The technique of tempera involved mixing egg yolk, with ground colour pigments to form an emulsion; that could be thinned with water and applied with a brush. The resultant paint was carefully built up in thin layers and dried to a hard matt finish. It is a technique suited to the use of graceful lines, gentle tones and a limited palette of colours.
List of Materials
- 1 pallet
- medium grit sandpaper
- craft paint & brushes
- black or brown sharpie marker
- scrap 1/4″ plywood
- wood glue
- googly eyes (optional)
- sticks for antlers
- Holiday mini lights (battery-powered)
As far as pallet art goes, this holiday craft is mostly painting with very little cutting. I was lucky to find a smaller pallet slat that had been part of a wooden display bin at the local hardware store. They usually throw them into the trash compactor, but I saw this one, and asked if I could have it.
If you use a regular shipping pallet, your reindeer will be larger than the one I’m making here…but it’s the same process.
NOTE: If you have a power saw, you can easily cut out a smaller panel from a standard shipping pallet. Since they are double-sided, you’ll get two panels from one pallet.
STEP 1- Prep the pallet
sand and paint
Use an electric sander or hand-sand the rough edges and slivers using medium grit sand paper. As a safety measure, examine the pallet to make sure no nails or staples are protruding. You don’t want little fingers to get hurt.
Wipe off the dust and paint the entire surface with white craft paint. The white will look like snow and make the reindeer stand out. You may need to apply a 2nd coat. Paint just one side. There’s no need to do the backside.
Draw the Head
Here’s where I confess I am NOT an artist! That’s why I start with simple shapes. Use a sharpie marker to loosely sketch an inverted triangle. Use as much of the pallet surface as possible for the reindeer’s head.
It doesn’t have to be perfect. You can make corrections and adjustments by covering over with paint as you go along.
Use brown craft paint to paint over the outline. Then, fill in the rest.
STEP 3 – eyes, nose and ears
Facial expressions
Here’s where you get to customize your wood pallet reindeer. He can look regal, sleepy, or goofy depending on the facial expression you create. I decided to place the eyes on the side of the head rather than in the middle, but you can do it either way.
I always like to experiment before I commit to paint. So, I make cut-outs of eye shapes and pupil sizes to see which ‘look’ I like best. Use a small jar lid to trace around.
*TIP: link to see examples of cartoon eye expressions.
*TIP: If you wish, you can use those plastic googly eyes from the craft store.
Nose:
Because I want the nose to stand out and not just be painted on, I sawed off the end of a small diameter log (about 1-1/2″ across). I left the bark on to compliment the woodsy character of the piece, and painted it red.
If you’re using a larger pallet, cut a larger nose piece that fits better to scale.
My reindeer didn’t look right without ears. Again, going back to basic shapes–reindeer ears are ovals. I made paper cut-outs to a size that looked right, then traced them on a thin piece of scrap 1/4″ plywood.
Here’s where a jig saw tool comes in handy. Unfortunately, I don’t own one. So, I just cut out the ears with a hand saw. It’s a little more work, but not too much. A smaller saw would have been even better. But because 1/4″ plywood is so thin, it’s easy to cut.
Use sandpaper to smooth the rough edges around the ear pieces.
Use wood glue (or a hot glue gun) to attach the nose and ears. Allow glue to dry overnight before adding antlers.
Find a couple dead sticks in the woods to add antlers to your wood pallet reindeer. Use wood glue and clamp to secure the sticks in place while curing. Or you can use wood screws, which is what I did. Make pilot holes first for ease of fastening and so your sticks don’t break.
Festive Additions
I love little details. Adding some Holiday greens and those little battery-powered mini lights give your reindeer a festive look. Attach the battery pack on the backside of the pallet so it doesn’t show. Now he’s ready to proudly display on the front porch or surprise someone as a gift!
I welcome your feedback on this craft project. Just scroll down a bit to leave a comment. Thanks for visiting and Merry Christmas!
Kristen specializes in up-cycled crafts. She has a reputation for quality and attention to detail, and her artworks show it. She takes such joy in making things “extra special”, especially during the holidays. Her craft posts may entail a bit more description geared to those who don’t make crafts on a regular basis. Even if you do, you’ll appreciate the thoughtful insights so your projects turn out beautiful!
Introduction
Instead of thinking about the relative strengths of a medium used to suspend and adhere the pigment (egg tempera, oil, etc.) in isolation; it is also useful to think about the support, as well as the context, for which the work of art was intended.
Tempera Painting on wooden panels, was the main medium used during the Early Renaissance (around 1400-1500); for portable smaller scale paintings. Oil-based paint, introduced around the end of the 15th century, allowed the use of the more flexible canvas support medium. Fresco, was used to cover large walls and ceilings. There are certainly earlier examples: for instance the ancient Egyptians used encaustic, which is basically pigment suspended in wax.
Any pigment which is tempered with a water-soluble binder such as egg yolk, glair (egg white), gum Arabic, or animal glue; is referred to as tempera paint.
Tempera is a word of Italian origin. It comes, from the phrase “pingere a tempera,” which means “to paint in a distemper”. The late Latin word “distemperare” means to mix thoroughly.
