masterclass
9
LET FLECKS SHOW The really strong white highlights will be applied at the end,
but certain marks will pop up as a result of the white in the
mix already on my brush. At this stage, I travelled round the canvas painting tints using 1½1/2” and 1” brushes. Again, I tried to avoid blocking things in completely here, instead leaving flecks of the base colour or the initial paint layer showing through. These are the subtle effects that go some way in lifting your paintings and add a sense of movement.
10
TEST THE MIX As the mix of tints becomes more complex and subtle,
I use my mixing tray to work out the ‘correct’
combinations before I apply the paint to the canvas. Again the goal is not to over mix things, so I try to limit the amount of blending and always leave a little something to chance. This takes practice and experience until instinctively you’ll get closer to the mark.
11
FLESH OUT COLOUR Using flesh tints mixed from Titanium White, Yellow
Ochre, Cadmium Red, Process Magenta, Cadmium
Yellow and Lemon Yellow, I blocked in the lighter areas of the face with a 1/2” brush. Most of the time, the bare minimum of strokes is all that’s required to bring character to a face. If the person is bathed in direct sunlight, you may find you need to define the features a little more but not making too big a deal of them is always preferable for a painterly finish.
12
FINISHING TOUCHES At this stage, the finishing line is in sight and the
most controlled strokes have been applied. It is time
to address and tweak the details, such as the shop signs, folds in the clothes and refinement in the facial features. The purest highlights should be applied sparingly and the overwhelming urge to obsess and sledgehammer in more detail should be suppressed. The point of these finishing touches is only to confirm the main focal points and correct any glaring errors.
Artists & Illustrators 65
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