Notifications
Grisaille is a technique that was perfected in the 15th century by the great painted enamel houses of Limoges: Penicaud, Limousin, Reymond. Not just anyone could do grisaille! These houses were licensed by the king to do this kind of work, and the privilege was passed down from generation to generation.
I first saw these 15th c grisaille enamels in the Taft Museum in Cincinnati and my heart started beating faster, and my breath came short. I knew I had to learn!
My drawing and painting skills were weak at the time ( 1990's) - so I had to spend a lot of time honing them. I also needed to develop techniques that would make the pieces affordable, unlike the traditional pieces which were fired as many as 35 times. My pieces are generally fired 15 times, including the base coats.
 |
| sifted |
So after two or 3 solid layers of opaque (in this piece is is Thompson 1175 Mocha), I start with a stencil which I make myself from 100% rag vellum based on my design.
I sift a thin layer of Thompson 2061Opalescent White which serves two purposes: it gives me an outline to work within, and it reduces the chances of the painted layers 'crazing' (breaking apart with tiny cracks) as a painted enamel is likely to do on top of a regularly fired enamel.
 |
| scratched |
I carefully check my drawing and scratch areas which will need to stay dark throughout the process
 |
| fired |
When it is fired this layer is barely noticeable
 |
| painted |
I then add the enamel paint (China paint) in thin layers. I mix up a fresh batch each time I sit down to paint - just enough for the session. I have used squeegee oil and various other mixed oil mediums. I prefer oil to water as it doesn't dry so fast and gives you more time to "work" the painting. For me it is not so much the type of oil as getting the right saturation of white. Sometimes I want it thinner, for darker areas, and sometimes thicker for more intense highlights. This only comes with practice - I don't measure carefully, but go by *feel*. It gereally looks like I want it to while it is still 'wet', but changes when it dries. Make sure it is COMPLETELY dry before firing.
 |
| fired |
Each time it is fired, the white softens. It is fired low (around 1300F) but care must be take not to fire TOO low - as this will also cause the paint to craze. I generally have the kiln at 1400F - but take it out before the pieces reaches that temperature - just when the paint goes shiny. There is a VERY small window before it will start to spread too much.
 |
| painted (fired picture missing) |
I work from the shadows towards the highlights - which takes a bit of practice, as one sketches toward the shadows. So one has to think backwards. And always remember how much the paint softens when it is fired (allowing previous layers to show through
 |
| painted |
 |
| fired |
Each time I add the paint - I am thinking of what needs to be highlighted. The trick for me was in learning to see the drawing in a series of 2 dimensional planes: like layered transparencies.
 |
| painted (fired picture missing) |
Each time I paint a layer, I cover a smaller area, building up the high points, avoiding areas of shadow
 |
| painted |
I continue to add the enamel paint in thin layers, The final layer of paint is usually just a few points. (note the finger tips and back of the hand).
Usually it takes between 5 and 9 layers to build up the effect I want
 |
| final fire |
This piece is based on a Dante Gabriel Rossetti painting. If you would like to see the original click here.
While copying another work is often frowned upon, I find that it is the most useful exercise in learning a new technique. It is important to focus on technique rather than composition when learning a new process and this is one of the best ways to do it. Almost all of the 15th c grisaille pieces were copied from or based on some other work of engraving or painting. Studio artists always began by copying to learn the technique.
Grisaille has now become one of my main techniques - I have an extensive line of jewellery and framed panels.
Now I generally work from photographs, but I am getting more comfortable with this kind of composition and look forward to creating more original works. You can see my creations to date here: http://www.imagocorvi.com/grisgal.htm
