with a sponge roller two or three times and let dry. The surface is sanded between paint applications, with a fine grit wet sandpaper  and finish with a brown paper bag, buffing the panel for an ultra smooth surface.

My palette is limited to white and black gesso, burnt umber, yellow ocher, viridian green, crimson, ultramarine and cerulean blue, blue violet and cadium medium yellow. My brushes include a 1 inch,  #6, #1 and a series of 0's. Occasionally I use a fan and a few special brushes that I trim and shape for special effects.

Now to the painting process:  Using my references and rough sketches I lightly draw the contour of the subject on to the board using a HB or Blue pencil; indicating the direction of light and shading of the subject and background.

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I start painting using the largest brush possible. I like to establish my lights and darks by using the white and black gesso, creating almost a gray scale painting.  Then the colors are set with a hair drier.  Additional color is then applied by diluting the paints to a water color consistency.  I will then layer the color over the gesso and pencil drawing, blocking in areas of common color. I use this process continually throughout the painting, varying the brushes and color applications.  To keep highlights I continually work the surface with white gesso and additional color washes.  As the painting progresses I add white gesso continually to retain highlights.

Another frequently asked question is, “What do I paint first, the image or the background?” The answer depends on how I feel.  Most often the subject is blocked in then I attack the background.  Once subject and background are established I work the painting as a whole; working the entire surface. When the piece is completed the surface is sealed with either a matt or gloss water soluble varnish.

One point I neglected to mention is that in the planning process I take into account the frame for the painting. I have the frame of choice in hand and throughout the painting process place the work into the frame to affirm color, proportion, and compatibility of frame to subject.