Many portraitists have detailed procedures they follow that can be very time consuming. Obviously, they feel the extra steps are worth it. I guess my patience limits how far I’ll follow that path. Lately I’ve been playing with a process I never used before while realizing it is only one of a nearly limitless number of choices. I figured I would illustrate it for what it is worth without suggesting that it is the definitive way to paint a portrait.
I began with a careful black and white pastel for the purpose of being sure my proportions and details were correct to my understanding before using paint. Over that I applied a pen and ink drawing. Some of this will show through the final painting imparting a graphical quality (maybe) and other parts will be deeply covered.
I began with a careful black and white pastel for the purpose of being sure my proportions and details were correct to my understanding before using paint. Over that I applied a pen and ink drawing. Some of this will show through the final painting imparting a graphical quality (maybe) and other parts will be deeply covered.
Step 1 drawing
Next, a glaze of mainly Raw Siena and Van Dyke Brown in oils mixed with Liquin, which is photo 2, is applied to most of the panel.
Staring on the flesh tones next, I choose a white, Naples Yellow, a touch of Cadmium Red Light and a touch of Cerulean Blue to cool. Of course the proportions determine the actual outcome and it has to be felt since it varies continuously. The fact is there are an infinite ways to approach it and basically my choice of colors with which to start,was almost arbitrary and on the too simple side, and will look rather one dimensional at first. Into this initial covering I mix into (as opposed to ‘apply over’, as it is still wet) various complimentary color harmonies, along the lines of orange, pink, light blues and magenta and violets.. This is the part of the process I have been trying harder to track as I’ve never been able to describe it in discreet logical steps. But I’ve pretty much failed again because those color choices seem to be made on the fly, adjusting the color temperature continuously. One can only do so much at this point, being careful not to overmix on the panel in order to avoid muddying up the hues. I’ve also chosen a dark background and applied white ink to the hair highlights. This is possible because of he use of Liquin which accelerates the drying time. Photo 3 at the end of this process. Now the painting will dry somewhat overnight.
After continued work towards luminosity, building it up gradually rather than trying to achieve it instantly with simpler but more one dimensional color schemes. I'm trying to jump around the color wheel a bit from yellow to violet, working them among each other, gradually building a deeper and subtler luminosity.
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