Although the effects may be greatly admired, many artists are rather daunted when it comes to the art and techniques of glazing. The idea that glazing is a tedious and exacting process is prevalent even among seasoned professionals.
Truth is that, while some dexterity and patience may be involved, all in all, the art of glazing is fairly straightforward. There are few “rules” and you are limited primarily by your own imagination.
Traditionally, glazing is simply brushing a thin, transparent layer of color over an existing layer of color that has dried. In most cases the underlayer of paint is of a lighter color than that used for the glazing. The theory is that light will travel through the glaze, strike the underlayer then reflect back through the glaze thus producing a shimmering, luministic effect.
There are a few factors to keep in mind when using this approach. First, make sure that the underlayer of paint is thoroughly and completely dry before attempting to glaze. Most glazing mediums possess some “solvent” qualities and can quickly pick up color from the underlayer. This will create a muddy, opaque effect, just the opposite of what you are trying to achieve. Also, when applying the glaze, do so with a light touch and a soft brush. Avoid “scrubbing” the underlying paint with a hard, stiff bristle brush.
For maximum optical effect, most artists choose to work on a smooth surface when glazing is to be used. It’s simply that a smooth surface will reflect the incoming light more uniformly than a rough surface – the more polished a mirror, for instance, the more highly reflective is its surface.
Remember, of course, that the smooth surface idea is just that: an idea – not a rule. Glazing can have some very interesting and creative effects over a roughly textured surface. I strongly recommend that you experiment and become familiar with all types of glazing techniques – work until you find the technique that is right for you.
There are a number of glazing mediums available to today’s artist. It would be difficult to say that one was demonstrably superior to another. When visiting your art supply source take the time to familiarize yourself with the glazing products that are offered and read the technical information provided by each manufacturer. And then experiment, experiment, experiment!
To help create a perfectly glazed surface, it is important that the recently glazed painting be kept in a dust-free environment that is also relatively low in humidity. Nothing will ruin a glaze faster than dust and other airborne debris settling onto it. As soon as the glaze has been applied, take steps to ensure that the surface does not come into contact with anything. And if a rule applies here it is: never dry a recently glazed painting out of doors!
Contrary to what many purists may say, any color can be glazed over any other color. Final effects, of course, will vary widely depending on the colors you choose. This is why it is important to try as many color combinations, glazing mediums and different types of brushes as you can.
You may also apply more than one layer of glaze letting each layer dry completely before proceeding to the next layer. Theoretically, the more layers of glaze you apply the more luministic the surface becomes. And don’t forget to try applying glazes of different colors to the same area. Unusual effects can be created in this way.
To achieve a highly polished final surface, sand your painting between layers of paint then between layers of glaze. Use a fine automotive type of sandpaper and proceed gently. With a bit of practice (perhaps on old, discarded paintings) you should be able to create many interesting surface effects.
Do not let yourself be intimidated by glazing techniques. There are no “secrets” that I know of, no arcane knowledge to which you must become privy. With a few simple materials (most of which you most likely already have on hand) and a little trial-and-error you will quickly master the art of glazing.
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