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| Reference photo |
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| My sketch |
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| First washes of aureolin and quin. burnt orange |
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| Looking mighty weird at this stage ... EEK!!! |
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| Many more glazes, and starting to look like a yellow lab |
First, a minor grump about the poor registration of the darks, especially browns and blacks, with camera and computer. That done, I'll continue.
I've been reading a book by Elizabeth Kincaid called "Dance with Light". Her paintings, mostly florals and still-lifes, capture quite a quality of luminousity. Her technique involves glazes of pure pigment ... no mixing. So I thought I'd give it a try. I must say it is a bit more involved, especially planning what color glaze on top of several others will give the color you need. And it was very strange, at one point, glazing the nose with GREEN! But the depth and colors you achieve make the process worthwhile. I must admit I "cheated" with my blacks, using my favorite combination of quin. burnt orange, quin. violet and indanthrone blue. And I will be doing the grey areas on the face with a mix of aureolin, quin. coral and indanthrone, but that will be it for mixes.
The actual painting has more depth, of course, than the computer image, but I am wondering if Miss Carmella doesn't need a very soft and nebulous background to show her off better. What are your thoughts? And what do you think of the pure color glazing?
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I am here
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