For this portrait the palette was: alizarin crimson (the real stuff, not the Permanent kind, which is a diff.color), ultramarine blue, white, burnt sienna, burnt umber, raw sienna. Oh, and cadmium orange.
My teacher's advice on this one was to do shadows cool (ultramarine + burnt umber + touch of white). Basic lit flesh color was raw sienna + alizarin + cad orange + touch of white. Darker lit areas added burnt sienna. Highlight areas were either violet or baby blue (ultramarine and/or alizarin + white). And I added some cad orange to wherever I thought needed to look warm and lit but not actually highlighted.
Every time I see your portrait work you make me want to try it again (first attempts were bad, very bad). Your are so accomplished, and I marvel at your product in the time you have.
Thanks too for noting your colors...that is always interesting to see!
Thanks Jala- great info here. Also about the two alizarins. I found my tube was permanent and couldn't figure out why the darks weren't getting dark the way I remembered. I really appreciate the benefit of your art teachings!
I'm a painter (and writer and Spanish instructor) living in beautiful Boulder, Colorado. I studied classical art in an ARC (Art Renewal Center) school, Colorado Academy of Art, full-time for two years, in order to benefit from the rigorous atelier-style training. I am currently dedicated to exploring abstract and semi-abstract art, working in oil and also in soft pastel. I firmly believe that all human beings are creative, whether or not they have yet found an outlet for the innate creative urge, and that the creative arts are the highest form of human expression. Email me at: jala[at]jalapfaff.com
...Please also visit my website: jalapfaff.com
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6 comments:
Love how you mixed the orange next to the blue and made it all work.
What are the earth colors you use?
These are the faces I paint most and am always looking for other ways to interpret darks in skin tones.
It's a wonderful portrait.
So true what you say about concentrating that hard and how tiring it can be.
Hi, Bonnie, thanks! (I miss Larry too.)
For this portrait the palette was: alizarin crimson (the real stuff, not the Permanent kind, which is a diff.color), ultramarine blue, white, burnt sienna, burnt umber, raw sienna. Oh, and cadmium orange.
My teacher's advice on this one was to do shadows cool (ultramarine + burnt umber + touch of white). Basic lit flesh color was raw sienna + alizarin + cad orange + touch of white. Darker lit areas added burnt sienna. Highlight areas were either violet or baby blue (ultramarine and/or alizarin + white). And I added some cad orange to wherever I thought needed to look warm and lit but not actually highlighted.
Bonnie-- P.S. After the shadow areas were established, later on I went back into them with some alizarin.
Every time I see your portrait work you make me want to try it again (first attempts were bad, very bad). Your are so accomplished, and I marvel at your product in the time you have.
Thanks too for noting your colors...that is always interesting to see!
Thanks Jala- great info here.
Also about the two alizarins.
I found my tube was permanent and couldn't figure out why the darks weren't getting dark the way I remembered.
I really appreciate the benefit of your art teachings!
Your work is always so spirited and well drawn.
Karen, what a great compliment--to be inspiring to another artist!
Bonnie, very glad you found the paint info helpful! You can thank my teacher. :)
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