Well, here she is again. By the way, I found this comely lass about a year ago on Flickr.com. Before I painted this demonstration for my workshop students, I decided on using the colors burnt sienna, yellow ochre, Opera (made by Windsor Newton), permanent rose, ultramarine blue, phthalo blue, and just a smidgin of a bright yellow. I stressed to my students that one can pick a variety of colors for the face and hair just so long as one uses them in an harmonious manner. The last thing I did before the workshop concluded was to do a wet-on-wet ochre, yellow background which served to bring out the outside border of her hair quite nicely. On the very outside edges of the hair and while the wet-on-wet was still somewhat moist, I pulled of some paint with a dry brush to enhace the slight value difference between the hair edge and background value. I have also included a few shots of my workshop students working on their portraits.
4 comments:
Looks like it might have been a bit hard on the back! I am a tad jealous over that man's white and black enamel palette pan! I am going to have to keep my eyes open for some of those!!
I love that all your students are painting standing up!
I am a die hard that says opera isn't fugitive. I painted a big swatch, covered half of it and stuck it in the western facing window for two months and I could not see a difference.... I am in Oregon but the sun comes out in the summer and I swear the color didn't noticeably change.
Autumn, yeah, those enamel pans make great watercolor palettes for your color mixes.
Good to hear about your experience with Opera, Carrie. I say either get your butt off the chair while painting or work at an h2o easel at about a 30 to 60 degree tilt or sit high on an art chair and paint down on a flat surface.
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