Art is a global language. One does not have to speak the artist’s language so as to understand their works. There are many ways artists approach their painting, including a technique known as Alla Prima.
Alla prima is a painting procedure that involves applying wet paint on already wet paint (‘wet’ on ‘wet’). In other terms, the artist of a given piece does not let the layer beneath their new, wet splash of paint dry. This technique of painting was thought of as unorthodox, given that most artists from before its invention let their initial strokes dry before smearing another layer of paint on them. Although this particular method did breed anticipated results, it was tiresome considering a lot of painters had numerous layers to cover before unveiling their masterpiece. Waiting for them to dry on every account was too time-consuming.
The Alla Prima painting technique has proven efficient in saving an artist’s time since one can complete their piece in a single session. Additionally, this practice captures the beauty of the painter’s surrounding environment. The spontaneity and the fresh feel of the art are extraordinarily appealing.
Let us see where this technique originated from and how it gained its popularity.
Origin of the Alla Prima Technique
Alla prima is an Italian phrase that means, ‘at first attempt’. This direct method of painting was initially introduced to the art realm by Flemish Grans Hals in the 15th century. The technique was widely incorporated by impressionists of that time. The movement was in awe of this new concept. This meant an artist was to create out of intuition instead of routine, which, as a result, breathed life into their paintings.
The remarkable results of the alla prima technique are undeniable. In order to master the practice, here is a complete guide.
Complete Guide of the Alla Prima Technique
Despite its vast popularity, the alla prima has not been an easy method to apply. Most artists still refer to the technique as ‘hard.’ This is at times attributed to its breezy nature. With the alla prima technique, the painter has to learn to be relaxed during their art creation. They have to open their minds to the possibility of their painting taking a direction they had not quite envisioned beforehand. Another reason why capturing this procedure can appear to be cumbersome is that the painter has to comprehend how to manipulate the paint to meet their end goal.
To achieve this feat, an artist can apply this guideline:
Start with the Bigger Picture
Before we do anything in life, we have to picture the end results. Take cooking, for instance; even when trying on new recipes, a cook already has an idea of what the food will look like or instead taste like in the end. Similarly, when a painter picks up their brush, they have a rough idea of what they want to express.
The first thing an artist is advised to do is quickly paint their vision of the subject on a canvas using thinned paint. Now, the trick here is to choose a tone that will set the pace for the entire painting. Strike a balance between too bright and too drab. In other words, use a middle tone. This way, when you are refining the details of your painting, you do not have to struggle with dulling the brightness of the layer or lightening the darkness of the same.
There are advantages associated with covering your entire canvas with color at the initial stage of painting. For one, your focus will not trail off to obsess over tiny details before having a clear picture of your end goal. Moreover, you wind up sparing the cost of purchasing paint. Using thinned paint on your whole canvas will ensure you do not apply thick-bodied paint instead. The most critical pro, however, is that an artist is able to rely on their intuition given the promptness of this act. This way, the painting winds up looking raw, loose, and authentic.
Find a Mixing Technique that Works for You
Many artists recommend the use of palettes when mixing colors. They prefer this method of mixing colors on the canvas. In truth, colors mingling in the palette are more effective, especially when applying the alla prima technique. This way, the artist is able to achieve that spur-of-the-moment effect they desire.
Still, there are some artists who prefer mixing colors on the canvas. This can either result in colors looking awfully labored or, if done correctly, well blended. It takes a keen eye and frankly an expert to accomplish this latter effect. The trick here is for the painter to control their colors once they hit the canvas. When mixing colors on the canvas, one should always use oily over lean paint. After the thin strokes, the artist can proceed to paint directly from the tube. Applying thin over oily paint is a difficult task that might end up ruining a painter’s piece. Doing the opposite will lead to the cracking of the painting once it begins to dry.
If manipulating the colors on the canvas proves implausible, a painter should use a palette to mix colors instead.
Do Not Be Afraid to Be Bold
When using the alla prima painting technique, one might fear applying confident strokes. This might be as a result of lacking proficiency in achieving such an effect during direct painting. It is common knowledge that artists paint from their wrists. In order to realize audacious strokes, a painter should try painting from their arm instead. Additionally, the painter should always ensure that their brush is immersed in enough paint. Confident strokes require a sufficient amount of paint. Otherwise, the painting will wind up looking timid.
Take on Different Types of Brushwork
The good thing about using the alla prima technique when the painting is that an artist usually has a variety of brush works at their disposal. An artist can contrast an assortment of brushwork because there is no rigid painting method they are required to apply. An artist can use even brushwork for dull layers and impasto brushwork for light areas. Contrasting colors with the alla prima technique is quite simple. In the end, colors appear harmonious yet distinctive. Fascinating right?
Artists are, however, encouraged to steer away from using glazing as a brushwork technique.
It Is Okay to Correct Misfits Along the Way
The beauty of the wet-on-wet method is that you can change concepts that you feel are not working for the painting during the painting. None of the layers are dry yet, meaning that whatever alteration an artist wishes to make can still happen. However, there is a proper way to follow through with this desire of scraping off labored areas. Instead of applying more paint to a painting, an artist should use the tip of their palette knife or the blunt side of their brush to take away excessive/undesirable paint.
The following is an instance in which you can arrive at the rough texture of a rock. Typically, rock is meant to appear as coarse. One can achieve this by adding cracks to the rock painting. In order to do this, the painter can opt to scrape away a bit of the wet paint. This creates a disjointed appearance, which accomplishes the cracks which are commonly found on rocks. Doing this will make the piece of art feel realistic, which is usually the artist’s end goal.
In order to have time to make these changes later, one can use the tip of the brush to prolong the painting’s drying time.
Work at Your Own Pace; It Is Okay to Take Breaks
With the alla prima painting technique, an artist can complete their painting within a single sitting. It is a direct approach; the painter does not wait for the image to dry. With that said, an artist is not limited to finishing their artwork within just one session. They can paint as long as they have to, taking breaks when they begin feeling as if creativity is fleeting away from them.
As for the painting pace, an artist should find a balance between too fast and too slow. They should remember that the whole essence of the alla prima practice is to tap into a painter’s intuitive painting skills. Therefore, an artist should paint fast enough to accomplish spontaneity and slow enough to capture fine details of the subject.
Follow the Stroke of the Brush
At times that fried chicken is not as crispy as the cook intended it to be. Or perhaps not as brown as they envisioned. Despite these differences, the chicken is more often than not delectable.
This same case applies to painting. An artist might have envisioned a particular ending to their artwork only for them to arrive at something slightly or entirely different.
A painter should be open to a different ending of their tale. They should learn to embrace their intuitive creativity.
