Renaissance Drawing

Classically-trained portrait artist SVETLANA CAMERON shows you how to put a modern twist on the three-colour drawing technique used by Italian masters

- Svetlana Cameron

The main principle that distinguishes Old Masterworks from contemporary realism is the use of value and shadow to create an illusion of a three-dimensional form on a two-dimensional surface. The principle, which became known as chiaroscuro, an Italian term meaning “light-dark”, is actually surprisingly simple. When illuminated properly, form divides into two major masses of value: light and shadow. If you learn to replicate the exact shapes of both light and shadow and pay particular attention to the transitions between them, you will be able to capture a likeness and draw anything realistically. Since its introduction in the 15th century, this approach has been successfully practiced by many artists that we admire today.

HOW DO I LIGHT MY SUBJECT?

To achieve the beautiful soft transitions characteristic of the Old Masters’ works, illuminate your subject with natural light. Artificial lighting creates much stronger contrasts, harder edges, and often alters the color temperature. Always work with one light source and make sure you have clearly defined light and dark masses. (Two or more light sources will not only dilute the shadows but also weaken the structure of your drawing). Position your model near a large window or skylight. North light is best as it hardly changes throughout the day, but other windows will do as well as long as there is no direct sunlight.

WHAT IS THE ‘TROIS CRAYONS’ TECHNIQUE?

I was already working as a portrait painter when I first came across some Italian Renaissance drawings done in the so-called Trois crayons (or “three-color”) technique. These preparatory studies for a multi-figure oil painting were carefully rendered in black, red and white chalk on a beige-colored paper. I was struck by the lifelike effect that could be produced with such a limited palette.