The technique of tempera involved mixing egg yolk, with ground colour pigments to form an emulsion; that could be thinned with water and applied with a brush. The resultant paint was carefully built up in thin layers and dried to a hard matt finish. It is a technique suited to the use of graceful lines, gentle tones and a limited palette of colours.
Tempera had a greater luminosity and depth of tone than fresco, but less radiance, intensity and contrast, than oil painting. Its main disadvantage, however, was its quick drying time; which made the smooth blending and gradation of tones very difficult, unlike with oil paints.
Left: Pietro Lorenzetti’s “Tarlati” polyptych, Tempera and gold on panel, c.1320
Attempts were made to limit the above disadvantages of tempera, by either varnishing the final work, or modifying the process; as in Leonardo da Vinci’s “tempera grassa” or Michelangelo’s “cangiantismo”, developments, described later.
Tempera paintings were highly valued by their patrons, even after the introduction of oil paint; because of the inherent high level of preparation of the panel and the technical perfection required in painting.
Preparation of Support Panel
Making the support panel. From the early part of the Renaissance to the end of the 15th century, the primary support for portable paintings (those other than wall paintings); from monumental church altarpieces to diminutive works used in private devotion, was the wooden panel.
Masters were assisted by pupils and workshop members in the lengthy and complex preparation of the panels; before gilding and/or painting.
Modern technical analysis and x-radiography have deepened our understanding of this process, allowing for a close examination of the materials and techniques used by the artist.
The basis of our knowledge, however, is a 600-year-old source: a treatise on the art of painting called “Il Libro dell’arte”, composed about 1390, by the Italian painter Cennino Cennini (ca. 1370 – ca. 1440).
Because of potential warping, a single wide board could not be used. In Italy, the planks used for panel paintings were often made of native poplar, a widely available wood that was, however, soft and vulnerable to warping. Instead, seasoned planks (one that had been allowed to dry out for some time) were used; glued together and cross braced at the back for stability. Planks, were chosen for minimal knots and defects and then sanded and smoothed down.
The panel was first layered with several coats of size, a glue made from animal skins (often rabbit). Often, a piece of linen soaked in size and squeezed out, was laid over the front of the panel; to conceal any surface flaws.
Left: The gilded three-story altarpiece, the Tarlati Polyptych, was commissioned in 1320 by bishop Guido Tarlati; for the Santa Maria della Pieve in Arezzo. At its centre is the Madonna (draped in a magnificent ermine-lined robe) and child, flanked by John the Evangelist, John the Baptist, Saint Matthew, and Arezzo’s patron saint, Donatus (martyred in 361 CE).
Coating. Over this, many coats of thin “gesso” were applied. This was a mixture of powdered calcium sulphate (commonly called gypsum) and animal glue; that provided the ground for preliminary drawings. The exact composition of the mixture was critical, as the mixture became extremely hot and bubbles formed; that could end up as pinholes in the finished gesso surface.
The perfection of the surface during coating, could be checked by rubbing in ground charcoal; which revealed surface imperfections and then dusted off with feathers. Further coats would then be required.
Under-drawing. Chalk, charcoal, pencil or ink could be used.
Gilding and Painting. Finally, when the under-drawing was complete, the panel could be painted; or first gilded, then painted. Gilding was used, to denote the religious importance of characters (Christ, Mary and Saints), for longevity and in buildings lit by candle-light or shafts of sunlight; to increase reflectivity and sparkle in low light situations. It could also be used on braiding, or the decoration of clothing of notable figures.
Tempera Painting on Wooden Panels – Tempera Painting
Basic technique.
Medieval and early renaissance artists used tempera paints, made by using a mortar and pestle to obtain finely ground pigments; which were then mixed with egg yolk, typically on a marble slab. This medium produced a pure hue, but the paint was not transparent.
Contrary to what you might think about the use of egg, the resulting paints were long lasting (although in earlier works, the pigments used for subtle skin tone rendition, did suffer fading). They also adhered well to the support, without flaking. Because of their quick drying property, they did not suffer from bacterial decomposition and smell. Interestingly, pale yellow or darker, more orange yolks; could be used for subtle variations in light skin tones (e.g., female and male).
It needs to be understood, that it also had certain physical properties; that lead to it being used in a particular way.
Tempera paint was thinned with water and applied with a brush. Brushes as fine as a single hair, were used to create fine detail. The resultant paint, was carefully built up in thin layers and dried to a hard matt finish. It is a technique suited to the use of fine detail, graceful lines, gentle tones and a limited palette of delicate colours.
Some consider the technique akin to “drawing with colour“, because the tempera paint dries very fast, so you cannot blend the paint laid down; once it is applied to the painting, like you can with other mediums, like oil. This means that to create shading and blending of colours in the painting, you have to use similar techniques to drawing, such as stippling and hatching.
For example, to blend from light into shadow, or from one colour into another in a particular area, artists would first lay the lighter colour down first. Then, they would place very thin fine lines on top of that of either; a darker tone of that same colour, or of a different colour of darker tonality. Traditionally, the artist would lighten a tone, by adding white or darken it by adding brown or black. A gradation, using different colours, for example; might be yellow, orange, burnt sienna and umbria.
