Firstly, I would like to wish you the very best for 2018, may this year, be YOUR year!
2018 is the Year for Portrait and Figurative painting.
I’m beginning this new year with a brand new painting of my partner, Marc who makes all my wooden braced panels.
This one is 24″ x 36″ upon which I’ll coat several coats of Gamblin’s oil painting ground. I’ll then paint an imprimatura with lead white and a yellowy fleshy tone made with a dash of Light Red, Ivory black and and yellow ochre.
I transferred my drawing onto my canvas and dry brushed raw umber working out my lights and darks. Absolutely no thinners was used.
Once I completed scrubbing in the raw umber and I’m satisfied with my drawing, I’ll lay out my palette colors for the next stage, Dead coloring.
The color I use are as follows;
Lead white, Naples Yellow, Yellow Ocher, Light Red, Burnt sienna, cadmium red, Raw Umber, Transparent red oxide, Ultramarine blue, Ivory black. I’ll also ad Manganese yellow and cadmium yellow later on.
For my basic skin tone; Lead white + Light Red + Yellow ocher + Raw Umber. Light red is a very powerful color, only use tiny increments. Do check with your own flesh tone and make sure the lighting conditions are the same because the ambient color in the room will bounce into the flesh especially clothing. I found this flesh tone to be very low chroma. I recommend using a higher chroma combination of colors for brighter areas such as the shadows and also where chroma increases when the form turns from light into shadow. All the very fleshy parts of the human face and figure such as hands and cheeks and where there is a lot of blood flow. For this I’ll mix together Cadmium red and Yellow ocher. I’ll mix it into my basic flesh color where necessary.
The first place I’ll begin is blocking in the background. This will help me gauge how light or dark to go and will also help me judge my values when painting the flesh. Here I used Transparent red oxide and Ultramarine blue for the log walls.
For the guitar, I mixed together yellow ocher and transparent red oxide and a dash of blue, it’s complimentary to create the correct color and to reduce chroma.
I dry brushed in Transparent red oxide with a dash of Ultramarine Blue to a reddish brown and scrubbed in the jeans. The reason I do this, is to prepare for the blue I’ll paint over the red. I really love the warmth it creates as I leave some of the under colors showing through in some places.
Next I painted in the shadows and the lighter areas of the flesh tone, Here I’m not painting in any details.I’ll exaggerate the deep orangy flesh tones in preperation for the next layer in second painting. At this point I’m using straight paint with a tiny bit oms.
I set up the still life in the foreground and painted those in next. This sets the tone for the overall look I’m trying to achieve.
For the table I used yellow ocher, transparent red oxide and Ultramarine blue. the cup, I made a grey with Raw umber and white. For silver, I use Raw umber and mix of transparent red oxide, Ultramarine blue and lead white.
I continue to work on Marc’s blue jeans and then mix and match his flesh tome for second painting.
Do drop by for the part 2… coming soon!