How To Make A Monster (Again!)

Here's another example of the three main steps in creating a glaze oil painting. Luckily I "documented" these steps while creating these paintings, so that I can actually show the process instead of describing it. A picture is worth a thousand werewolves. I mean words. The subject this time is the iconic, craggy features of Glenn Strange as the Frankenstein Monster, specifically from ABBOTT & COSTELLO MEET FRANKENSTEIN.

The sketch and simple tones are the most important steps. This is the time to make corrections regarding proportions in particular. It's a lot easier to fix drawing errors during these early stages than it is to fix later.


Next is the application of thicker paint - just Burnt Umber and Titanium White - to create a tone painting. Since it will be glazed, we'll keep the middle and dark tones about two shades lighter than normal. Corrections can still be made at this point, but you'll wish you had done them earlier!

Once this monochromatic stage is completely dry, the glazing stage can begin. Using "transparent" colors such as Ultramarine Blue, Alizarin Crimson and Indian Yellow with a glazing medium, the color is layered on the existing tones. The result is quite striking, and very different from a traditional oil painting.

If you're wondering why my signature is so big...it is because the painting was so small! The actual canvas was only 5 x 7 inches, and was sold during my Gallery Show in October 2006.

Glazing Hjalmar

The oil painting technique of "glazing" goes back to the Great Masters. It brings a wonderful, unique feeling to a work that is very different from traditional oils. Here's a demonstration of how it works. Could I have a volunteer from the classic horror audience? Anyone? Ah, yes, Mister Poelzig, you'll do just fine!

Let's begin with a rough sketch, and a thin application of the three tones (light, middle and dark) with just some Burnt Umber...

Next, using only that Burnt Umber and Titanium White, the underpainting is created. The important thing in this step is to "pump up" the light tones. Keep in mind that there is going to be color paint applied on top of this, so we want everything to be a bit lighter than usual...

Once the underpainting is dry (and I mean dry!), the glazing can begin. The color oil paint is thinned out with Glazing medium, and applied in very thin layers. The paints used are referred to as "transparent" colors, such as Ultramarine Blue or Alizarin Crimson. Gradually the colors are built up over the monochromatic base. The tones show through the color, maintaining the depth of the painting. A little Zinc White or (better) Flake White can be added if needed, to lighten an area or color, or to create a highlight...

The finished painting dries with nice high gloss, and the results can be quite striking. This painting was only 5" x 7" and is now in the private collection Robert Taylor in Ohio.

Thank you, Mister Poelzig, for your cooperation.