If the artist started to make these lines thinner and thinner and spread them out more and more, the underlying layer would come through more. If those thin fine lines were very close together you would see mostly the colour on top. From a distance you don’t even see those lines – it just looks like a nice, even gradation from one tone into another. You can clearly see this effect, in the enlarged detail images below.
Pigments.
The pigments would come from minerals, plants, or sometimes even insects; but were limited in the range of colours available.
Grinding and mixing, was a very physical kind of process. In the middle-ages and early Renaissance, painters were in the same guild as pharmacists. Some mineral pigments were toxic, containing mercury or arsenic.
Pigments that had to be imported were very expensive. For example, the most prized pigment was “lapis lazuli” (ultra-marine blue – “over the seas” blue), that came from a quarry, that is in modern-day Afghanistan.
These costly pigments, were used for the most important figures, or parts of the painting; for both economic and symbolic reasons. Ordinary people could recognise the significance of the colours and the fact that they were more “dazzling” to the eye, especially in low-level lighting conditions. A prime example, was that in religious paintings; ultra-marine blue was usually reserved for the dress of the Virgin Mary.
Gilding and Painting Process.
Gilding was used, to denote the religious importance of characters (Christ, Mary and Saints), for longevity and in buildings lit by candle-light or shafts of sunlight light; to increase reflectivity and sparkle in low light situations. It could also be used, on decoration or braiding of clothing of notable figures.
Gold is relatively soft and malleable and can be beaten into very thin sheets.
The gold leaf was made by pounding a small amount of gold (probably coins) into very thin sheets; which were then applied to the panel using a tool called a “gilder’s tip” (commonly an animal tooth, such as a dog).
Duccio di Buoninsegna (c.1255-1260 – c.1318-1319) was one of the most influential Italian artists of his time. Born in Siena, Tuscany, he worked mostly with pigment and egg tempera and like most of his contemporaries, painted religious subjects.
In earlier tempera paintings that used unstable pigments for the flesh tints, you will see that their warm hues have faded; leaving the under-painted tonal form in “terre-verte”.
Duccio di Buonninsegna. Detail from a triptych “The Virgin and Child with Saints Dominic and Aurea” (1312-15, tempera on a poplar panel) ; is a good example of this defect. However, due to his superb drawing and brilliant composition; none of its emotion feeling has been lost. Also, n ote the circular halo lines and heavily embossed detail within.
Areas to be gilded were prepared with a layer of “bole”, a reddish clay that provided an adhesive surface for fragile gold leaf, cut into squares (usually standard 4 inch size).
The gilded surface was rubbed with a hard-tipped instrument (often a dog’s tooth) to smooth and polish the gold leaf; a process known as “burnishing”. Gold leaf is slightly transparent, so often, the reddish ground, can be seen through the gold. This gives the gilded areas, a warmer glowing coloration. Sometimes, you can clearly see where the squares overlap.
The typical circular “halo” lines around the head, were made with a compass. Additional decoration, could be incised or stamped into the surface using metal punches, with patterns cut into one end. The tip of the punch, placed against the panel and struck from the other end with a mallet; pressed the design into the wood.
Many paintings of this period have “engaged frames”, made of wooden strips attached to the outside edge of the panel, some examples of which survive. Original frames may sometimes bear hinge marks, indicating that the work was once part of a diptych or triptych, designed to be closed. Independent panels were often used on private altars, in a domestic setting.
For large church altarpieces, it was necessary to join together independently painted panels with an “elaborate frame”. Usually, the Madonna and Child were shown on the main panels, flanked by saints and apostles; identifiable by their attributes. A strip of smaller panels, called the “predella”, at the bottom of the altarpiece; depicted additional figures or narrative episodes, from the life of Christ, Mary, or the Saints.
FIFTEENTH AND EARLY SIXTEENTH CENTURY DEVELOPMENTS
The Early Renaissance period of the15th century, saw tempera painting rise to new levels of beauty and outstanding technique. Moving into the early 16th C, artists, such as Michelangelo and Leonardo da Vinci, developed the technique; to bridge the gap between the newly introduced oil paints; with their qualities of radiance, intensity, contrast and ability to blend the colours directly on the support media.
CARLO CRIVELLI (1435- 1495)
Carlo Crivelli (1435-95), was an artist of Venetian origin who painted exclusively in tempera. His “Madonna and Child” c.1480, is typical of his angular style which looks back to the influence of late Gothic art. Crivelli’s work is exclusively religious in nature and his urban settings are jewel-like and full of elaborate allegorical detail.
Although Crivelli’s painting technique, may appear limited in comparison with the graceful elegance and technical mastery of Botticelli or Michelangelo; his work embodies all the traditional characteristics that we expect in a tempera painting, during the Renaissance.
The classic tempera technique, which is essentially “drawing with colour”; is quite visible in the enlarged sections from the painting, as shown below.
Left: ‘Madonna and Child’, c.1480
(egg tempera on a wooden panel)
