Egg Tempera Painting Demo by Koo

Schadler
By: Holly Davis | February 1, 2013

Purple Finch and Bachelor Buttons (egg tempera, 9-3/48-1/2) by Koo Schadler

There are many different methodologies by which one may create an egg tempera paintings. This
demonstration describes my typical process. You might consider Purple Finch and Bachelor
Buttons (above) a sampler showing many of the egg tempera techniques and effects possible.

Egg tempera step 1: Sponging and stenciling

1. Sponging and Stenciling

Having created a drawing on paper of my subject, I set it aside and began the background on my
painting surface, a true gesso, hardboard panel. For this, I mixed paint to the consistency of cream,
which is relatively dense for egg tempera (paint any thicker than this might crack after it dries). I
used a sponge to apply several paint layers, establishing a background of a middle-value, lowchroma green (chromium oxide green dirtied with raw umber and cadmium orange). You can see
the result in the unpatterned area of the above image. Kitchen sponges work well for this kind of
application, but I more commonly use wedge-shaped makeup sponges, which have a smoother
texture.
Well-tempered, properly applied paint dries to the touch within seconds, so I laid my drawing atop
the dry background, slipped white transfer paper underneath, and traced in a few basic lines (see
the very faint white lines). Next I positioned a plastic stencil from an art-and-craft store over the
painted surface. Still using a creamlike consistency of paint, I sponged on a black floral pattern,
avoiding the areas where the main subject matter would be placed.

Egg tempera step 2: Glazing, masking and spattering

2. Glazing, Masking and Spattering

Because I had the proper ratio of egg to pigment (approximately equal amounts) I could thin my
paint with water. Working with paint about the consistency of ink, I enriched the background with
glazes (thin, transparent layers of color) of burnt and raw umber, burnt sienna, viridian green,
Prussian blue, and quinacridone magenta. I also used yellow ochre with a pinch of titanium white to
establish lighter values in the background. Although the paint was thin, its application was
controlledthe layers went on like veils rather than in puddles. Each layer dried to the touch within
seconds, allowing me to build up many glazes within a short amount of time.
Next, from a copy of my original drawing, I cut a mask to protect the background but left the rock
and marble shelf exposed. I lay my panel flat and used small weights to hold the mask in place. I
mixed several values of gray by combining white, ultramarine blue, and raw umber, then spattered
on paint to build up the rock and shelf. To spatter, I charged a brush with paint and then knocked it
against my palette knife. I also dragged my thumb over an old toothbrush loaded with paint. To add
to the texture of the rock and marble, I lay sheets of homemade transfer paper on the surface
while it was still slightly damp and rubbed on irregular patterns with my fingers. To create the black
marble veins, I drew lines with a sharp point atop the transfer paper.

Egg tempera step 3: Developing temperatures and values

3. Developing Temperatures and Values

I painted the cloth, using a light-value gray. I applied transparent burnt umber to warm the color of
the rock in contrast to the cool grays around it. With a variety of grays and many different glazing
colors I continued to develop all parts of the painting.

Egg tempera step 4: Glazing and scumbling

4. Glazing and Scumbling

Working with round watercolor brushes that ranged in size from Nos. 0 to 8, I began developing the
form of the rock and cloth, and pulled out the glass bottle. To do this, I used slightly thicker paint
of the local colors of the objects being depicted. Once the objects were rendered, I applied more
glazes as well as scumbles (thin, semi-transparent layers) of white. The scumbles imparted opacity
and body, subtly modified values, and helped unify the painting. Glazes and scumbles are integral
to my process and I apply them throughout paintings to alter and enrich areas as needed.

Egg tempera step 5: Masking and scumbling

5. Masking and Sponging

From another copy of my drawing, I made a second mask by cutting out the flower and bird
shapes. Holding the mask in place, I sponged on dense paint to establish the local colors of the
bachelor buttons (primarily white, ultramarine blue, and quinacridone magenta) and the purple
finch (various earth pigments and a bit of cadmium red). I then modified these colors with
scumbles, as well as glazes of many hues.

Egg tempera step 6: Enriching with layers

6. Enriching With Layers

Layering creates the luminosity for which egg tempera is renowned. Literally dozens of coats can
be applied in a single day because the paint dries so quickly. I estimate that when this image was
photographed, I had already applied 100 paint layers on my panel. At this point, the elements were
in place, and it might have be tempting to stop, but I knew that if I continued to add layers, the
image would become increasingly rich, luminous and realized. With a combination of sponging and
brushwork, I continued to develop all areas of the painting.

Egg tempera step 7: Enriching with layers

7. Adjusting Values, Highlighting and Detailing

In the background, I re-established light areas that had been darkened by glazes. To make the glass
sparkle and the finch feel more volumetric, I built up lights and highlights with opaque paint. A few
veils of raw umber deepened the shadows and created more atmosphere. I used a No. 5/0 brush to
define details. With a few final enriching glazes, I completed Purple Finch and Bachelor
Buttons (above; egg tempera, 9x8).
Egg tempera artist Koo Schadler is a board member of the Society of Tempera Painters. Shes the
author of the book Egg Tempera Painting: A Comprehensive Guide and conducts workshops on egg
tempera and old master painting. For more information, visit www.kooschadler.com.