Gwyneth Demo Part #5


This is the time to really nail the likeness. Sometimes I tape my reference photo next to the area I'm painting.



However, you must be careful with tape on the surface of the painting. The surface must be dry. I stick the tape to material first before resticking it to the canvas in order to reduce the adhesion. I do not leave tape sticking to the surface of a painting when I leave the easel.

I begin by adding a glaze. I use raw umber, raw sienna, and burnt umber either alone or in combination - however I can to begin to create the sitter's skin tone. I may use a thin glaze of raw umber to draw details (like eyelids) and enhance the form (above).



I glaze in the skintones very slowly and thinly. I let each layer dry before beginning the next.

I brush color into the cheeks and begin to define eye and hair color.

Note that if this was a woman of color I would begin with a darker value of skintone in the underpainting - the rest is exactly the same.



I am adding color slowly in layers of glazes. Then I am painting tiny bits of Titanium White + Yellow Ochre Pale into the wet glazes to build light.

Light is thick and opaque.

Shadow is thin and transparent.



I am mindful of the Old Master's technique of color banding:

Yellow Ochre Pale is added to the forehead.

Reds (Indian Red and/or Alizarin Crimson Permanent) are added to the area from the eyebrow line to the chin.

A cool blue (French Ultramarine) is added to the neck and chest.

If you mix these up - the face will look really odd; i.e., red on the forehead will make the face look ill - like a boiled lobster.

A glaze is a lot of medium (I use Liquin) with a little bit of transparent color. It will look a lot like pale stained glass.



Sometimes I scumble a color on the face to even out the tones and add luminosity. A scumble is a whole lot of medium (Liquin) with a little bit of opaque color (like Titanium White). It often looks like watered down milk.

After the underpainting in white, all of my layers are transparent or translucent. I already had a likeness so I didn't want to lose it.

As I am doing the final glazes and scumbles on the face and hands, I am glazing other colors in the painting to enrich the colors.

Note that because of my earth palette, I don't use the color "blue."  Instead I use Ivory Black + Titanium White to make the color blue. If at the end I want to intensify that color I can add a blue glaze if necessary. 



All done.

7 comments:

Enzie at World Market Portraits said...

Beautiful Karin!

Enzie at World Market Portraits said...

Beautiful Karin!

Tali said...

What an amazing demo, Karin! I know from experience how time consuming it is to document every step. Thank you so much for taking the time (once again) and being so open and clear about your painting process. The portrait, as always, is beautiful.

Carolyn said...

Thank you so much for taking to the time to generously share your demo with us. I am just starting to teach myself portraits, and I am amazed at how beautiful your work is. Thanks again. :)

Susan said...

A Truly Wonderful Tutorial, Karin! Thank you, thank you, thank you! When is your art instruction book coming out? *hint* *hint* Love it!

Susan
Over at "RaisinToast"

Mona Turner said...

Thank you SO much for your generosity! This was so helpful, clear and informative.

flowapowaart.com said...

Wonderful tutorial, very clear and easy to understand. Thank you. Stephanie.